Author Huynh Thanh Binh has published numerous articles and books primarily focusing on world culture, Buddhist art, Vietnamese art, and folk culture. His published works include "Southern Vietnam Glass Paintings" (2013, reprinted late 2025), "Mythological Symbols of Deities and Buddhist Spirits" (2018, reprinted 2023), "Southern Vietnam Khmer Wall Paintings" (2020), "Hindus and Indian Buddhist Iconography" (2021), and "Southern Vietnam Folk Paintings" (2024).
Author Huynh Thanh Binh's passion for glass painting began in 2006, sparking his research and exploration of the subject matter. In 2013, his first book, "Southern Vietnam Glass Painting," was published. The book initially highlighted the typical characteristics of several glass painting styles from Cho Lon, Lai Thieu, My Tho, Go Cong, Cho Moi ( An Giang ), and Khmer glass painting. Over the next 10 years, the author continued to delve deeper into the genres and techniques of Khmer glass painting in the Mekong Delta, comparing and contrasting the content and artistic features of Khmer glass painting with other styles in Southern Vietnam. This time, the book "Southern Vietnam Glass Painting - Art for Every Home" was published in a more comprehensive version.
The 280-page book contains articles primarily about the origins, styles of glass painting, techniques, and content of Southern Vietnamese glass paintings. Glass paintings were present in the Hue imperial court since the reigns of Emperors Minh Mang and Thieu Tri. However, these were imported art products and not widely popular among the general public. In the early 20th century, when shops selling various types of glazed glass and glass paintings began to appear in the Cholon area, especially large calligraphy and paintings used for housewarming celebrations, business openings, and birthday celebrations, Southern Vietnamese glass paintings were born. By the 1920s, the craft of glass painting had moved to Lai Thieu (Thu Dau Mot). Later, around the 1940s and 1950s, the art of glass painting spread throughout the six provinces of Southern Vietnam, establishing itself in My Tho, Cai Lay, Go Cong (Tien Giang), Cho Moi (An Giang), Cho Tram (Long An), Tay Ninh , etc. The Khmer ethnic community also participated, creating the Southern Khmer glass painting tradition in Tra Vinh and Soc Trang. Glass paintings in Southern Vietnam are mainly present in cultural and spiritual life through ancestor worship, folk beliefs, celebrations, interior and exterior decoration, etc.
In the book, besides the characteristics of Southern Vietnamese glass painting in general, as well as the glass painting styles that have been and are present in Southern Vietnamese cultural life, the author also meticulously researches typical artisans and establishments such as: Huynh Vinh Hue, Luong Chi Bang (Cho Lon glass painting style); Truong Hoa Su and his sons (Lai Thieu glass painting style); Tran Van Dau and his son Ho Van Be, Nguyen Van Nhut (My Tho, Tien Giang glass painting style); Pham Van Tranh, Pham Thanh Tuan (Go Cong, Tien Giang glass painting style); Thanh Hoa painter, Nguyen Van Be (Cho Moi, An Giang glass painting style); Hoa Mai painter, Hong Hoa Mai painter, Ut The painter (in Hoa Thanh, belonging to Tay Ninh glass painting style); Tran Van Nhanh (Cho Tram, Long An); Thach Narinh Det (Khmer glass painting style, Tra Vinh), Ma Thi Duong, Thach Thi Phien (Khmer glass painting style, Soc Trang).
The author also provides readers with detailed information about the techniques of creating glass paintings, from materials, colors, glass used for painting, backing, and frames, to the processes of drawing patterns, sketching lines on the glass, drying, and coloring. Regarding the content of Southern Vietnamese glass paintings, the author has categorized them into thematic groups such as religious paintings, interior and exterior decorative paintings, and even glass paintings of noodle carts… All of the above content is presented with specific illustrations for the reader's convenience and reference.
Accordingly, besides purely handcrafted glass paintings using multi-colored paints (with added silver and gold glitter) or combined with glaze techniques, and especially unique mother-of-pearl inlaid glass paintings; there are also line paintings, with blue/red backgrounds and the main subject entirely rendered in gold glitter. There are also face and head collages cut from photographs or printed images, where the artist only paints the body, clothing, background, and scenery. Some glass painting workshops have also switched from traditional hand-painting methods to advanced silk screen printing techniques, and even 3D printing onto glass.
"Southern Vietnamese Glass Paintings: Artworks for Every Home" is a thorough research work that highlights the unique characteristic of Southern Vietnamese glass paintings: their themes and content vary depending on the region, culture, and beliefs. Therefore, the collection of Southern Vietnamese glass paintings is very rich and diverse.
QM
Source: https://baocantho.com.vn/thu-vi-tranh-kieng-nam-bo-nghe-pham-cua-moi-nha--a199991.html
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