REPORT ON THE INVENTORY OF THE CRAFT OF MAKING ĐÔNG HỒ FOLK WOODBLOCK PRINTINGS

CONTENTS

 

INVENTORY RESULTS	3
I. Identify names, practice spaces and community custodians	5
1. Name of the heritage:	5
2. Domains	5
3. Geographical area and cultural space for practicing heritage	6
4. Community custodians of the element:	9
5. The birth and development of Đông Hồ folk printings	17
II. Form of expression and process of heritage practice	18
1. Forms of expression	18
2.  Printing process	18
3. Printing	21
4. Printing tools	23
5. The process of printing pictures	23
6. Dry printings	24
7. Physical and mental products created during the practice	24
III. Values of Đông Hồ folk printings	25
1. Ideological values	25
2. The artistic values ​​of Đông Hồ folk printings:	27
IV. Current situation and changes to the Đông Hồ folk printing profession	28
1. Current situation of the Đông Hồ folk printing craft	28
2. Variations present in present day Đông Hồ folk printings	29
3.Current status and the risks to the Đông Hồ printing craft	30
V. Role of the government in safeguarding the Craft of Making Folk Woodblock Printings	33
VI. Efforts to safeguard and promote the value of the craft of making Đông Hồ woodblock printings by the community	35
VII. Solutions to protect and promote the values of Đông Hồ folk printings	38
1. Raising the public's awareness of the value of the heritage	38
2. Honor artisans who have the ability to revitalize and develop the craft of making printings	38
3. Expanding product consumption at home and abroad	39
4. Heritage transmission and education:	39
5. Inventory, documentation and scientific research:	39
6. Enhancing sources of natural raw materials and plants	40
7. Improving the quality of Đông Hồ printings	40
Conclusion	40
REFERENCES	41

 

REPORT ON THE INVENTORY

THE CRAFT OF MAKING ĐÔNG HỒ FOLK WOODBLOCK PRINTINGS

Inventory time: April 2018 – October 2019 and January–February 2024

Location: Đông Khê Neighborhood, Song Hồ Ward, Thuận Thành Town, Bắc Ninh province.

Executing Organization: Department of Culture, Sports and Tourism of Bắc Ninh province

In collaboration with the master practitioners: Nguyễn Đăng Chế, Nguyễn Đăng Tâm, Nguyễn Hữu Quả, and Nguyễn Thị Oanh.

Inventory Purposes:

- Define the names, domains and places of Đông Hồ folk woodblock printings;

- Identify custodians of the heritage element: individuals and communities that still practice the Đông Hồ folk printing craft; and the number of artisans, practitioners and other human resources that play an active role in the safeguarding and transmission of the element.

- Clarify the process through which Đông Hồ folk printings came into existence

- Describe the steps, skills, techniques and methods of the making process;

- Investigate related cultural spaces, material and mental products created during the practice, and the heritage element’s role, social functions and cultural values for the bearer community

- Assess the risk of the element disappearing, explain the causes of its possible disappearance, and specify the degree of urgency of the need to safeguard the Đông Hồ folk printing craft.

- Propose measures to safeguard the Đông Hồ folk printing craft with the support of the state and the active and proactive participation of the bearer community.

 

INVENTORY RESULTS

I. Identify Names, Practice Spaces and Community Custodians

1.1 Name of the heritage

- Official name of the element in Vietnamese: Nghề làm tranh dân gian Đông Hồ

- Official name of the element in English: The Craft of Making Folk Woodblock Printings

- Other names of the element: Đông Hồ Folk Woodblock Printings, Printings of Hồ Village, Đông Hồ Printings, Đông Hồ Folk Printings.

1.2 Domains

Pursuant to Clause 1, Article 4, Chapter II of Circular No. 04/2010/TT-BVHTTDL, dated 30^th June, 2010, of the Ministry of Culture, Sports and Tourism Stipulating the inventory of intangible cultural heritage, the craft of making Đông Hồ folk printings belongs to the domain of “Traditional craft”.

1.3 Geographical Area and Cultural Space for Practicing Heritage

- Geographical location: Đông Hồ Village (now Đông Khê Neighborhood) is located approximately 35 km from the center of Hanoi. Đông Khê Neighborhood lies along the Đuống River. In the past, Đông Hồ Village was situated immediately beside the Đuống River and was separated from it by only a dyke, which led to the saying “With a river for cool baths and a craft for making printings.”

- The land that gave birth to the Đông Hồ folk printing craft was originally called Đông Hồ Village; it is now known as Đông Khê Neighborhood, Song Hồ Ward, Thuận Thành Town, Bắc Ninh Province. Đông Khê Neighborhood consists of four production teams (also known as four hamlets): Teams 1 and 2 belong to the former Đông Hồ Village; Team 3 originates from the old Khê Village; and Team 4 comes from the former Đạo Tú Village.

- In 2024, Đông Khê Neighborhood had a population of 2,350 people from 520 households, with an agricultural land area of 224,000 m². Despite its small population, it is home to 17 different family lineages, including the Nguyễn (Nguyễn Đăng, Nguyễn Hữu, Nguyễn Nhân, Nguyễn Bá, Nguyễn Thế, Nguyễn Ngọc, Nguyễn Đức, Nguyễn Văn), Trần, Hà, Dương, Lê, Lý, Vương, and Nguyễn Khắc families. At present, only the Nguyễn Đăng and Nguyễn Hữu lineages, from three families, continue to safeguard and develop the Đông Hồ folk printing craft.

- This is a region with a deep cultural heritage, renowned for Đông Hồ folk printings, which vividly reflect the culture, customs, and beliefs of the Vietnamese people in the Red River Delta. Đông Khê is also home to significant cultural heritage practices of the Kinh Bắc region, such as Quan họ folk songs, and traditional village festivals like the Đông Hồ communal house festival, which honors the village’s tutelary deity and celebrates the crafts of printing and votive paper making.

1.4 Community Custodians of the Element

Artisan family of Nguyễn Đăng Chế: Artisan Nguyễn Đăng Chế (born in 1936) was born and raised in Đông Hồ Village in a family with a long-standing tradition of woodblock printing. He learned the craft from his father at a young age and is the 20th generation to continue the family’s tradition of printing. His family owns approximately 1,200 woodblocks, including 100 antique ones, with the oldest dating back 200 years and the newest around 50 years old. He has passed down the craft to his sons, daughters, daughters-in-law, sons-in-law, and grandchildren, totaling more than 20 people. His son, Nguyễn Đăng Tâm (born in 1972), along with his wife, Nguyễn Thị Tố Tâm (born in 1974), have mastered the craft and are responsible for various stages of woodblock printing, organizing production, and marketing the artworks.

Artisan family of Nguyễn Hữu Sam: Artisan Nguyễn Hữu Sam (born in 1930, passed away in 2016) was born and raised in a family with a long-standing tradition of making Đông Hồ folk printings. From a young age, he was passionate about the natural colors of Đông Hồ printings and began learning the craft at the age of five. When the village established the Đông Hồ Printing Production Cooperative, he served as the Cooperative Chairman from 1967 to 1970. From 1970 to 1989, he served as the leader of the printing production team, directly overseeing production and technical processes while also researching, collecting, restoring, and creating new printings. He has safeguarded antique woodblocks as family heirlooms and passed them down to his two sons, Nguyễn Hữu Hoa and Nguyễn Hữu Quả, who have followed in his footsteps.

Currently, the family of Nguyễn Hữu Sam’s eldest son, Artisan Nguyễn Hữu Hoa (born in 1958), along with his wife, Artisan Nguyễn Thị Oanh (born in 1960), and their eldest son Nguyễn Hữu Tảo (born in 1982) and his wife Lý Thị Thương (born in 1992), continue the craft, and promote and sell Đông Hồ printings. Their family possesses around 900 woodblocks, including collected, restored, and newly created blocks, among which there are about 50 antique woodblocks, approximately 150 types of traditional printings, and 30 newly created designs.

The second son, Artisan Nguyễn Hữu Quả (born in 1963), was entrusted by his father as the successor of the craft due to his natural talent, strong dedication, and deep passion for the profession. He learned the craft from his father from a young age. With his deep commitment to the art, he also studied Chinese characters (Hán script) to fully understand the meanings of the inscriptions in the printings.

Currently, the family of Artisan Nguyễn Hữu Quả preserves and owns approximately 1,000 woodblocks of various designs, including 600 inherited from his father, 50 antique woodblocks, 12 sets of Tứ Bình (Four-Panel Printings), 25 sets of calligraphy printings, over 100 newly carved designs, and hundreds of single-piece woodblocks such as Boy Playing the Flute on a Buffalo (Cưỡi trâu thổi sáo), Coconut Harvesting (Hứng dừa), Triumphant Return (Vinh quy), and Herd of Pigs (Lợn đàn). Artisan Nguyễn Hữu Quả, along with his wife Nguyễn Thị Dung (born in 1965), his son Nguyễn Hữu Đạo (born in 1990), and his daughter-in-law Vũ Thu Trang (born in 1992), continue the family tradition of producing, promoting, and selling Đông Hồ printings.

 

II. Types of Đông Hồ Printings and the Printing Process

2.1 Types and Themes of Đông Hồ printings

According to artisan Nguyễn Hữu Sam, Đông Hồ folk printings are categorized into four main types: Traditional hand-painted printings (including line-printed printings and ink-wash printings with blended colors); Printings that combine painting and printing; Woodblock printings; and Wood-engraved printings. Among these, the most common are black-and-white printings (ink-wash printings with blended colors) and colored printings printed using woodblocks. These printings represent the distinctive artistic essence of Đông Hồ folk art, which remains well-known and continues to be produced and sold, albeit in limited quantities. Regarding the technique of printing with woodblocks, Đông Hồ printings are primarily hand-printed woodblock printings, also known as mộc bản printing—meaning printings engraved on wooden blocks and used for printing.

Đông Hồ folk woodblock printings revolve around five main themes: Blessing printings; Historical printings; Story/narrative printings; Worship printings; and Daily life printings. Today, new designs have been created alongside innovative products such as calendars, gifts, and positive-image printings made of wood for home, restaurant, hotel, and office decoration. These also serve as souvenirs for tourists, embodying the rich cultural identity of Vietnam.

2.2 Printing Process

- Creating printing design: The first and most important—but also difficult—stage of the printing process is to create a printing design. To create a printing pattern, artisans spend months searching for meaning, content, themes, and forms of expression.

The tools used for drawing printing designs include brush pens, Chinese ink, and thin giấy bản paper. To create a printing design, the artisan dips the brush pen into the diluted ink and sketches the design onto the paper. The design paper is then pasted onto the front surface of a wooden block, allowing the ink lines to seep through to the back of the paper. This process enables the engraver to carve the design accurately onto the woodblock.

- Carving woodblocks: After completing the design drawing, artisans carve the design onto wooden blocks (ván khắc). This stage is known as woodblock engraving for printing; it is also commonly referred to as khắc ván (block carving). Since the printing blocks are used for a long time, artisans must select high-quality, durable wood that maintains stable engravings over time. The printing blocks are divided into two types: line blocks (ván in nét) and color blocks (ván in màu).

The line block (ván in nét) is usually made from thị wood (Diospyros decandra). It is used to create the defining lines of the printing. Each printing requires only one line block. Once the design is transferred and carved, this becomes the completed line block.

The color blocks (ván in màu) are used to print different color areas in the printing. Each block prints only one color at a time. Once the previous color has dried, the next color is applied. As a result, the number of color blocks corresponds to the number of colors in the printing. These color blocks are smaller than the line block, and artisans carve them according to the different colored sections in the printing (e.g., blue, red, yellow). The color blocks are used to print onto giấy điệp (a mop disk shell paper).

For families engaged in printing production, the printing blocks are considered heirlooms and valuable assets passed down through generations. This practice is a cultural and social tradition of the craft village, reflecting the cultural identity of the family and the lineage. The woodblocks become household treasures of printing families, valuable assets that are passed down from generation to generation. It is a cultural and social custom that expresses the identity of the family and lineage.

- Tools for carving planks: The main tools used to carve printing woodblocks are chisel points, made of hard steel, and knocking sticks, which are used to hit the chisel. Each set of carving chisels includes about 40 pieces, divided into four categories or groups. In addition to the chisel and gauges, a carving knife with a point beveled in one side is also used.

- Carving technique: In addition to the quality of the wood, the talent of carvers plays a decisive role in producing quality woodblocks. When carving, the carver holds the chisel in his left hand and places its blade on the edge of the drawing line, with his right hand holding the knocking stick against the rolling handle. For straight lines, a straight blade chisel is employed; for curved lines, a curved blade chisel is used. The chisel chosen depends on the line, and whether it is more or less curved. The different types of chisels allow artisans to create many different small and large carvings, which can be strong but still delicate and soulful.

2.3 Printing

- Printing materials

+ Printing papers: paper used for printing is dó paper covered with a layer of mop disk shell powder. Dó paper is made from dó bark collected from the forest. The advantages of the paper are that it is light, thin, soft, color-absorbent, long-lasting, and resistant to bacteria and termites.

+ Printing colors and coloring methods: The colors used to print Đông Hồ pictures are medicinal colors—that is, colors made from natural materials and herbs and processed using manual techniques. Each color is created from a technical process incorporating very rudimentary methods:

Black is made from bamboo leaves. The leaves must be newly fallen leaves that are still yellow when burned. Black bamboo leaves are used to print lines, the borders between the color plates, which make the printings look strong and healthy.

Indigo blue is obtained from indigo leaves, soaked until rotten and beaten to froth, at which point the indigo foam floating on top of the water is carefully removed, and added to resin when it is time to print.

Yellow is made from the flowers of the Japanese pagoda tree or fruit of gardenia. To extract the yellow color, artisans must heat the flowers on a fire. The yellow color in Đông Hồ folk printings adds to the nobility of many kinds of compliments and scenes.

Red is made of a type of red rock (iron oxide) that is pounded into powder for printing and for making background color.

White is taken from a mop dish shell that is finely grated into a powder.

The above colors are mixed with glutinous rice paste to make a very sticky solid color, which is easily absorbed by paper and can withstand light, resulting in less fading.

2.4 Printing Tools

- Printing woodblocks (as described in the carving section): Printing woodblocks are prepared in advance according to the patterns created. They are small boards, lightweight and convenient to print with.

- Cover: The “cover” is a rectangular wooden frame, 60cm by 40cm. The cover is stuffed with dried lygodium fern, which is a type of tree that absorbs water but does not rot.

- Pine leaf broom: Also known as a “thét”, this type of broom is made from pine leaves, with a head 15–20cm in width. The thét is dipped into color pots and then swept over the surface of the board; not too thick and not too thin, just enough for the woodblocks to absorb enough colors.

- Loofah fibers: Loofah fibers are available in most Vietnamese villages. If not, artisans replace them with sandpaper, big brushes or sponge pads.

2.5 Stages of the Printing Process

Đông Hồ printings are printed using the method of up-down woodblocks, whereby printing woodblocks are pressed down on the color cover, so that the color is evenly absorbed into the woodblock before it is used to print on the mop disk shell paper, after which loofah fibers are rubbed on the back of the paper to ensure that the color and lines are printed evenly.

In a five-colored picture, people often print in the following order: The first is red; The second is blue; Next is yellow, then other colors like white; Finally, black is printed. For the printed colors to match, each printed board has two marking pins at its edge. During printing, these two pins leave a small dot on the picture. This ensures that alternating colors do not overlap with the array of pre-printed colors.

- Line printing: After printing the color plates, the artisan prints with a black line woodblock to print a border around the color plates. Đông Hồ people call this the cutting line. The printing color must be full, meaning that the array of colors is uniform, and not incomplete or defective.

 

III. Values of the Craft of Đông Hồ Folk Printings

• The craft of making Đông Hồ printings is a traditional handicraft that has become deeply embedded in the history, culture, and social life of Đông Hồ Village. It is closely tied to the village’s name, the craft itself, and the heritage site Đình Tranh—the communal temple dedicated to the village’s tutelary deity, where an annual festival is held.
• The engraved woodblocks are considered family heirlooms and serve as essential livelihood tools passed down from generation to generation.
• The Đông Hồ printing craft plays a crucial role in connecting family members and the broader community, both within and outside the village. The exchange and trade of dó paper, natural materials for making giấy điệp, and color pigments among artisans from villages such as Đống Cao (now Đống Cao Neighborhood, Phong Khê ward) and natural material suppliers across Northern Vietnam support a social network centered around Đông Hồ printing. Today, in addition to tourists who buy them as souvenirs, Đông Hồ folk printings still attract a niche group of customers who use them for home, restaurant, hotel, and office decoration. In these roles, Đông Hồ folk printings serve as a strong representation of Vietnamese cultural identity.
• The craft of Đông Hồ folk printing produces artworks that embody the profound cultural values of the Việt community in the Northern Delta. Printings convey different themes, reflecting aspects of culture, beliefs, and social ethics. Artistically, Đông Hồ printings are characterized by stylized, symbolic spatial representation, which plays a significant role in shaping and enhancing their aesthetic appeal. These distinctive features further elevate the value and function of Đông Hồ printings, reinforcing the identity of Việt culture across generations.
•  

IV. Current Situation and Changes to the Craft of Making Đông Hồ Folk Printings

4.1. Current Status of the Craft of Folk Đông Hồ Printings

Currently, two families, incorporating three households, have a Đông Hồ folk printing workshop at their home, where they regularly produce printings for sale and filling orders. The number of orders, however, is not large or continuous, and the limited sale of products places the future of the traditional folk printing craft at risk.

 Today, there are eight master artisans (nghệ nhân) across three households who currently play the role of master craftsmen, chiefly responsible for completing important stages and playing a decisive role in the families’ printing process, such as creating new, multi-themed products, directly producing printings, and supervising the quality of printing. These artisans are also the main resource for the transmission of the craft to other family members and to outsiders interested in the heritage.

Although the number of people across four generations in the two lineages is 45, only about 30 of them can make printings. Among them, 20 members specialize in printing, with the rest considering printing a secondary job, taking part in printing production when they have free time. The children of the fourth generation are still young and at high school. The number of professional people is too small for the sustainable development of Đông Hồ folk printing craft. Printing does not guarantee the livelihood of the families involved, thereby directly affecting the viability and sustainable development of the craft.

4.2. Risks to the Craft of Making Đông Hồ Folk Woodblock Printings

Despite government efforts in implementing supporting policies, providing finance, renting land for the construction of printing workshops, and enhancing awareness on the printing craft and supporting the development of the printing lineages in Đông Khê, the Đông Hồ printing craft still faces ever-present risks and needs urgent safeguarding. These risks include: very limited product consumption; villagers changing their vocations; very limited human resources; declining stocks of raw materials; and lack of facilities for preserving woodblocks and printings.

- Limited consumption of products: The practices of buying printings for the Mid-Autumn Festival and the Tết holiday and hanging printings in family worship spaces are in decline due to Vietnamese people’s changing tastes in the context of modern life. Printings are no longer available for sale at the printing market in the Communal House in Đông Hồ Village or in other traditional markets. Moreover, people are no longer buying and/or replacing printings annually as in the past; rather, printings are now framed and kept indoors for a long time.

- Vocational change: During the period of Renovation (Đổi Mới), the market economy developed, and people were free to practice their religious beliefs. The profession of making votive offerings for use in rituals was restored, and increasing demand for this item motivated large numbers of households to switch to making votive objects and stop making printings. In Đông Khê Village, 95% of households currently make votive offering products all year round, resulting in a reduction in numbers of participants in traditional folk printing production.

- Limited human resources: At present, young people in Đông Khê Village are not interested in printing and tend to move to the cities to work for the State or for companies. The number of people participating in printing workshops outside Đông Khê Village is almost none. Limited human resources can, therefore, be considered one of the risks seriously affecting the continuation and development of the printing craft.

- Limited supply of natural materials and plants: Currently, only four households in Đống Cao Village, Bắc Ninh City, produce dó paper from materials grown in Bắc Cạn, Bắc Giang, Cao Bằng, Thái Nguyên, Lạng Sơn, Quảng Ninh provinces. The production of colors from red gravel, mop disk shells, flowers and buds of the Japanese pagoda tree, or the fruit of gardenia, and indigo and bamboo leaves, involves a great deal of labor and technology, but few people undertake this profession. This results in high production costs, which has led some artisans to use low-quality printing and color paper, affecting the quality of printings, as well as the production and consumption of the products.

- Lack of storage facilities: It is customary for families to pass woodblocks down to their descendants; however, a number of printed boards have been damaged due to war, time, fire, flooding, and humidity. Most printed boards collected by artisan families are stored without the use of proper preservation facilities and techniques, so the risk of degradation is very high. The quality of some of the new printed boards is also not as good as the old ones.

 

V. The State’s Role in Safeguarding the Craft of Making Folk Woodblock Printings

The state’s first significant attempts to safeguard the Đông Hồ folk printing village in Song Hồ Commune took place in 1967, when the decision was made to establish the Đông Hồ Printing Production Cooperative. The responsibility was handed to artisan Nguyễn Hữu Sam, who took charge of operation and management.

The Bắc Ninh Provincial Party Committee and Provincial People’s Committee issued Resolution No. 04-NQ/TU on 25^th May, 1998, on the development of handicraft villages, including the craft of making Đông Hồ folk printings. Two years later, on 3^rd February, 2000, Resolution No. 12-NQ/TU on the construction and development of industrial parks and craft villages in Bắc Ninh Province was issued.

The state has conferred the titles of People’s Artisan, Meritorious Artisan, and Provincial Artisan on nine practitioners. Among them, eight artisans are still actively producing Đông Hồ printings across three households. These include members of the Nguyễn Đăng Chế lineage: Nguyễn Đăng Chế (born in 1936), his son Nguyễn Đăng Tâm (born in 1972), his daughter Nguyễn Minh Phương (born in 1969), and his daughter-in-law Trần Thị Tố Tâm (born in 1974); members of the Nguyễn Hữu Sam lineage: Nguyễn Hữu Sam (born in 1930, deceased), his son Nguyễn Hữu Hoa (born in 1958), and his daughter-in-law Nguyễn Thị Oanh (born in 1960); and the family of Nguyễn Hữu Quả (born in 1963) and his son Nguyễn Hữu Đạo (born in 1990).

The People’s Committee of Bắc Ninh Province issued a decision to restore and strengthen the Đông Hồ Folk Printing Artisans’ Club. Additionally, the local government has provided financial support to the family of artisan Nguyễn Đăng Chế to implement a project aimed at preserving and developing the Đông Hồ folk printing tradition, with an initial budget of over 1 billion VND.

In 2010, the Song Hồ Ward authorities proposed to the Provincial Party Committee, the People’s Committee of Bắc Ninh Province, and the Ministry of Culture, Sports, and Tourism to conduct surveys, assess the current status of the craft, and organize a scientific conference on Đông Hồ folk printing. The goal was to identify solutions for the support of artisans in sustaining and developing the craft in a sustainable manner. As a result, in 2011, the Ministry of Culture, Sports and Tourism issued a decision to complete an inventory on the Đông Hồ folk printing heritage, involving the participation of artisans and practitioners, and focusing on the themes, patterns, and technical skills of the craft. The Vietnam Institute of Culture and Arts (now the Vietnam National Institute of Arts and Culture) completed this work in 2012. In 2016, the project results were presented in a 270-page booklet entitled Cultural Heritage of Đông Hồ Folk Printings by Professor Từ Thi Loan.

At the end of 2012, Đông Hồ Folk Printing was officially inscribed on the National List of Intangible Cultural Heritage (Ministry of Culture, Sports and Tourism) by the Ministry of Culture, Sports and Tourism under the domain of traditional handicrafts.

In 2013, Bắc Ninh province provided loans to three artisans from Đông Hồ printing village to a total amount equal to VND 50 million to carve some rare printing woodblocks.

In June 2014, the Bắc Ninh Provincial People’s Committee issued Decision No. 660/QD-UBND approving the project on Safeguarding and promotion of the value of Đông Hồ folk printing, Thuận Thành District, 2014–2020, with an orientation to 2030, with a total budget of nearly VND100 billion (about 4 million USD) from the central budget and other sources. This center has been completed and serves as a venue for displaying and showcasing Đông Hồ printings, reviving the traditional printing market during the Tết holiday. It also regularly organizes educational activities and hands-on printing experiences for students and visitors.

• The authorities of Song Hồ Ward support artisans to rent land to establish workshops for producing Đông Hồ folk printings.
• The Department of Industry and Trade of Bắc Ninh Province collaborates with Vietnam Handicraft Village Association to support artisans in expanding market access for their products and promoting Đông Hồ printings both domestically and internationally.
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VI. Efforts to Safeguard and Promote the Value of the Craft of Đông Hồ Woodblock Printings by the Bearer Community

6.1. Heritage Transmission

The craft of Đông Hồ folk printing is primarily passed down orally and directly through hands-on practice. In recent years, three artisan families—those of Nguyễn Đăng Chế, Nguyễn Hữu Hoa, and Nguyễn Hữu Quả—have transmitted printing techniques, including woodblock carving, color preparation, giấy điệp production, and printing, to their descendants and extended family members. They have also expanded their teaching to include both local and non-local community members.

For the Nguyễn Đăng lineage, the craft was initially preserved by a single practitioner, artisan Nguyễn Đăng Chế. Over nearly four decades, he has taught his son, daughter, sons- and daughters-in-law, and his grandchildren. Today, his fifth son, Nguyễn Đăng Tâm, along with his wife Nguyễn Thị Tố Tâm, has mastered all the skills of the craft and is capable of executing every stage of the printing process. Around 30 members of the extended family are now involved in different stages of production. Artisan Nguyễn Đăng Chế has also opened training classes for students from other regions. Despite his old age, he and his son Nguyễn Đăng Tâm continue to introduce Đông Hồ printing to students from across the country, providing hands-on experiences and raising awareness about the heritage.

For the Nguyễn Hữu Sam lineage, during his lifetime, Nguyễn Hữu Sam directly taught the craft to his two sons, daughter, daughter-in-law, and grandchildren. Today, his two sons, Nguyễn Hữu Hoa and Nguyễn Hữu Quả, transmit the craft to their children and grandchildren. Notably, his younger son, Nguyễn Hữu Quả, and eldest daughter-in-law, Nguyễn Thị Oanh, are highly skilled artisans capable of creating new designs and adapting products to contemporary market tastes. The sons and daughters-in-law of artisans Nguyễn Hữu Hoa and Nguyễn Hữu Quả have also achieved proficiency in the craft, enabling them to independently produce printings, promote them online, and distribute their products.    

6.2. Production, Promotion, and Market Expansion

- In 2006, artisan Nguyễn Đăng Chế’s family invested in constructing a dedicated 120m² exhibition space to showcase and promote hundreds of printings in various sizes. On their 5,000m² property, he built a large hall for printing and a smaller workshop for grinding điệp shells and preparing pigments. Over time, the workshop has expanded, with the addition of smaller rooms for students to experience traditional printing techniques and learn about the craft. Notably, with guidance from museum experts, the family has established a private museum to present the history, production process, and efforts to restore and pass down the craft within their family.

- The family of artisan Nguyễn Hữu Hoa has built a reception area and exhibition space for their printings. They have also restored and upgraded an ancestral house (inherited from artisan Nguyễn Hữu Sam) into a place of worship and a printing gallery within a 150m² compound. The family has recently converted the second floor of their house into a storage and display area for ancient engraved woodblocks left by Nguyễn Hữu Sam, alongside newly developed designs.

- Artisan Nguyễn Hữu Quả’s family has dedicated the 150m² ground floor of their three-story house to production, exhibition, and visitor experiences, allowing customers to view, purchase, and engage in printing activities.

- In recent years, all three artisan families have actively invested in training their descendants, participating in cultural exchanges, and bringing their printings to international fairs both in Vietnam and abroad.

- The artisans have modernized their market approach by selling printings online, expanding their customer base, and participating in promotional campaigns through media, museum exhibitions, art fairs, and cultural events such as the Mid-Autumn Festival (Tết Trung Thu), Lunar New Year (Tết Nguyên Đán), and various heritage festivals.

 

VII. Safeguarding Measures of the Craft of Making Đông Hồ Folk Woodblock Printing

7.1 Developing Policies to Support the Craft of Making Đông Hồ Folk Printing

- Formulate policies and plans for the sustainable development of Đông Hồ folk printing, increasing the numbers of households, artisans, and practitioners involved in the craft.

- Implement policies to support artisan households by providing access to financial loans and assistance in expanding market opportunities for Đông Hồ printings.

- Establish policies that encourage artisans to create new designs and diversify products to meet consumer preferences and enhance marketability.

7.2 Heritage Transmission and Education

- Artisans from the Nguyễn Hữu and Nguyễn Đăng lineages continue to pass down skills and improve the expertise of their descendants and other community members.

- Artisans collaborate with schools to enhance heritage education on Đông Hồ folk printing through extracurricular activities, including workshops and hands-on printing experiences.

7.3 Promotion and Awareness Enhancement

- With support from government agencies and the Vietnam Handicraft Village Association, artisans continue to promote Đông Hồ printings through media and cultural events.

- Strengthen initiatives to introduce and provide hands-on experiences with Đông Hồ printing at the Đông Hồ Folk Printing Conservation Center in Đông Khê Neighborhood.

- Support artisans in participating in activities organized by the Vietnam Handicraft Village Association, as well as domestic and international art exhibitions, to promote and expand sales of Đông Hồ printings.

7.4 Strengthening Market Access, Expanding Consumer Reach, and Diversifying Products

- The government provides support to artisans in trade promotion efforts, market expansion, and product distribution.

- Facilitate opportunities for artisans to showcase, introduce, and sell Đông Hồ printings.

- Assist artisans in developing new designs that align with consumer preferences.

7.5 Inventory, Documentation, Digitization, and Scientific Research

- With the participation of the artisans, the Department of Culture, Sports and Tourism of Bắc Ninh Province continues to update the inventory data in collaboration with the Bắc Ninh province Department of Culture, Sports and Tourism and Đông Hồ printing artisans.

- Central researchers collaborate with local folklorists and artisans to continue in-depth research, update information, and digitize information about the entire Đông Hồ printing process with videos, images and texts.

7.6 Enhancing Sources of Natural Raw Materials and Plants

- The Bắc Ninh Department of Culture, Sports and Tourism cooperates with the authorities at all levels to develop and implement a project with the aim of exploiting and conserving natural resources, dó paper and colored paper plants. Activities include:

- Assisting artisans in their sustainable exploitation of mop disk shells in brackish water areas along the Quảng Ninh coast.

- Supporting families and individuals to produce dó paper in Đống Cao trade village, Bắc Ninh Province.

7.7 Improving the Quality of Đông Hồ Printings

- Due to hot weather and high humidity, many woodblocks and printings are not well maintained, and many of them become damaged. It is, therefore, necessary to involve experts who work in object conservation to guide artisans on appropriate techniques and conditions for preserving woodblock prints and printings. Moreover, artisans need financial support and equipment to help them conserve Đông Hồ woodblocks and printings.

Conclusion

The Đông Hồ folk printing craft is an intangible cultural heritage of historical, cultural, and social significance, serving as a testament to the creativity and artistry of the Vietnamese people in the Kinh Bắc region of the Northern Delta of Vietnam. The printings produced through this craft reflect the daily life, customs, beliefs, and humanistic philosophy of the Vietnamese people.

However, with economic development, occupational shifts, a declining younger generation of artisans, and evolving consumer preferences, Đông Hồ printing is at risk of gradual disappearance and requires urgent safeguarding. The challenges related to human resources, raw materials, market demand, and heritage conservation necessitate immediate protective measures to ensure the sustainable development of this traditional handicraft.

Artisan communities, local authorities, and related organizations have played a vital role in raising awareness and protecting the Đông Hồ printing craft. Key initiatives such as policy support, financial aid for production, product promotion, market expansion, digital documentation, heritage education, and the enhancement of natural raw material sources are essential steps toward preserving and developing the craft in the contemporary context.

Moving forward, ensuring the sustainability of Đông Hồ printing requires stronger collaboration between government, researchers, artisans, and craft organizations to expand market opportunities while increasing public awareness of its heritage value. The safeguarding and promotion of Đông Hồ folk printing is not only the responsibility of the people of Đông Khê, Bắc Ninh Province but also a shared mission of Vietnamese society in safeguarding a traditional handicraft that embodies the ingenuity, craftsmanship, and artistic aesthetics of the Vietnamese people./.

 

REFERENCES

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