Artist Phan Hai Bang, who created avery special type of paper called “truc chi”, is now working with histeam to bring back what he calls "old values" in a really big way.
Once he succeeds with the first step, there is no holding the artistback as he pursues his dream of breathing new life into crafts that hebelieves are uniquely Vietnamese.
In 2002, after yearsof researching and experimenting, Bang began trial production of trucchi, paper made from bamboo pulp, using techniques that resembled theway the Vietnamese paper “Do” (poonah) was made.
Eachsheet of the paper can stand alone as an art work, thanks to a graphicdesign that is added at the end of the production stage.
The paper has inspired the creation of many other artistic anddaily-use products that use it as the raw material, like lanterns,wallets, candle boxes, handbags, wall paintings and table calendars.
In 2012, the paper made its market debut as an ornamental item. Sincethen, it has gained popularity among art communities in the country aswell as France, Belgium and Thailand.
Earlier thisyear, graphic design artists, who are also lecturers at art colleges indifferent parts of the country, gathered in Hue for a workshop todiscuss ways to further develop local art forms.
Theylearnt about new printmaking techniques that could serve their work,including book art, printmaking installation, truc chi papermaking,non-toxic lithograph, and gumprint.
The popularity oftruc chi was evident at the workshop, with most participants – veteranartists to young students – choosing to learn the technique of makingit.
Le Anh Phi, a student of the Hue College of Art, said, "truc chi gives me a bright outlook for a future career in art".
Several artists have recorded notable achievements with the paper. Phiand Ngo Dinh Bao Vi, two members of Bang's Truc Chi Garden team, wonencouragement prizes at the national Young Artist Symposium held inHanoi last August.
Phi used truc chi and graphicprints for his work called Ky Uc Lang Que (Countryside Memory) and Vidid the same for her installation called Vi Tinh Yeu La Du Cho Tinh Yeu(Only Love Can Feed Love).
Nguyen Hong Phuong, aworkshop participant, won third prize at the Capital (Ha Noi) Art Prizecontest this month, also using truc chi and graphic prints.
Despite the paper's popularity, Bang said he is at the first stage ofhis dream. "My team, including Vi and Phi, need to do more to realisethe entire dream that I call it ‘A plus to the return'," he said.
"My dream is to unite artisans who weave bamboo and make paperpictures, hand fans, bamboo lanterns, kites or embroidery with me, atruc chi producer, to create Vietnamese craft products that amazeforeigners with their artistic values and outstanding craftsmanship.
"In the short-term, the union could benefit craft villages that fighton their own for revival. The paper could attract new consumers and givethe craft new markets.
However, it appears as thoughartisans in traditional craft villages around Hue and Hoi An have notbeen able to meet the requirements of Truc Chi Garden. Bang, Vi and Phihave had to make themselves artisans in bronze, bamboo, wood and leatherprocessing.
"We do not blame artisans of the craftvillage, we understand that they have to follow market demand, but wewant to preserve the skills and techniques that our ancestors had," saidVi, explaining that no truc chi product is mass produced.
"What we want is to revive our ancestors' skills in another form andstyle, with new artistic values. So the new value is added (plus) to thereturn of old values," said Bang.
"The entire dream is that unique Vietnamese crafts are alive in the modern world."-VNA
Once he succeeds with the first step, there is no holding the artistback as he pursues his dream of breathing new life into crafts that hebelieves are uniquely Vietnamese.
In 2002, after yearsof researching and experimenting, Bang began trial production of trucchi, paper made from bamboo pulp, using techniques that resembled theway the Vietnamese paper “Do” (poonah) was made.
Eachsheet of the paper can stand alone as an art work, thanks to a graphicdesign that is added at the end of the production stage.
The paper has inspired the creation of many other artistic anddaily-use products that use it as the raw material, like lanterns,wallets, candle boxes, handbags, wall paintings and table calendars.
In 2012, the paper made its market debut as an ornamental item. Sincethen, it has gained popularity among art communities in the country aswell as France, Belgium and Thailand.
Earlier thisyear, graphic design artists, who are also lecturers at art colleges indifferent parts of the country, gathered in Hue for a workshop todiscuss ways to further develop local art forms.
Theylearnt about new printmaking techniques that could serve their work,including book art, printmaking installation, truc chi papermaking,non-toxic lithograph, and gumprint.
The popularity oftruc chi was evident at the workshop, with most participants – veteranartists to young students – choosing to learn the technique of makingit.
Le Anh Phi, a student of the Hue College of Art, said, "truc chi gives me a bright outlook for a future career in art".
Several artists have recorded notable achievements with the paper. Phiand Ngo Dinh Bao Vi, two members of Bang's Truc Chi Garden team, wonencouragement prizes at the national Young Artist Symposium held inHanoi last August.
Phi used truc chi and graphicprints for his work called Ky Uc Lang Que (Countryside Memory) and Vidid the same for her installation called Vi Tinh Yeu La Du Cho Tinh Yeu(Only Love Can Feed Love).
Nguyen Hong Phuong, aworkshop participant, won third prize at the Capital (Ha Noi) Art Prizecontest this month, also using truc chi and graphic prints.
Despite the paper's popularity, Bang said he is at the first stage ofhis dream. "My team, including Vi and Phi, need to do more to realisethe entire dream that I call it ‘A plus to the return'," he said.
"My dream is to unite artisans who weave bamboo and make paperpictures, hand fans, bamboo lanterns, kites or embroidery with me, atruc chi producer, to create Vietnamese craft products that amazeforeigners with their artistic values and outstanding craftsmanship.
"In the short-term, the union could benefit craft villages that fighton their own for revival. The paper could attract new consumers and givethe craft new markets.
However, it appears as thoughartisans in traditional craft villages around Hue and Hoi An have notbeen able to meet the requirements of Truc Chi Garden. Bang, Vi and Phihave had to make themselves artisans in bronze, bamboo, wood and leatherprocessing.
"We do not blame artisans of the craftvillage, we understand that they have to follow market demand, but wewant to preserve the skills and techniques that our ancestors had," saidVi, explaining that no truc chi product is mass produced.
"What we want is to revive our ancestors' skills in another form andstyle, with new artistic values. So the new value is added (plus) to thereturn of old values," said Bang.
"The entire dream is that unique Vietnamese crafts are alive in the modern world."-VNA
