The joys and feelings of making Dong Ho folk paintings.

Originating approximately 500 years ago, Dong Ho folk painting once flourished with 17 families involved in its production. Despite its bustling activity, only three families remain today, preserving the traditional craft, with very few artisans still dedicated to it; the demand for woodblock prints is steadily declining...

Perhaps that is why the craft of making Dong Ho folk paintings needs "urgent protection" with immediate solutions and strong involvement from the people.

After decades of striving to preserve and maintain the art of Dong Ho folk painting as a way of safeguarding the values passed down from their ancestors, many people, especially long-time artisans, expressed their joy upon hearing the news that their Dong Ho folk painting craft had been recognized as a world heritage.

Artisan Nguyen Thi Oanh recounted that at exactly 2 PM on December 9th, her husband, artisan Nguyen Huu Hoa, who was present at the announcement ceremony, called home to share the news. Ms. Oanh said she couldn't hide her emotion: "My family was overwhelmed with happiness because we were so honored and proud that after so many years of dedication to the craft, the art of painting in our village has finally been recognized by the world."

It's clear that this atmosphere of joy and excitement has spread not only to those directly involved in the craft, like Mrs. Oanh, but also to the villagers, even those who have switched to other livelihoods, who share in this indescribable happiness. Mr. Bang, one of the households selling paper offerings, excitedly said: "Hearing this news, I'm so happy for our village. After all this hard work, we're finally reaping the rewards."

This valuable recognition is not only a tribute to the past but also a powerful motivation for the future of the craft village. Artisan Nguyen Huu Qua believes that the world's honoring of the craft village and the affirmation of the role of artisans also means that "the transmission of skills and training must be upgraded" in a more systematic way, befitting the heritage.

For artisan Nguyen Thi Oanh, the only woman still diligently working with woodblocks, carrying the responsibility of two prominent families, this event further motivates her to strive harder: "Now that it's recognized as a world intangible cultural heritage, even if it needs urgent protection, we must cultivate our knowledge, learn more, and do even better to guide and teach our children and grandchildren." This also involves nurturing the belief and passion within each artisan so they can continue to hold firm to their craft and organize the transmission of village culture to future generations, dispelling the "emptiness" felt during a time when the craft village is on the verge of extinction.

The joys and feelings of making Dong Ho folk paintings - photo 2 — The number of highly skilled artisans in the craft of making Dong Ho folk paintings is dwindling.

Despite the pride they feel after enduring the ups and downs of history, those who "keep the flame" of Dong Ho folk painting alive are still facing many pressing concerns, the most obvious of which is the economic challenge and finding markets for their products.

Artisan Nguyen Huu Qua affirmed: "If the output is stable and the market is good, then surely the whole village can return to making paintings because everyone knows the skills of the craft. But if the output is not guaranteed, people will abandon it all and switch to making paper offerings." The artisan added, "Currently, the cost of raw materials is much harder to find than before, and the production costs have increased significantly. How many people still want to preserve the craft?"

It is precisely because of these difficulties and hardships that passing on the craft and attracting the next generation to continue it becomes very challenging. Mr. Quả shared: "The key is still the market for the products. If woodblock prints don't have a market, young people won't be able to stay in the profession for long."

That is also the wish of many artisans: to receive attention and support from all levels of government regarding product distribution, so that handicrafts with profound cultural value, such as Dong Ho folk paintings, will become more widely known in the future, somewhat alleviating the worries in the hearts of those who work in the craft. Along with the decline of the craft village, there is also the risk of cultural loss.

The concerns of the artisans in Dong Ho folk painting village partly reflect the reality of the decline of the craft village there. According to the heritage nomination documents we accessed, the number of skilled artisans is currently declining sharply due to the younger generation's lack of interest; the craft is now difficult to sustain a livelihood, especially with the declining demand for woodblock prints during traditional festivals, resulting in meager sales of the products.

Furthermore, the number of highly skilled and dedicated individuals pursuing the craft is too small to sustain the current tradition of teaching and producing Dong Ho folk paintings. Faced with this bleak situation for the heritage, local authorities and relevant agencies have developed a protection plan outlining seven specific goals for a strong revival of Dong Ho folk painting, including: opening training classes, inventorying the heritage, designing patterns, diversifying markets, improving access to raw materials, and providing protective equipment for artisans. “The proposed activities are feasible, aligned with the goals and sustainability, and place the community at the center,” the heritage nomination dossier states.

Hopefully, in the near future, the heritage of Dong Ho folk painting will "shine brightly on gilded paper" when relevant agencies fully implement their commitments; the community of artisans actively participates; and the enjoyment of folk paintings gradually returns to contemporary life.

Source: https://baovanhoa.vn/van-hoa/niem-vui-va-tam-tu-cua-nghe-lam-tranh-dan-gian-dong-ho-189288.html