The sacred paintings of the Dao Thanh Phan reflect a rich worldview, yet their survival is increasingly uncertain in modern times.
In a traditional ancestral house in Deo Doc area, Hoanh Bo ward, old sets of sacred paintings are carefully hung whenever rituals take place. Their colors have faded, the paper worn thin, yet for the Dao Thanh Phan people, they remain indispensable objects in spiritual life.
Caption: Ritual paintings are indispensable items that shamans use to perform the cap sac initiation ceremony. Photo: My Dung
According to Ban Huu Hong, a local elder with deep knowledge of community customs, such paintings are now rarely found outside ancestral homes and are mainly used by ritual masters during major ceremonies.
“Today, sacred paintings are mostly kept in ancestral houses and used only for important rituals. In ceremonies like the coming-of-age ritual or seasonal rites, they are indispensable,” he said.
For the Dao Thanh Phan, these paintings are not merely ritual objects but a bridge connecting humans with ancestors and deities. During the cap sac ceremony, which marks a man’s transition into adulthood, the paintings are placed at the center, where ritual masters and the entire clan conduct sacred rites.
Each painting reveals a layered cosmology. From the underworld and the earthly realm to the heavens, all are depicted through intricate visual narratives. The three supreme deities - Ngoc Thanh, Thuong Thanh and Thai Thanh - appear alongside figures such as the Jade Emperor, Thai Thuong Lao Quan and Thien Loi, reflecting a clear blend of Taoism, Buddhism and Confucianism in Dao spiritual life.
Ritual paintings are indispensable items that shamans use to perform the cap sac initiation ceremony.
The composition follows a strict hierarchy of power. Major deities occupy the center, drawn larger and in sharper detail, while lesser figures are rendered more simply. Bright colors - red, blue, yellow, purple and white - create a sense of solemnity while remaining visually accessible.
Behind each set of paintings lies an arduous process. Artisans once made their own paper from dó bark, prepared glue from sticky rice and created pigments from natural materials. Completing a full set could take months, even up to a year. Each work is therefore both an artistic creation and a repository of indigenous knowledge and belief.
Yet these values are gradually receding into memory.
Today, only a handful of artisans still possess the skills to create sacred paintings. The craft demands years of dedication and deep understanding of spiritual traditions, while younger generations show little interest in continuing the practice.
The high cost of a painting set - often reaching tens of millions of VND (US$400 to US$800 or more) - has also discouraged many families. Few households now own their own sets, relying instead on those of ritual masters during ceremonies. At the same time, traditional rituals are no longer held as frequently, reducing demand even further.
A respected community figure, Party Secretary and head of Khe Tien village, Duong Phuc Thim, speaks and exchanges with a VietNamNet reporter.
More concerning is the condition of existing works. Many old paintings have deteriorated, been damaged or lost over time. Preservation efforts remain limited, while those who fully understand their meaning are mostly elderly.
Duong Phuc Thim, a respected community figure and head of Khe Tien village, shared his concern: “Young people today hardly know about sacred paintings or how to read classical Chinese characters anymore. Only the elderly truly understand. We worry that in the future, these paintings will continue to disappear.”
The fading of these paintings is not simply the loss of a folk art form. It signals a deeper rupture in the cultural continuity of the Dao Thanh Phan people. To preserve what remains, many believe practical measures are needed - supporting artisans, opening training classes for younger generations and linking preservation with cultural tourism.
As long as the last sets of paintings are still brought out during rituals, they remain more than relics. They are living memories of a community - and a quiet reminder that heritage can vanish at any moment if it is not protected.
The Dao Thanh Phan in Quang Ninh continue to preserve many distinctive customs and festivals. Living mainly in mountainous and border areas such as Hoanh Mo, Quang Duc and Hai Son, their communities maintain a strong connection to nature, relying largely on agriculture and forestry. Traditional rituals such as the Kieng Gio ceremony, the cap sac rite and prayers for a good harvest remain integral to their cultural identity.
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