Since ancient times, Vajrayana art has been expressed through various forms — murals, paintings on fabric, and embroidery. Each painting, known as a thangka, carries a mission to convey the Dharma, serving as an effective tool for practitioners to connect with their inner teacher. Just as in the past, when Kaundinya introduced Buddhism to our land and harmonized it with the culture of the ancient Vietnamese, Vajrayana Buddhism has gradually integrated into the profound beauty of Vietnamese temples. In this flow, SonMani seeks to transform traditional Vietnamese lacquer into a vibrant medium for thangka artworks.
For centuries, red lacquer and gold leaf have been skillfully used in Vietnamese pagodas, not only to enhance the durability of architecture and statues but also to contribute to the enchanting beauty found at the entrance to the Buddha's realm. This beauty captivated Victor Tardieu, inspiring him and his students at the École des Beaux-Arts du Viêt Nam — the precursor to the Vietnam University of Fine Arts — to incorporate lacquer into painting. Since then, lacquer art has become an inseparable part of Vietnamese identity.
SonMani, born from the love and dedication of a family with a long lineage in the Hạ Thái lacquer craft, is committed to continuing and enriching these invaluable traditional values.
Lacquer Art in the Flow of Vajrayana
Auspicious conditions converged
The paintings of SonMani are adapted from the meticulous black-and-white drawings created by artist Robert Beer using a brush. A renowned author with valuable works on Vajrayana culture and art, such as The Encyclopedia of Tibetan Symbols and Motifs, he has played a significant role in preserving and promoting this artistic tradition. Through these treasured books, SonMani has had the fortune to connect with and receive support from Robert in our journey to adapt Vajrayana artworks using the traditional lacquer medium of Vietnam.
Today, SonMani proudly stands as the only brand in Vietnam with exclusive rights to use the works of Robert Beer. He not only participates directly in the creative process but also provides expert consultation and feedback, ensuring that each painting presented to the public retains the true spirit of Vajrayana art.
Brilliant gold, crimson red
In the initial stages of the project, SonMani grappled with doubts about the path we had chosen. How could we fully capture the exquisite beauty of Vajrayana painting, with its characteristic vibrant colors, using lacquer? Yet, the more we immersed ourselves, the more enchanted we became by the traditional hues of our culture — from rich layers of red lacquer and gold leaf to natural materials like eggshell and mother-of-pearl. Each painting now feels both familiar and fresh. The lacquer technique lends the colors a smooth, resonant quality, ranging from warm and profound to dazzlingly exquisite. With each glance, we become increasingly aware of their remarkable transformations — both ethereal and symbolic, yet strikingly clear.
SonMani aspires for each artwork, upon reaching its owner, to serve not only as a piece of art but also as a meaningful aid in their spiritual journey.
