Tranh

Tranh is the Vietnamese word for painting or picture, referring to a broad range of visual art produced on supports such as canvas, paper, silk, or wood. It encompasses works created with media including oil, acrylic, watercolor, ink, lacquer, and mixed techniques. Tranh can serve decorative, narrative, religious, or political purposes and has a long-standing presence in Vietnamese culture.

Traditional and folk forms are an important part of tranh. Tranh Đông Hồ refers to folk woodblock prints from Bắc Ninh Province dating back to the 16th–19th centuries, known for bold shapes, simple lines, and vivid colors that illustrate folk tales and seasonal motifs. Tranh sơn mài, or lacquer painting, became prominent in the 20th century and uses layered lacquer, sometimes with gold leaf or mother-of-pearl, to produce richly textured surfaces; notable practitioners include Nguyễn Gia Trí and Lê Phổ. Tranh thêu, embroidery, is another textile form that falls under the broader Vietnamese concept of tranh.

Modern and contemporary developments have broadened tranh beyond traditional forms. In the 20th century, Vietnamese painters incorporated Western techniques and socialist realism, while after Đổi Mới (1986) art expanded toward abstraction, experimental media, and international exchange. Major centers include Hà Nội and Thành phố Hồ Chí Minh, with regional craft villages contributing folk tranh to the national heritage.

Cultural significance and preservation remain strong aspects of tranh. It appears in temples, homes, and galleries, and continues to adapt as artists explore new media and themes while maintaining connections to Vietnam’s regional identities and historic art practices. See also: Đông Hồ prints, lacquer painting, and Vietnamese contemporary art.