Tien Non Lacquerware: A Unique Craft in the Heart of the Ancient Capital

Lacquer craft in Hue originates from ancient craft villages such as Trieu Son, Dia Linh, and especially Tien Non – considered the cradle preserving the quintessence of this art. According to historical records, lacquerware has been present since feudal times and played an important role in decorating palaces, mausoleums, and temples. Notably, during the reign of King Khai Dinh, Tien Non artisans were entrusted with the task of restoring gilded red lacquer at the Hue Imperial City, affirming the village's top reputation and prestige. Through many ups and downs, Tien Non remains a place where the quintessence of lacquer art is passed down from father to son, preserved, and developed across generations.

Not stopping at a mere craft, Hue lacquerware has evolved into a unique art form. From folk techniques, lacquerware gradually developed into fine art, contributing to shaping cultural identity and bringing Vietnam's reputation to the world. Hue is one of the most important centers of this art, playing a major role in promoting Vietnamese lacquerware. In particular, in 2016, Vietnam proposed UNESCO to recognize "Lacquer Art" as an intangible cultural heritage. In Tien Non, the craft is not only tied to tradition but also integrates into modern life by utilizing local materials, creating products for tourism and export, and helping spread the beauty of Hue lacquerware to international friends.

The Tien Non lacquerware production process is a delicate combination of traditional techniques and the artisan's enduring patience. A finished product usually takes anywhere from several months to a full year, as every single stage requires absolute precision and detail.

Raw Material Preparation

The main raw material is raw lacquer sap from the lacquer tree (Rhus succedanea), harvested from the mountainous areas around Hue. After collection, the resin is left to settle in wooden or bamboo containers for several months and separated into three layers: the top layer is called doi nhat (unused), the middle layer is doi nhi (used as raw lacquer), and the bottom layer is doi tam (used as black lacquer). Additionally, other components like tung oil, resin oil, pine resin, mineral red vermilion, and gold/silver leaf are used to create colors and durability.

To create cockroach-wing lacquer – a characteristic dark brown color – artisans must patiently beat the lacquer in a wooden trough using a wooden paddle continuously for 48 hours, then mix it with fresh pine resin. Black lacquer (son then) is prepared by combining raw lacquer with fine charcoal powder.

Making the Wooden Core (Voc)

The core (voc) is the foundation of a lacquerware product, usually made from jackfruit wood or chinaberry wood – lightweight woods that are easy to shape. After being soaked in water to prevent termites, the wood is dried and coated with a layer of hom (a mixture of raw lacquer with clay or quicklime). Each layer must be allowed to dry naturally before applying the next, and after multiple coatings, the product is wet-sanded to achieve a smooth, flat surface. For high-end products, the core-making stage alone can last up to two months.

Coating and Decoration

Once the wooden core is complete, artisans apply layers of raw lacquer, sand it down, and repeat the process multiple times to create a deep sheen. The decoration stage is the soul of the artwork: gilding with gold leaf, silver leaf, painting intricate patterns, or applying relief ornamentation. Finally, the product is hand-polished using charcoal or bamboo bark, revealing subtle hidden color layers that create a lustrous depth – a signature mark found only in lacquer art.

More than just a technique, this process also heavily depends on weather and humidity. Artisans must deeply understand nature, because only under suitable humidity conditions can the lacquer dry evenly and achieve long-lasting durability over time.

Tien Non lacquerware products are diverse, ranging from daily utensils to works of art. They are divided into three main categories:

• Polished lacquer (Son quang): Glossy products featuring basic colors like black, cockroach-wing brown, and vermilion red, commonly used for storage boxes and tea trays.
• Gilded red lacquer (Son son thep vang): Combines gold and silver leaf gilding to create resplendent patterns, popular in temple decorations or souvenirs such as Hue landscape paintings.
• Relief lacquerware (Son mai dap noi): An advanced technique featuring raised motifs, commonly seen on vases or decorative statues.

Traditional color palettes include black, red, gold, and silver, later expanded to include green, gray, eggshell white, and crab-shell pink made from mother-of-pearl and seashell flakes. These products are not only durable (waterproof, termite-resistant) but also carry high aesthetic value, making them suitable as gifts or collectibles.

Tien Non lacquer craft is not only a livelihood but also a cultural heritage of Hue. The craft village contributes to preserving the quintessence of Vietnamese craftsmanship, connecting with neighboring villages such as Thanh Tien paper flower village or Sinh village paintings. Visitors coming here can tour workshops, learn how to make lacquerware, or buy products directly from the artisans.

With its location near the Perfume River and Tien Non ferry station, the craft village has become an ideal stopover on Hue travel tours. Many activities such as cycling through fields or taking a boat to explore Bao Vinh ancient town help visitors experience the local culture. If you are planning a trip to Hue, don't miss the chance to visit Tien Non and personally touch this living heritage.