Painting of Catching Coconut from the Collection at Viet Nam University of Fine Art

Students do their Fieldwork

Carving woodblock at Nguyen Dang Che’s House

The Printing woodblocks at Nguyen Huu Qua’s House

The Painting of the Mouse Wedding

The Painting of the Boy Who Embraces a Tortoise from the Collection at Viet Nam University of Fine Art

Painting of the Scene of Jealousy, Viet Nam University of Fine Art

Artisan Nguyen Huu Qua teaches his son how to carve the woodblock at his home

Highlighted areas are painstakingly painted with different natural dyes. The brush used is a actually a seed from the pandanus fruit.

Đông Hồ folk painting serves as a folk woodblock printing craft and is categorized as traditional craftsmanship, as it has been created and developed by the com-munity of the Đông Hồ village, Song Hồ commune, Thuận Thành district, Bắc Ninh province over the past hundreds of years, and possesses unique historical, cul-tural, and artistic value.

Đông Hồ folk painting serves as a folk woodblock printing craft and is categorized as traditional craftsmanship, as it has been created and developed by the com-munity of the Đông Hồ village, Song Hồ commune, Thuận Thành district, Bắc Ninh province over the past hundreds of years, and possesses unique historical, cul-tural, and artistic value.

Jimzo is a traditional art of forming religious images. Jim means "clay" and Zo means "art", literally "clay art". In Bhutan, it can be traced back to the 7th century, to the time of Tibetan King Songtsen Gampo (569–649?), who is believed to have built 108 Lhakhangs (temples), under which the pioneering Buddhist temples such as Kichu and Jampa Lhakhangs were built. Various clay paintings from different centuries, beginning with the time of Guru Rinpoche, attest to the existence of clay art in Bhutan much earlier. In the time of Terton Pema Lingpa (1450-1521), this art became popular. Towards the end of the 17th century, the art was codified and included by the fourth Desi (temporary ruler) Gyalse Tenzin Rabgye (1638–1696), as one of the thirteen arts and crafts of Bhutan. \n\nLater, at the time of Zhabdrung Ngawang Namgyal (1594-1651) in the 17th century, a very skilled sculptor named Trulku Dzing was invited to Bhutan. Trulku Dzing erected numerous clay figures in Punakha and Wangduephodrang Dzong. After his death, the tradition was passed on to Trulku Sanga Gyaltshen, the second Trulku of the Neyphug Thegchen Choling Gonpa, also known as Heyphug Thegchen Tsemo Gonpa (monastery) in Shaba Gewog (block) under Paro Dzongkhag (district). Trulku was known for his skill in sculpting and had many followers. This skill was passed on to successive Neyphug Trulkus (successive incarnations) and later passed on to younger generations of sculptors by Gomchen Phurje, an experienced sculptor from Neyphu. Thus, the art of clay sculpting was highly valued by Neyphu and sought after by many. \n\nAp (senior citizen) Gyeltshen (82) from Neyphug village in Paro is a popular clay sculptor. He learned this art at the age of fifteen from an experienced sculptor named Dago. Dago had learned this skill from an accomplished master named Phurje. Ap Gyeltshen passed on this skill to his son Tshewang Penjor (38), who now helps his father with the sculpting work. They have offered their skills at Bumthang Kuje Lhakhang and Paro Taksang by making clay statues. According to Tshewang, he and his father have worked for fifty Lhakhangs. They not only offer these services to Lhakhangs and Goendeys, but also accept many private commissions for various Buddhist images. Ap Gyeltshen has also traveled to other countries at the invitation of foreigners to share his skills. He has students both from home and abroad. The sculptures of Ap Gyeltshen and his son are known for their quality and grace. His works are based on the iconographic principles of Buddhist art.