Pattern making is a technique of manually copying texts and patterns from ancient artifacts used mainly for conservation and research purposes. Pattern making is reviving as a distinctly indigenous art form that seamlessly combines research and creation, tradition and innovation.

1. A stamp, also known as a stamp, is a traditional manual technique used to copy text or images that are embossed or engraved on the surface of stone, wood, terracotta, or metal. The person who makes the stamp uses thin and tough paper such as Do paper, Xuyen Chi paper, or Ban paper, moistens it, and presses it onto the surface of the engraving or carving. Then, they use a soft brush or a towel to pat the paper gently so that it adheres to each line. When the paper is dry, the person who prints the stamp uses ink, charcoal, or oil paint to emboss the text and patterns, creating an exact copy of both content and form.

Children are excited to experience making patterns. Photo: HAI LY

Unlike modern photography or 3D scanning, the pattern reproduces the entire visual structure of the inscription, the carving is precise in composition, proportion, carving technique, calligraphy style and decorative details. This method is commonly used in the field of historical research, fine arts, Sino-Nom studies and archaeology, especially in East Asian countries with a tradition of carving inscriptions on durable materials such as China, Japan, Korea and Vietnam.

In Vietnam, the pattern was introduced and developed under the influence of the French. Since the beginning of the 20th century, the French have used the pattern technique to create 1:1 scale copies of stele inscriptions, to serve research in situations that do not require direct contact with the artifacts, sometimes due to complex geographical conditions or the risk of damaging the artifacts.

Since 1962, when the Fine Arts Institute was established, the pattern-making technique officially entered the field of fine arts, becoming a specialized academic method. In particular, since 1978, with the establishment of the Faculty of Art Theory and History, now the Faculty of Art Theory, History and Criticism of the Vietnam University of Fine Arts, the pattern-making technique has been introduced into teaching, becoming an important content in the training program. It is worth noting that this method does not only exist within the framework of the school. Many students after graduation continue to use the pattern-making technique to research, create and preserve texts and carved works, creating an academic tradition bearing the mark of Vietnamese fine arts.

In China, the pattern has a long history and is considered a popular means of copying and spreading literature. From the first patterns in the Tang Dynasty and flourishing in the Song Dynasty, patterns were used to preserve stone carvings mainly in calligraphy and Confucian texts. Many Chinese scholars also consider patterns an essential part of the art of calligraphy and the preservation of ancient books. In Japan and Korea, the pattern technique is also strongly developed and highly systematic. Patterns are both works of academic value and works of art preserved in large museums and libraries.

Compared to these countries, Vietnam approached the pattern later, mainly due to the influence of the French and later researchers. However, Vietnam has a unique way of applying it, combining academia, conservation and art, creating creative variations with its own identity.

2. Unlike many art forms such as painting, sculpture or calligraphy, which originate from the direct creative process, the pattern that creates the work originates from copying, but this is not a "passive" activity. The pattern requires a delicate feeling, skillful craftsmanship and aesthetic thinking in the process of handling the layout, materials, light and details. The person who makes the pattern not only "copies" but also "decodes" through understanding the structure of the object, the way of engraving, the layers of relief patterns, and then can choose how to moisten the paper, ink, and emphasize the prominent details to make the print most vivid and clear.

Interestingly, the pattern not only copies the text or carving, but also captures the entire spirit of the original work in the calligraphy style, the lines of the patterns, the structure of the layout that appears on the paper, thus the pattern is both a copy and a new work. The pattern stands at the intersection of restoration and reproduction, yet is still highly creative, a form of artistic expression.

In a contemporary art context that increasingly emphasizes multimedia and cultural exchange, the pattern is used in tandem, both as a classic archival method and at the same time being redefined as a new creative material.

The public visits the exhibition "Patterns in research and creation of fine arts" in Hanoi , August 2025. Photo: HAI LY

In display and preservation, many museums and thematic exhibitions in Vietnam today use patterned prints as an alternative to original artifacts, helping viewers get closer to ancient inscriptions without damaging the real relics. Thanks to the 1:1 copying technique, the patterned prints still retain the spirit and details of the artifacts, while being easy to transport and preserve. Patterned prints also play an important role in digitizing heritage, as an intermediate document to create digital maps, 3D databases, or apply AR/VR technology in recreating relic spaces.

In recent years, many painters and contemporary artists have used patterns in their personal art practice. Some artists combine patterns with silkscreen printing techniques, or reprocess them with watercolors, ink, oil paint, lacquer, monoprints, etc. to create contemporary works that still uphold identity. Patterns retain cultural imprints in new creations that enter the world of creation.

A typical example of the artistic creativity from the pattern is the work “Thousand Years of Memories” by artist Le Thi Thanh, which won first prize at the first “Vietnam’s Cultural Heritage through Painting” painting competition. The work directly uses the flower patterns carved on the stone steles at the Temple of Literature - Quoc Tu Giam, combined with the techniques of embossing, monoprinting, watermarking and screen printing. The artist combined many sacred animal and four-season patterns printed on the border and forehead of the stele, choosing the highlight image of Khue Van Cac, evoking the halo of the studious spirit.

The entire composition of the work is structured like bricks, symbolizing a heritage wall. Through the use of patterns from real artifacts at the site, the work is a clear demonstration that the art of patterns is no longer confined in the past, but is reconstructed and reborn through the creative hands of the artist. Not only is it a work of art with high visual value, “Thousand Years of Remembrance” also shows that patterns can become a living artistic material, contributing to convincingly connecting heritage with contemporary art.

3. Currently, many art schools, cultural centers, and community art projects are incorporating patterns into their curriculum. Through patterns, students directly experience the beauty of heritage, learn classical visual elements, and practice manual techniques. Pattern printing is an experience that requires concentration, patience, and understanding of materials. In today's fast-paced modern life, this slow rhythm of patterns becomes an attraction, with its own identity. Many current art training and heritage education programs actively incorporate patterns into effective teaching methods. In many community art projects, patterns are also included as an interactive activity, helping people understand more about their living space and identify heritage right on the land they live on.

From a French research tool used in Vietnam, to a learning method in art schools, and then becoming a creative material for contemporary artists, the pattern has traveled a long journey. That journey shows the enduring vitality and flexible adaptability of a technique that seems to belong to the past, but continues to live in the present, and promises the future. With the characteristic of being both attached to tradition and suggesting new approaches in contemporary art, the pattern is a clear demonstration of the vitality and flexibility of heritage when approached with a creative spirit.

Associate Professor, Dr. QUACH THI NGOC AN, Central University of Art Education

    Source: https://www.qdnd.vn/van-hoa/van-hoc-nghe-thuat/ung-dung-ban-rap-trong-nghe-thuat-duong-dai-846721