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| Artisan Bui Van Trinh has participated in the restoration and conservation of many heritage relics in Hue |
A calling to the craft
The path that led Meritorious Artisan Bui Van Trinh (residing in Thuan Hoa Ward) to the craft of lacquering and gilding began with a rather ordinary stroke of fate. Through a casual introduction from a friend, he traveled to Hanoi to learn the trade in Ha Thai lacquer village (formerly Ha Tay).
In this village, once home to many highly skilled craftsmen under the Nguyen Dynasty, specializing in lacquering and gilding for the royal court, he was taught the traditional techniques by veteran artisans. From wood treatment and preparation of natural lacquer to the delicate process of gilding so that the vermilion lacquer reveals both durability and depth, the craft gradually seeped into his very being, anchoring him to it for more than three decades.
In the 1990s, when Trinh first became attached to the craft, lacquering and gilding in Hue remained quiet. Orders were scarce, and restoration projects were rare. It was only when the restoration of Hue’s heritage sites began that opportunities gradually emerged.
He recalled that at the time, several palanquins in Dien Tho Palace were severely damaged, left untouched for a long period with no one willing to repair them. Through his hands, from scattered wooden components, he reconstructed the structure, then carefully applied layer upon layer of lacquer and gold leaf, attending to every smallest detail. When the palanquin was completed, its subdued golden sheen and time-toned lacquer seemed as though it had just awakened from a long sleep.
On the day it was returned to the palace, seeing people fall silent in astonishment filled him with a sense of happiness mixed with pride. Though much time has passed, he still vividly remembers that feeling.
From that milestone, restoration projects began to come one after another: ritual objects at Gia Long Tomb and Dong Khanh Tomb; glass paintings at Tu Duc Tomb; wooden furniture at Thai Binh Pavilion; horizontal lacquered boards at Trieu Mieu; as well as works at Hue Museum of Royal Antiquities and Duyet Thi Duong Theatre.
As his reputation spread, he was also invited by various agencies and organizations in Hue, Da Nang, and Hanoi to participate in artifact restoration projects.
Awakening the memory of time
Among many years in the craft, one of his most memorable experiences was the production of two chairs for Thai Binh Pavilion. The site already had an existing pair, and additional ones were needed to complete the display set. When the work was finished, by the naked eye, no one could distinguish the new chairs from the old ones. Some even hesitated, fearing confusion with authentic artifacts.
Only when he showed how to identify them by turning the chairs over to examine the underside did people realize the difference. That detail was intentionally left untreated, preserving a clear boundary between restoration and original artifacts. It was also a reminder of respect for the past and the integrity of the craftsman.
Another instance was his work on a horizontal lacquered board at Thai Binh Lau. On the day it was installed, many were struck with amazement. Its muted golden glow and time-worn lacquer surface made people think it an original antique.
Only after learning that it was a restored piece did people fully appreciate the artisan’s mastery. His meticulous application of lacquer and gold leaf revived a beauty that seemed long dormant.
Lacquering and gilding, according to Mr. Trinh, is a journey in which the artisan imbues each detail with their character and spirit. “In this craft, what is ‘correct,’ ‘sufficient,’ and ‘precise’ cannot be measured by rulers, but is felt through experience and professional intuition deeply ingrained in each artisan. Therefore, lacquering and gilding is no longer merely a technical process of assembly or restoration, but becomes a ritual of reverence for our predecessors and respect for the craft and those who came before,” he shared.
He explained that lacquering and gilding are two independent processes, each requiring patience and deep expertise, with some stages involving dozens of meticulous treatments. Lacquering includes bonding, priming, and finishing layers. Among these, the finishing stage is the most complex and determines the durability and lifespan of the product.
To achieve a standard lacquer surface, artisans must apply between seven and nine layers. Each layer must be carefully sanded and polished. “Applying too thick a layer ruins it, but too thin is also unacceptable. It must be just right. Only when a layer dries to the proper degree can it be sanded and prepared for the next layer,” he explained.
Gilding is the final step. The artisan must wait for the precise moment when the lacquer reaches the right level of dryness before applying the gold leaf. The gold used is typically gold leaf, hammered so thin it is as light as dust, easily displaced by even the slightest breeze. Techniques for creating antique replica also demand near absolute precision in the drying time of the paint to achieve the subdued tones and depth that resemble the marks left by time.
Having trained hundreds of apprentices who have since matured in the profession, what concerns Bui Van Trinh is that the craft of lacquering and gilding now faces numerous challenges. In particular, the rising price of gold has made the work increasingly scarce. Many young people are forced to set aside their passion and turn to other livelihoods, leaving behind unfinished aspirations.
Despite that, he continues to carry a deep aspiration, to contribute his knowledge and experience to the preservation of these precious traditional crafts, so that Hue may grow ever richer and deeper in its cultural heritage.