The “new journey” of Phap lam

The brass violin coated with Phap lam enamel, crafted by artisan Do Huu Triet

Coating Phap lam enamel on the brass violin

In Hue’s art circles, artisan Do Huu Triet is known for helping revive Phap lam after a long period of absence. For him, however, restoring the traditional craft is only the first step. What concerns him more is how the material can continue to exist in contemporary life. His work has surprised many people, Phap lam now appears on a Western musical instrument: the violin.

The idea emerged as he reflected on works created using the “plique à jour” technique. The translucent enamel surfaces under light evoked associations with movement and sound. The violin, an instrument that demands exceptional precision, thus became a way to test the adaptability of Phap lam in an entirely different context.

To begin the project, Mr. Triet conducted in-depth research on the structure of wooden violins. He meticulously measured elements such as the arching of the top plate, the body thickness, and the rib placement to adapt a wood-based structure to metal. The process proved more time-consuming than anticipated, as even minor adjustments could alter the instrument’s tonal accuracy.

Once a suitable structure was established, he began applying Phap lam to the instrument’s surface, another challenge altogether. Firing temperatures can alter the tension of the metal, requiring careful placement of each enamel section to preserve tonal flexibility while achieving the desired color effects.

Speaking of the most challenging stage, he said: “A violin is not a display object. It must sound right, with resonance and depth. When working with brass, I had to experiment repeatedly to achieve the right resonance. No matter how beautiful the enamel is, it is meaningless if the sound is not good”.

Because of this level of difficulty, many in the art community regard his brass violin as a “boundary-breaking” creation. It represents a test of Phap lam in an environment no one had previously attempted. When the instrument finally sounds, all the research, experimentation, and adjustments are answered through its music.

The multicolored enamel patches bring the instrument to life when illuminated, creating an almost luminous effect. Viewers not only hear the sound but also perceive the shimmering hues of the enamel, as if watching a work of art in motion.

“I want to prove that Phap lam is not a material confined to rigid forms. If it can exist on a complex musical instrument, it means it can go even further,” said Mr. Triet.

A breakthrough experiment

Building on his experiment with the violin, Mr. Triet has continued to explore ways to expand the possibilities of Phap lam across other product lines. One recent and notable direction is a brass horse sculpture coated in multicolored enamel, created as a welcome to the upcoming Binh Ngo New Year.

The horse’s form is sketched onto a brass mold in a powerful posture, its mane flowing to convey a strong sense of motion. Across the sculpture trunk, layers of enamel are carefully applied to create depth and subtle color transitions. Under light, each enamel surface reveals a different character, at times vibrant, at times subdued, giving the impression that the horse is in motion. The work not only captures the spirit of the New Year but also affirms the expressive potential of Phap lam on complex forms.

Mr. Triet informed that he chose the horse not only for its symbolic relevance to the year but also because it is a motif that demands fluidity in form. Applying enamel to continuous curves requires precise control of firing temperature and enamel thickness to preserve the shape while achieving the intended color transitions.

“The horse is a symbolic creature rich in emotion. When incorporating Phap lam, the most important thing is to create a sense of vitality. The horse must have its own presence and evoke the spirit of the New Year,” said Mr. Triet.

At the same time, Triet continues to produce translucent lamps and Phap lam interior details. The “plique à jour” technique allows the enamel panels to remain transparent, letting light pass through. When placed in contemporary spaces, these enamel elements create a warm and refined atmosphere. Many young designers favor the tabletops, chair surfaces, and decorative frames he crafts, as they offer a harmonious balance between tradition and modernity.

Beyond sculptural works, Mr. Triet continues to develop his line of Phap lam jewelry. Royal court motifs are simplified to suit contemporary tastes while preserving the elegance of the colored enamel. Each design is produced in limited quantities, highlighting its uniqueness and the artisan’s craftsmanship.