Mua I Dia has devoted her life to preserving the Hmong tradition of wax-resist painting, a national heritage reflecting generations of cultural wisdom.
Wax-resist painting on fabric is a traditional Hmong craft that encapsulates the unique worldview of the Hmong people. While striving to promote this folk art, artisan Mua I Dia still carries a lifelong wish.
A craft passed down from mother to daughter
Artisan Mua I Dia promotes Hmong wax-resist fabric painting at the Ministry of Ethnic and Religious Affairs’ exhibition booth during the showcase “80 Years of Independence - Freedom - Happiness”. Photo: Le Anh Dung
Wax-resist painting on fabric is an ancient traditional craft that embodies the rich cultural identity of the Hmong ethnic group.
Recognized as a national intangible cultural heritage, this art form affirms its historical, cultural, artistic, and aesthetic value. Mua I Dia, a 56-year-old artisan from Pa Co commune in Phu Tho province (formerly Pa Co 1 hamlet, Mai Chau district, Hoa Binh), is one of the dedicated guardians of this cultural tradition.
We met her at the Ministry of Ethnic and Religious Affairs’ exhibition booth during the national showcase “80 Years of Independence - Freedom - Happiness” held in Hanoi.
According to Dia, the wax-resist painting tradition has been passed down through generations primarily via oral and practical transmission from mother to daughter.
Hmong girls are taught from a young age how to spin flax, weave cloth, and paint with beeswax by their mothers or grandmothers.
Artisan Mua I Dia herself learned the techniques of painting and dyeing traditional fabric from her mother at age 12, and she has since passed the knowledge on to her daughter and daughter-in-law.
“The patterns aren’t that difficult once your hands get used to it. Girls as young as 11 or 12 can already paint simple motifs,” she said.
The meticulous process behind every painted cloth
To create a finished piece of wax-resist fabric art, Hmong artisans follow several intricate steps.
First, the fabric - usually made from flax fibers - is handwoven and soaked in ash water to make it whiter and help the dye adhere better.
Then, beeswax is melted at 70-80°C. Using a handmade brush made from bamboo with a triangular copper tip, the artisan dips into the hot wax and draws directly onto the fabric. This step requires patience and precision. Women often sit near a fire to keep the wax melted throughout the process.
After the designs are drawn, the fabric is dyed in indigo. The waxed areas resist the dye and remain white.
Finally, the cloth is boiled in water to melt away the wax, revealing striking white patterns on the iconic indigo background.
Dia noted that while modern stamp molds have made patterning faster and more consistent, she still prefers hand-drawing, even though it takes much longer.
Her favorite patterns include the sun, ferns, and peach blossoms - motifs that reflect nature and are infused with the soul of the artisan.
Some motifs are so complex they must be memorized in detail. Showing off a roughly 2-meter-long piece of peach blossom design, Dia said, “This one is like a peach tree you’d hang in your house for Tet. It took me 3-4 days to paint, not including the dyeing and boiling.”
A craft with new value and new hope
The brush is made of bamboo with a triangular copper tip. Dia emphasized that only copper can retain the beeswax properly. Photo: Le Anh Dung
One of Dia’s greatest joys is seeing the younger generation take interest in the traditional craft.
“The kids in my village like doing it. Most of them between 15 and 20 already know how,” she said proudly.
Traditionally, Hmong women created wax-resist fabric mainly for making their own clothes. Their skill and patience were judged by the quality of the garments they produced.
Today, Hmong artisans are crafting items like handbags and souvenirs to sell to tourists. The art form has become a source of income for many households.
Dia began selling wax-resist products about 20 years ago and currently earns around 3 million VND (approximately 120 USD) per month from it.
Sales have gradually improved, with occasional tourists even visiting her home to buy directly. However, the income is unstable, and her primary work remains farming and household chores. She paints only when she has time and sells her goods at the Pa Co market.
Her youngest son once helped her sell products to tourists through a homestay business, but the volume remained low.
“There used to be a cooperative here, but it shut down. We don’t have a stable market, so we have to make and sell everything ourselves. We go around asking where there might be buyers. It’s exhausting,” Dia shared.
Her biggest wish is simple: to paint more, welcome more customers to Pa Co market, and find someone who can help her reach a stable market and increase her income.
Despite the difficulties, Dia’s love for wax-resist painting runs deep. “I’ll keep doing it until I’m too old to lift a brush,” she said.
The recognition of wax-resist painting as a national intangible cultural heritage is not only a source of pride for the Hmong people but also a tribute to the diligence, creativity, and resilience of Hmong women in Vietnam’s highland communities.
Vietnamnet.vn
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