Abstract

Vietnamese lacquer painting represents a synthesis of longstanding traditional craftsmanship and artists’ creative practices. In recent years, the growing use of materials beyond those traditionally associated with Vietnamese lacquer painting has prompted a significant reconsideration of its aesthetic potential. This article examines how an expanded range of materials influences the aesthetics of contemporary Vietnamese lacquer painting through an analysis of works by Nguyen Gia Tri, widely regarded as a pioneer of modern Vietnamese lacquer painting, and Phi Phi Oanh, whose practice adopts contemporary and experimental approaches to lacquer. Through artwork analysis, theoretical comparison, and expert interviews, the study demonstrates that non-traditional materials can broaden artists’ expressive possibilities, generate new visual effects, and contribute to shaping new dimensions of Vietnamese lacquer painting’s identity in the context of globalization.

Keywords: Expressive language, non-traditional materials, Vietnamese lacquer painting.