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| Artisan Ky Huu Phuoc with his family’s ancestral woodblock prints. Photo: BNL |
In the spacious garden of over 1,000m² located at No. 181 Xuan 68 Street (Phu Xuan Ward, Hue City), with 6 ancient Ruong (wooden beam) houses surrounding a small lake, visitors can contemplate exquisite woodblock paintings, practice the carving and printing techniques on Do paper themselves, and listen to the century-old story of the heritage.
Ngu Ha Vien is a cultural destination that the late artisan Duong Dinh Vinh devoted 20 years to researching, collecting, and restoring to preserve the ancient Ruong houses of Hue. His aspiration was to turn Ngu Ha Vien into a highly practical conservation space, integrating exhibition, apprenticeship, cultural exchange, and the practice of heritage values with the aim of generating economic benefits.
Regarding Thanh Lieu woodblock heritage, this craft village has a history of over 500 years. Unlike many other places, Thanh Lieu artisans use knives instead of chisels to create extremely thin and delicate lines, giving the prints their characteristic smoothness. Used to be the country’s center of woodblock carving and printing, from the 15th to the 19th century, Thanh Lieu village preserved and printed thousands of sutras, and seals. Many wooden blocks have still been preserved up to now, such as the carved woodblocks of Hai Thuong Y Tong Tam Linh by Le Huu Trang, which is kept at Dai Trang Pagoda (Bac Ninh), and hundreds of Buddhist scripture prints stored at An Binh Pagoda (Hai Duong). Notably, the Nguyen Dynasty’s royal woodblocks in Hue, recognized by UNESCO in 2009 as Vietnam’s first World Documentary Heritage, also bear significant contributions from Thanh Lieu’s woodblock artisans.
However, at the program “Heritage Flow - The Imprint of Thanh Lieu Woodblocks in the Heart of the Ancient Capital” recently held at Ngu Ha Vien, what impressed researcher Nguyen Huu Thong most was the participation of young people. On his personal Facebook page, he shared: “Attending the ceremony to introduce Thanh Lieu village woodblocks at Ngu Ha Vien, I was quietly delighted to see young people so dedicated to preserving and reviving an ancient heritage that carries profound meaning in today’s cultural life”.
Among those young faces is artisan Nguyen Cong Dat, the 17th-generation descendant of the Thanh Lieu craft village. Growing up in a family with a woodblock printing tradition, he has not only diligently learned, practiced, and mastered the techniques of carving, ink mixing, and paper printing, but has also systematized the entire process so that it can be demonstrated and explained to the public. Notably, he has applied traditional woodblock art to modern products, from gift boxes and handbags to other decorative containers, bringing the heritage closer to young people while creating sustainable livelihoods for those working in the craft.
As Mr. Nguyen Huu Thong noted when reflecting on the fate of Sinh and Chuon paintings in Hue, while the revival of Thanh Lieu village is the cause for happiness, there is also a sense of melancholy. With nearly 5 centuries old, Sinh village woodblock paintings are famous for their deep-rooted connection to worship and traditional customs. On a trip to Sinh village 2 years ago, artisan Ky Huu Phuoc, the ninth-generation successor of a family dedicated to folk painting, confided that although the craft is still “alive”, it is struggling to survive. Adapting this art form to modern life remains a great challenge. To sustain the tradition, the elderly artisan has introduced innovative products such as the “Bat Am” New Year calendar or sets of the twelve zodiac animals, while also experimenting with handmade paper production at home to maintain his independence in the craft.
As for Chuon village paintings, researcher Nguyen Huu Thong noted that they once featured the auspicious themes of Phuc, Loc, Tho, Khang, Ninh (Happiness, Prosperity, Longevity, Health, and Peace), along with blessing couplets. These works were printed from woodblocks onto paper lavishly decorated with motifs of the Four Sacred Creatures, the Eight Treasures, and ancient maps, etc., then overlaid with red lacquer, green highlights, and gold threads to form a complete and dignified artwork. Regrettably, over time, this decorative painting tradition of Chuon village has disappeared. Even so, Mr. Thong believes that with proper restoration efforts, a dedicated project, and the involvement of young people, reviving such a precious heritage of Hue as Chuon village paintings is within reach, because although the original woodblocks are rare, historical records and living witnesses still remain.
Could Chuon village paintings be adapted for use in Lunar New Year artworks, red envelopes, spring greeting cards, or product packaging? Could Sinh paintings be revived to find a new path for this line of spiritual folk art? These are the lingering questions, not only from the heartfelt concerns of artisan Ky Huu Phuoc, the deep reflections of researcher Nguyen Huu Thong, or the aspiration of artisan Duong Dinh Vinh, but also, in the long run, from the broader challenge of how to create livelihoods for Hue through its heritage.