Amidst the serene atmosphere of the Hue Imperial Citadel – once the center of power for the Nguyen dynasty kings – the shimmering layers of red lacquer and gold leaf, the mosaics of ceramics and porcelain on ancient horizontal and vertical screens, and the exquisite carvings… are not only remnants of a golden age, but also the culmination of the hands, intellect, and perseverance of silent artisans. They not only restore the structures but also revive historical memories.
Hands that revive heritage
We found a small workshop nestled in a quiet alley on the outskirts of Hue. The scent of traditional lacquer lingered in the air, and the golden hues shimmered in the early morning sun. There, the artisans quietly went about their simple work, yet it contributed to preserving a part of the soul and essence of the Nguyen Dynasty's heritage – the art of lacquer and gold leafing.
The first person to greet us was artisan Ngo Dinh Trong, who has been dedicated to the craft for over 25 years. His hands were calloused and covered in a fine layer of golden dust, his eyes were pensive but lit up whenever he spoke of the details of the ancient patterns.
Mr. Trong recounted his early days in the profession, when he was a young man apprenticed under his senior, Mr. Do Ky Hoang, former Rector of Hue University of Fine Arts. During those years, he had to learn how to identify different types of lacquer, how to process wood, and how to apply gold leaf so that the gold adhered firmly while retaining its natural sheen.
In his memory, his first time participating in the restoration of a detail at a building within the Nguyen Dynasty historical complex was an unforgettable milestone. "My hands were shaking a lot back then, because I knew this wasn't something new, but something that touched history, the heritage of our ancestors," Mr. Trong confided.
According to Mr. Trong, carving is the "bone," while gilding and painting are the "skin." For example, in the reconstruction of the Thai Hoa Palace, the largest palace in the Hue Imperial Citadel, all the wooden columns underwent numerous processing stages, from priming, sanding, painting, hand-painting, and gilding… Some dragon and phoenix motifs took weeks to complete. Particularly noteworthy is the "rattan sieve" technique; each carved line must be soft yet decisive, maintaining the true style of Hue's imperial court art. "A single wrong stroke means starting over," Mr. Trong explained.
Not far from Mr. Trong's workshop, artisan Bui Van Trinh was also diligently working on intricate carvings. Mr. Trinh is famous in the field for his ability to restore ancient patterns almost exactly as they were. We met him intently working on a horizontal plaque that had just been primed. Each winding dragon carving was visible beneath the glossy black paint, awaiting the final layer of gold.
According to Mr. Trinh, each motif in the Nguyen Dynasty's architectural works carries its own meaning, from dragons symbolizing power and phoenixes representing nobility, to floral motifs expressing philosophies about nature and humanity. Those working in this field need not only technical skills but also a deep understanding of culture and history. Once, when participating in the restoration of a detail in a tomb, he spent nearly a week studying documents and comparing them with other samples before starting the work. "A single mistake can ruin everything," Mr. Trinh said.
In the 1990s, the craft of lacquer painting and gilding in Hue was still relatively quiet. Work was scarce, and income was precarious, but Mr. Trinh persevered, clinging to the profession as if it were an unexplained choice. The real opportunity arose when the restoration of Hue's historical sites began. One of the first projects he participated in was the restoration of old palanquins at Dien Tho Palace. From fragmented pieces of wood, Mr. Trinh meticulously reconstructed each detail, applying layers of paint and gold leaf with utmost care.
When completed, the old palanquin seemed to come alive again, its golden hue deep and serene. From then on, his handiwork appeared in many major constructions: Gia Long Mausoleum, Dong Khanh Mausoleum, Tu Duc Mausoleum, Thai Binh Pavilion, Trieu Mieu Temple, Duyet Thi Duong… Each place was a time when he “dialogued” with the past. A memorable anecdote is when he crafted two chairs at Thai Binh Pavilion. After completion, no one could distinguish the new chairs from the old ones. Only when he turned over the bottom, where he intentionally left a distinguishing mark, did people realize the difference.
When gold and gold endure through time.
In the stories of the craftsmen, artisan Dao Huu Khien is mentioned with respect. Mr. Khien belongs to the next generation of artisans but has already proven his skills through many large-scale projects. He recounts that there were days when he worked for hours just to perfect a small detail. But it was precisely those details that contributed to the overall splendor of the project. "People see it as beautiful, that's enough, but I know how much effort went into it," Mr. Khien said with a smile.
One of the most important principles in the work of these artisans is "restore, not create." This requires a deep understanding of history, art, and the philosophy of preservation.
According to artisan Ngo Dinh Trong, every structure bears the mark of time – cracks, faded paint, or even imperfections. That's history; if you erase it all, the structure will lose its value. Having been involved in the art of gilding and lacquering for over 25 years, Mr. Trong can't remember how many structures he's helped restore. But every time he stands before an old palace, he still feels as nervous as the first time. "Every detail has its own story; you can't do it carelessly," he says.
The restoration of the screens in the Hue Imperial Citadel is clear evidence of this. These screens not only served a protective function but also held feng shui significance, reflecting the authority and aesthetics of the imperial court. Artisan Khien shared: “Some details were completely lost, so we had to search for documents, compare them with contemporary works, and even consult old paintings and photographs to restore them.” This process was not just technical labor but also a journey of “deciphering” history. Every motif, every color scheme had to be true to the spirit of the Nguyen Dynasty. “We didn’t create according to our own ideas, but had to respect what already existed,” Mr. Khien emphasized.
In the modern era, traditional crafts such as lacquer painting, gold leafing, and carving are facing numerous challenges. Low income, arduous work, and the need for perseverance deter many young people. “Many people come to learn for a while and then quit. They can’t handle the slow pace of the craft,” lamented artisan Trinh. However, there are still encouraging signs. In recent years, restoration and preservation projects for historical sites in Hue have received increasing attention, creating opportunities for artisans to continue practicing their craft and passing it on to the next generation. “This craft cannot be kept to oneself. As long as the young people are dedicated, I am ready to teach them,” said Mr. Trong.
"I'm not doing this for fame. I just hope that when people look at it, they can still see the soul of old Hue," Mr. Trong confided. That's what has kept artisans like him here for so many years. Not for material gain, but for a belief: that heritage is not just the past, but a vibrant part of the present and the future.
The layers of gilded lacquer, the reliefs, the ceramic mosaics… will continue to fade with time. But for the people who are preserving these crafts day and night, the "golden soul" of the ancient capital will remain – quietly, persistently, just like the tranquil rhythm of life in Hue.
Source: https://nhandan.vn/gin-giu-net-vang-son-xu-hue-post956544.html
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