Vietnamese lacquer painting, known as sơn mài, is one of Vietnam’s most distinctive and refined art forms. Among its most prestigious expressions are Vietnamese lacquer panels, which showcase intricate craftsmanship, cultural narratives, and a fusion of tradition with modern aesthetics.

East Asian paintings are distinguished not only by their visual content but also by their meticulously designed physical formats. These structures—whether rolled, hung, or folded—serve as embodiments of cultural philosophy, ritual practice, and aesthetic principles. This guide provides a systematic examination of painting formats from China, Japan, and Korea, offering foundational knowledge for identifying their unique characteristics and understanding their historical and sociocultural significance.

A scroll is a rolled document or artwork made of materials such as paper, silk, or parchment. Traditionally, scrolls were used as a medium for recording texts, paintings, and religious scriptures before the widespread adoption of bound books. In East Asia, scrolls became an essential form of artistic and literary expression, allowing for an unrolling experience that revealed content gradually, enhancing storytelling and visual appreciation.

Kintsugi (Japanese: 金継ぎ, lit. 'golden joinery'), also known as kintsukuroi (金繕い, "golden repair"), is the Japanese art of repairing broken pottery by mending the areas of breakage with urushi lacquer dusted or mixed with powdered gold, silver, or platinum.

In the world of traditional Chinese painting, where meticulous brushstrokes and symbolic precision often reign, there exists a rebellious, free-spirited cousin: Ink Play (墨戲, Mòxì). This style, born from spontaneity and philosophical daring, embraces imperfection, celebrates the unexpected, and transforms ink into a medium of raw emotion. Let’s dive into the mesmerizing world of Ink Play—where chaos meets poetry, and the brush dances to the rhythm of the artist’s soul.

Lunar New Year is celebrated across East Asia with deep cultural and artistic significance. Ink paintings, known for their graceful brushstrokes and symbolic depth, often serve as a canvas to reflect the themes of renewal, prosperity, and harmony associated with the holiday. While these traditions vary across China, Japan, Korea, and other Asian countries, shared motifs and themes unite them in honoring nature, resilience, and cultural values.

The Snake, one of the twelve animals in the Lunar Zodiac, holds a profound place in East Asian art and culture. As a zodiac animal, the Snake symbolizes wisdom, introspection, mystery, and transformation. Its graceful and sinuous form has made it a popular subject in paintings, where it is often depicted with elegance, subtlety, and spiritual depth.

The Lunar Zodiac, often referred to as the East Asian Zodiac, is a system of twelve animals that correspond to the lunar calendar. Deeply rooted in Chinese culture, this tradition has been widely adopted and adapted by other East Asian countries, including Japan, Korea, Vietnam, and Mongolia, each adding their own cultural nuances while maintaining the shared foundation.

Wabi-sabi is a Japanese aesthetic philosophy that celebrates imperfection, impermanence, and incompleteness. It is deeply rooted in Zen Buddhism and emphasizes finding beauty in the simple, the humble, and the natural. Wabi-sabi contrasts sharply with Western ideals of perfection and symmetry, offering a more contemplative approach to art, design, and life.

Chinoiserie (from the French word chinois, meaning “Chinese”) refers to a European artistic style inspired by Chinese art, design, and culture. It emerged during the 17th and 18th centuries, reaching its height in the Rococo period, and is characterized by a romanticized and idealized interpretation of Chinese aesthetics. This style is less about accurate depictions of Chinese culture and more about a European fantasy of the exotic East, blending Chinese motifs with Western decorative arts.

Japonisme (derived from the French word for “Japan”) refers to the influence of Japanese art, design, and aesthetics on Western art, especially in France and the rest of Europe, during the late 19th and early 20th centuries. This cultural phenomenon began with Japan’s reopening to the West in the 1850s and 1860s after over two centuries of isolation under the Tokugawa shogunate.

Art in Tibet, Mongolia, and Vietnam is deeply rooted in the region’s unique history, culture, and religion. While these traditions share influences from neighboring regions such as China and India, they each maintain distinct identities shaped by local beliefs and aesthetics.

Yamato-e (大和絵) is a classical Japanese painting style that emerged during the Heian period (794–1185 CE). Its name translates to “Japanese painting” and is used to distinguish it from Kara-e (唐絵), or “Tang-style painting,” which refers to Chinese-inspired art. Yamato-e reflects Japanese aesthetics, focusing on domestic themes, seasonal landscapes, and courtly life, with a unique emphasis on narrative storytelling and decorative beauty.

East Asian art encompasses the rich artistic traditions of China, Japan, Korea, and to some extent, their influence on neighboring regions like Vietnam and Mongolia. It reflects a shared cultural heritage shaped by philosophical, religious, and historical connections, yet each country has developed distinct styles, techniques, and themes.

Chinese and Japanese calligraphy are deeply connected due to their shared roots, but they developed distinct characteristics over time, influenced by cultural, linguistic, and philosophical differences.

Zen Calligraphy or Zenshō (禅書), is a unique form of brush calligraphy deeply rooted in the philosophy and practices of Zen Buddhism. It is not just an artistic expression but also a spiritual practice, where the act of writing becomes a form of meditation and a way to express one’s inner state. Zen calligraphy is closely associated with Zenga (禅画), the Zen-inspired painting tradition, but it focuses specifically on writing characters or symbols with a brush.

Calligraphy is one of the most revered and enduring art forms in East Asia, encompassing the traditions of China, Japan, and Korea. Its history, styles, and philosophies reflect the cultural and aesthetic values of the region, merging visual art with language and spirituality.

Zenga (禅画), meaning “Zen painting,” is a style of Japanese art deeply rooted in Zen Buddhism. Practiced primarily by Zen monks, Zenga is characterized by its simplicity, spontaneity, and directness, aiming to capture the essence of Zen philosophy. It serves not only as an art form but also as a meditative practice and an expression of spiritual insight.

Splashed Ink (潑墨) is a dynamic and expressive technique in traditional Chinese ink painting. It involves ink's spontaneous and free application to create abstract, fluid, and often unpredictable forms. The technique emphasizes spirit and emotional resonance over precise detail, aligning with the philosophical values of Taoism (道教) and Zen Buddhism (禪宗).

沒骨畫, or “Boneless Painting”, is a traditional East Asian painting technique that originated in China. The style emphasizes creating forms without outlines, relying on washes of ink or color to define shapes. Instead of precise contours, the focus is on capturing the spirit (神韻) and essence of the subject, resulting in a soft and natural appearance.