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Miền Tây không chỉ là vùng đất của phù sa và cây trái, mà còn là nơi lưu giữ văn hóa chợ nổi đặc sắc. Qua tranh sơn mài và góc nhìn nghệ thuật của họa sĩ Nguyễn Đình Long, những hình ảnh thuyền buôn, tiếng rao, và nhịp sống sông nước hiện lên đầy sống động và cảm xúc. Journey to the Western Region In 2012, having just left the North to settle in Saigon, I embarked on my very first journey to the Mekong Delta. The Cái Bè riverside in Tiền Giang— where the river branches spread out endlessly, waves lapping as if they would never cease— became the starting point of a creative journey that has lasted for many years since. At that very first moment by the water’s edge, I was overwhelmed by the vibrancy, warmth, and vitality of the riverine life. It was not just a landscape before my eyes, but a symphony of sound, light, scents, and rhythm. The roar of the corle engines echoed with raw intensity, spreading across the waves like a primordial sound. On the river, boats and sampans pressed against one another, swaying and heavy with produce—fruits, vegetables, and the humble harvests of the fields. Along the banks, houses perched on wooden stilts stretched out over the water, their tin roofs weathered with time, living both by and against the current. That image engraved itself deeply in my memory: rows of analog antennas stabbing upward, tilting in the wind, catching the sunlight, like an infinite forest of bamboo shoots. It was at once accidental and musical, a metaphor for resilience and the will to survive of the people of the waterways. It was here that I understood: life in the Mekong Delta is not only on land but primarily on the river. The water is not merely a means of transport; it is a civilization in itself. And I knew then that I had discovered a new source of emotion—a theme that my art was destined to give voice to. Transforming Emotion into Painting As an artist deeply rooted in the tradition of lacquer painting, I was accustomed to stillness: the lotus, the women of the Northern countryside, the quiet memories of the village. But when the Mekong entered my imagination, I faced a new challenge: how to capture a life in perpetual motion, a vibrant rhythm, an unceasing current of river and people? That was when I began to experiment. With oil painting, I found freedom and spontaneity in handling color and texture. The thickness and fluidity of the paint allowed me to grasp the bustle and liveliness of floating markets, of boats crowding together. Bold strokes, contrasting tones of warmth and coolness like waves colliding, helped me portray the dynamic vitality of the Delta. With lacquer, I approached it differently. Here, I did not depict energy through speed, but through depth. Layer upon layer of lacquer, vermilion, gold, silver, and eggshell enabled me to distill the Mekong into memory, into time itself. As I polished through each layer, revealing hidden veins of gold and silver, it felt as though I were unearthing memory itself—rekindling the latent light of this land. If oil gave me the immediacy of “living in the moment,” lacquer offered me contemplation and meditation. Through this duality of materials, my series on the Mekong is not merely descriptive but becomes a search for language— a way of translating life itself into art. Rhythm of Life – Rhythm of Painting I often think: the people of the Mekong carry a rhythm uniquely their own. It is not only the rhythm of oars striking the water, the rumble of the corle engines, or the waves beating against boats, but also the rhythm of human connection: generous, genuine, hospitable, always full of laughter. On canvas, I seek to capture that rhythm. A boat braving the waves, a woman in a conical hat selling fruit, a child standing at the prow gazing into the distance—all placed within compositions rich with musicality, where color fields, lines, and forms create their own tempo. Sometimes I let red, yellow, and black collide in dissonance, like the coarse yet vital roar of engines. Other times, I let green and brown flow calmly across the canvas, like the river’s endless current. Each painting is a piece of music, and the entire series on the Mekong becomes a symphony. The Mekong – Memory and Present It has been more than a decade since I first set foot in Cái Bè. Today, the Mekong has changed: new bridges link the riverbanks, concrete houses replace wooden stilt dwellings, and analog antennas give way to digital signals. Yet within me, the memory of the Delta remains intact, like a current that has never ceased to flow. Every time I return, I still catch glimpses of that earlier vision: a boat full of fruit pulling into the dock, a thatched-roof house by a small creek, a child laughing as they plunge into the river. These images urge me to keep painting, to keep delving deeper, as if to preserve the soul of this land. From River to Canvas To me, art is not only an act of personal creation but also a journey of collective remembrance. My series on the Mekong Delta is a way of giving voice to a riverine civilization— where humans and nature intertwine in vibrant rhythm. If the lotus and the women of the North in my lacquer paintings evoke stillness and purity, then the Mekong Delta brings exuberance, freshness, and vitality. These two artistic streams, though different, share a single aim: to honor the beauty of Vietnamese people and culture through the lens of painting. On that day at Cái Bè, I first heard the river’s rhythm. And to this day, it still resounds in my paintings—like a song that never fades.

Tranh sơn mài Việt Nam độc bản, sáng tác thủ công, mang đậm bản sắc dân tộc. Khám phá thế giới tranh sơn mài của họa sĩ Nguyễn Đình Long. Lacquer painting – the soul of Vietnamese art Lacquer painting is not just a painting material — but also the soul of Vietnamese art. From layers of lacquer, cockroach wing lacquer, to eggshells, gold and silver hidden through many layers of grinding, Lacquer is a combination of labor, emotion and time. Each painting is not only painted, but also "conceived" and "nourished" with patience, with the artist's slow breathing. For a long time, Vietnamese lacquer has become one of the great prides of national fine arts. Unlike Chinese or Japanese lacquer — which emphasizes decoration — Vietnamese lacquer paintings go into the depths of the soul. Those paintings do not show off colors but quietly shine in space, bring a sense of calm, meditation. Lacquer is associated with Vietnamese painters as a lasting fate, There, every layer of paint, every stroke of polish is a part of memory and experience. The beauty of lacquer is not in its splendor but in its clarity, its sedimentation, its hiddenness — where light is found through darkness, and emotion is evoked through the silence of matter. In modern life, when many people look for quick and convenient materials, Lacquer still keeps its own slowness. It's like a philosophy of life: to reach true beauty, one must know how to go through many layers, polishing, and keep the original feeling. For me, lacquer is more than just a material. It is an inner journey, where emotions are compressed and released through each layer of paint. Each lacquer work is a silent conversation between the artist and time. The process of making paintings The artist Nguyen Dinh Long is painting a lacquer painting Attaching eggshells | lacquer painting Techniques for attaching eggshells to lacquer paintings. Attaching eggshells to lacquer paintings Attaching eggshells to lacquer paintings. Attaching eggshells | Lacquer painting The process of attaching eggshells to lacquer paintings.

Các triển lãm nghệ thuật của Nguyễn Đình Long – nơi tranh sơn mài gặp gỡ công chúng qua không gian sáng tạo, cảm xúc và chiều sâu bản thể. Cập nhật lịch trưng bày và sự kiện nghệ thuật mới nhất. Featured Exhibition 2011: Solo Exhibition Colors of the Homeland (lacquer painting) at 16 Ngo Quyen Street, Hanoi. 2019: Group exhibition Phiêu-Flownes, at the Ho Chi Minh City Museum of Fine Arts. 2012. Charity auction exhibition at Par Hyatt Saigon Hotel - Ho Chi Minh City, organized by OperationSmile - Vietnam. 2011. Charity auction exhibition at the Intercontinental Hotel Hanoi, organized by OperationSmile - Vietnam. 2010: Exhibition of Vietnamese silk paintings in Paris, France. 2007: Silk painting exhibition, Vietnam Fine Arts Museum, Hanoi. Since 2012, I have continuously created artwork and participated in exhibitions in Ho Chi Minh City. New Compositions Exhibition, Saigon Lacquerware Club Exhibition of the Ho Chi Minh City Fine Arts Association. Some pictures in the solo exhibition "Colors of the Homeland" in Hanoi, 2011. Poster for my 2011 solo exhibition. Poster for my 2011 solo exhibition. Opening of the 2011 solo exhibition Opening of a solo exhibition. 2011 Opening of the exhibition The arts council worked together before the opening ceremony. Working with the Arts Council The exhibition has opened. Taking a commemorative photo with artist Thanh Chuong at the opening ceremony. Taking a commemorative photo with artist Bang Lam. Arts Council Solo exhibition space 2011. Charity auction exhibition at the InterContinental Hotel, Hanoi. 2011 Charity auction exhibition at Park Hyatt-Saigon Hotel, Ho Chi Minh City, 2012. Spring outing Silk Paintings. Participated in the Silk Painting Exhibition - Vietnam - 2007, at the Vietnam Fine Arts Museum - 66 Nguyen Thai Hoc Street - Hanoi. Exhibited the Silk Painting Exhibition - Vietnam in Paris, France - 2010 Springtime Excursion - Silk Painting. Participating in the Vietnamese Silk Painting Exhibition at the Vietnam Fine Arts Museum. 66 Nguyen Thai Hoc Street, Hanoi, 2007. Vietnamese Silk Painting Exhibition In Paris, France, 2010 Group Exhibition - Flownes 2019 at the Ho Chi Minh City Museum of Fine Arts Group Exhibition Poster 2019 Opening of the Group Exhibition 2019 Paintings in the 2019 Group Exhibition Opening of the Group Exhibition 2019 Paintings in the 2019 Group Exhibition

Tìm hiểu ngôn ngữ Quan-Họ qua góc nhìn của họa sĩ Nguyễn Đình Long – khám phá chiều sâu văn hóa dân gian. I don't paint Quan Ho as an event. I paint Quan Ho as a vivid memory that resonates in the hearts of the Vietnamese people. (Many of these paintings were featured in a solo exhibition in Hanoi - 2011) Lacquer Paintings (Apricot Gallery) Lacquer painting lacquer paintings Lacquer painting Lacquer Paintings (Apricot Gallery) Lacquer painting Lacquer painting Lacquer painting Lacquer painting Lacquer Paintings (Apricot Gallery) Lacquer Paintings (Apricot Gallery) Lacquer painting Lien Chi Lacquer painting Lacquer Paintings (Apricot Gallery) Lacquer Paintings (Asiana-fineart) Lacquer paintings Lacquer paintings Melancholy Lacquer paintings Lacquer paintings Lacquer paintings Lacquer paintings

Nguyễn Đình Long giới thiệu bộ tranh sơn mài chân dung tự họa, nơi mỗi tác phẩm là sự đối thoại thầm lặng giữa nghệ thuật và cuộc sống. Self-portrait Nguyen Dinh Long – A journey with lacquer painting and self-portraits In the landscape of contemporary Vietnamese art, Nguyen Dinh Long is an artist who devotes much of his passion to lacquer painting. Besides works about the countryside, lotus flowers, or the rhythm of life on the river, He also has a particular interest in self-portraits – a genre that is both familiar and challenging for the artist. Through his self-portraits, Nguyen Dinh Long not only depicts his appearance but also reveals his inner world. In his oil paintings, he chose a free and powerful style. In lacquer paintings, however, each layer of lacquer, silver, and eggshell becomes a journey of contemplation. It's like a silent dialogue with oneself. Each self-portrait is a milestone in the artist's creative process, reflecting their state of mind over time. It was both a personal mark and an affirmation that: Painting not only reproduces images, but also preserves memories, emotions, and creative aspirations. Self-portrait Lacquer paintings Self-portrait Canvas Self-portrait Saatchi art Self-portrait. Lacquer painting.

Chân dung tự họa của họa sĩ Nguyễn Đình Long thể hiện sự đối thoại giữa cái tôi và thế giới nội tâm – từng lớp sơn mài hé lộ bản ngã, cảm xúc và hành trình nhận diện chính mình qua nghệ thuật. Self-portrait Self-Portrait – A Journey of Looking Back at Myself Through Painting In the history of art, the self-portrait in modern art has always held a special place. It is not merely a depiction of the artist’s face, but a doorway into the inner world – a meeting point of emotions, reflections, and lived experiences. For me, the contemporary self-portrait is a silent dialogue with myself – at once sincere, demanding, and filled with an unceasing desire for creation. Self-Portrait in Vietnamese Lacquer Painting and Oil Painting Throughout my artistic journey of self-discovery, I have experimented with self-portraiture in different mediums. With oil painting, I found freedom and boldness in color composition, a daring energy in brushstrokes. The self-portrait often emerges with strong, sometimes distorted, exaggerated features – as though exposing the raw and uneasy corners of the inner self. In contrast, with Vietnamese lacquer painting, I chose another path. Lacquer demands patience and contemplation; each layer of black lacquer, silver leaf, or eggshell is applied and gradually polished, echoing the process of introspection. Thus, the lacquer self-portrait becomes a distillation – memories crystallized through time. This comparison between oil painting vs lacquer painting highlights not only differences in technique, but also in how the artist confronts the self. Self-Portrait – A Symphony of Emotions and Memories In my self-portrait works, I do not merely aim to capture outward appearance, but more importantly, to reflect the “spirit” – the contemplations on art, on life, and on the destiny of being an artist. Every gaze, line, and color field is a fusion of reality and symbol. Some portraits depict the artist facing the canvas – as if questioning oneself in that very moment. Others bring together the image of the painter alongside tubes of color, brushes, and even a familiar companion: the cat – a symbol of intimacy in daily life, yet carrying quiet philosophical undertones. The Meaning of Self-Portrait in My Creative Journey For me, painting self-portraits is a way of recording the milestones of creation. Each piece marks a stage – reflecting the mindset, emotions, and thoughts of its time. Looking back at these portraits, I clearly see the transformation: from the innocence of early attempts, to deep contemplation and stillness, then toward a freer, bolder expression. The self-portrait, therefore, is not only “me” within art, but also “me” in the flow of memory, of creativity, and of life itself.

Contact E-mail dinhlongart@gmail.com Tên Họ và tên đệm Email Nội dung Gưi Thanks for submitting!

Khám phá hành trình sáng tác tranh sơn mài của họa sĩ Nguyễn Đình Long – từ gắn vỏ trứng, dát vàng bạc đến hoàn thiện những tác phẩm mang hồn Việt. The process of artistic practice Each lacquer artwork by Nguyen Dinh Long undergoes a meticulous creative process – from selecting materials to attaching eggshells. From gilding with gold and silver to polishing each layer of paint to a high shine. It's not just about technique, but about preserving the soul of Vietnamese lacquer painting. Attaching the shell to the lacquer painting. The process of attaching the eggshell Attaching eggshells to lacquer paintings. The process of attaching the eggshell Attach the eggshells. The process of attaching the eggshells. Artist Nguyen Dinh Long is painting a lacquer painting. Artist Nguyen Dinh Long is painting the lacquer painting "Golden Rain". Lacquer painting with eggshells attached. The process of attaching eggshells to lacquer paintings. Eggshells are used to create mosaic artwork. White eggshells and colored eggshells are used to decorate lacquer paintings. Lacquer painting with eggshells attached. The process of attaching eggshells to lacquer paintings. Artist Nguyen Dinh Long is creating a work. A painting created with acrylics on canvas. Eggshell material Eggshells are used to decorate lacquer paintings. Lacquer paintings Applying silver leaf to lacquer paintings

Khám phá thế giới nội tâm qua tranh sơn mài của họa sĩ Nguyễn Đình Long – nơi hình ảnh hoa sen và chân dung thiếu nữ trở thành biểu tượng của bản thể, sự tĩnh lặng và hành trình nhận diện chính mình. In the flow of time and inner feeling, "Lotus and Essence" It is a visual journey exploring the profound connection between humanity and nature. Flower boat Lacquer paintings Lacquer painting. (Apricot-Gallery) Lacquer painting. (Apricot Gallery) Lacquer paintings Lacquer paintings Admiring the flowers. Lacquer paintings. Lacquer painting. (Apricot Gallery) Lacquer painting. Lacquer painting. Lacquer painting. Make up. Makeup. Lacquer painting. Lacquer painting. Lotus flowers in the garden Lacquer paintings Lacquer painting. (Apricot Gallery) Lacquer painting. The girl and the bamboo flute. Lacquer paintings. Lacquer painting. Beside the lotus bush Beside the lotus bush Lacquer painting. The Song of the Lotus Season. Acrylic combined with silver foil on canvas fabric. Feelings. Lacquer paintings. Lotus season. Acrylic on canvas. Lacquer painting.

Khám phá văn hóa chợ nổi Miền Tây qua góc nhìn nghệ thuật của họa sĩ Nguyễn Đình Long – nơi những con thuyền, tiếng rao và sắc màu sông nước hòa quyện trong tranh sơn mài và ký ức dân gian. The rhythm of life in the Mekong Delta through the language of painting. Green day Lacquer paintings adorned with eggshells combined with gold and silver leaf. Dawn. (Apricot Gallery) rhythm of life Lacquer paintings Lacquer paintings (Apricot Gallery) Floating market Canvas Purple Dawn Lacquer paintings Lacquer paintings (Apricot Gallery) On the Mekong River Acrylic on canvas After the rain Oil painting Rambutan season Lacquer paintings Market on the river Oil paint on canvas Three-leaf boats Lacquer paintings The Beauty of the Western Region Oil painting on canvas New day (Apricot Gallery) Golden rain Lacquer paintings Boat dock Oil on canvas Sunrise on the river Oil paint on canvas Imago Mundi Imago Mundi Collection Imagon Mundi Collection Vietnam:New Winds Contemporary Artist from Vietnam's Book The river delta is a place where life is closely associated with boats and wharves. and the bustling floating market in the middle of the vast alluvium. In that space, people appear simple, harmonious, carrying the beauty of labor and indigenous culture. The work "On the Mekong River" was composed by me from that inspiration - as a slice of life in the West, where the river is not just a path, but a place to live, a place to meet and a place to tell stories. In 2015, this work was selected for the global art collection Imago Mundi Collection founded by Luciano Benetton. Market on the river Acrylic on canvas Entrance to Cham village - Chau Doc - An Giang Acrylic on canvas

Tìm hiểu ngôn ngữ Quan-Họ qua góc nhìn của họa sĩ Nguyễn Đình Long – khám phá chiều sâu văn hóa dân gian. QUAN HO - SOURCE OF INSPIRATION FOR LACQUER In the history of contemporary Vietnamese art, lacquer painting is not merely a medium it is the whispered voice of memory, of cultural essence. When speaking of the lacquer series on Quan Ho cultural life in Bac Ninh (2009–2014) by artist Nguyen Dinh Long, the viewer does not only encounter works of art, but also touches upon an entire realm of consciousness, where memory and the present intertwine in the golden glow and crimson hues of lacquer. What gives this series its profound spiritual weight is the context: the artist was born and raised in the very cradle of Kinh Bac culture. From the melodies of Quan Ho sung along the riverbanks, from the four-part dresses and traditional of the liền anh and liền chị (male and female singers), from the spring markets and the village ponds—all of these became flesh and blood, an “invisible material” nourishing his artistic soul. Transformed into lacquer painting, they become a luminous and enduring “space of memory,” transcending the erosion of time. Quan Ho Bac Ninh – Cultural Heritage in PaintingIn 2009, Quan Ho Bac Ninh folk songs were inscribed by UNESCO as an Intangible Cultural Heritage of Humanity. But even before that milestone, for Nguyen Dinh Long, Quan Ho had already been a hidden current flowing through his creative life. As a child of Kinh Bac, he has always known Quan Ho not just as a form of folk singing, b ut as a living cultural symbol—interwoven with childhood memories, family traditions, and the very landscape of his homeland. In the lacquer works of 2009–2014, viewers can easily recognize earthy browns, vermilion reds, and shimmering gold and silver, evoking the temple roofs, pagoda structures, and traditional garments. Solid forms recall the village festivals, the call-and-response duets, the festive gatherings. These paintings are more than images—they are symphonies of memory. Importantly, Nguyen Dinh Long does not illustrate Quan Ho literally. Instead, through modern visual language, he “sculpts” the images of the singers on lacquer surfaces. Thus, the works embody both tradition (medium and subject) and contemporaneity (form, composition, rhythm). This series is not only a tribute to heritage but also raises the question: Where will Quan Ho go in today’s era? And what can visual art do to preserve the soul of the nation? The Language of Lacquer and Artistic Expression It is impossible to discuss this series without acknowledging its technical depth. Lacquer is a medium that demands patience, time, and a refined sense of light and color. Nguyen Dinh Long has inherited this tradition while simultaneously developing his own artistic language. In the Quan Ho Bac Ninh series, he layered then lacquer and cockroach-wing brown, combining eggshell, gold, and silver to create spatial depth. When polished, l uminous surfaces emerge like legendary memories, evoking a sensation that is both real and dreamlike. This is the unique spirit of lacquer painting: the sediment of time embodied on the canvas. In terms of composition, the works often unfold rhythmically, resembling the structure of an ancient Quan Ho song—with introduction, climax, and lingering conclusion. The figures, usually grouped in clusters, depict liền anh and liền chị in their graceful attire flowing four-part dresses, charming headscarves. Their faces are stylized, not detailed, but still radiating gentleness and lyrical elegance the very spirit of Kinh Bac. Notably, Nguyen Dinh Long expands beyond singing scenes to depict other cultural activities: swinging festivals, temple fairs, or boat rides with duet singing on the river. Together, they form a vast tableau of Kinh Bac’s spiritual life.

Nguyễn Đình Long chia sẻ góc nhìn về ngôn ngữ tạo hình – nơi tư duy sáng tạo gặp gỡ chiều sâu tri thức. In the journey of practicing art, I always seek the simultaneous presence of emotions – where space and time merge into one, where memories and the present breathe together on the same plane of the artwork. In my paintings, form – line – light and dark are not just shaping elements, but the language of mood. I observe life not with my eyes, but with emotions deeply felt within. Every time I sit before an unfinished painting is a time I dialogue with myself – between reality and memory, between light and darkness. Painting gives me the right to slow down, to listen to the most delicate and fragile things. I choose to simplify forms to preserve the soul – where emotions speak. For me, painting is a way to find stillness amidst a noisy life. Each painting is a moment of silence, where the human soul is seen, shared, and empathized with.