Master Artisan Pham Duy Linh: A lifetime devoted to stone sculpture

For more than 300 years, Buu Long Stone Village, now located in Tran Bien Ward, Dong Nai City, has preserved one of the Southeast region’s most distinctive traditional crafts. From seemingly lifeless blocks of stone, generations of artisans have created countless works of artistic, cultural, and historical value.

In an interview with Dong Nai Newspaper and Radio, Television, Pham Duy Linh, Director of Tan Phat Hung One Member Co., Ltd. in Tran Bien Ward, who was awarded the title of Meritorious Artisan by the State President in 2025, expressed his concern that the traditional stone-carving profession is facing the risk of fading away under the pressures of the market economy, technological change, and a shortage of young workers.

The monument honouring the tradition of Dong Nai’s armed forces at War Zone D, crafted by master artisan Pham Duy Linh.

Growing up and growing old with stone

In 2025, you were honored with the title of Meritorious Artisan by the State President. What does this recognition mean to you after a lifetime devoted to stone carving?

Master Artisan Pham Duy Linh.

I was deeply moved. This honor is not only a personal recognition but also a tribute to all those who have dedicated their lives to the stone-carving craft in Buu Long. I immediately thought of the generations before me. Without the solid foundation they laid, I would not be where I am today.

The title also reminds me that my responsibility is even greater. Recognition is not the finish line. I must continue practicing the craft, passing it on to younger generations, and helping preserve the values of our traditional craft village.

Would you say that "growing up with stone and dedicating your entire life to it” best sums up your life?

I was born into a family that has practiced stone carving for three generations. My childhood was filled with stone yards and the sound of hammers and chisels from dawn until dusk. It was stone carving that gave me the opportunity to go to school. There were times when carrying heavy stones left me bruised and bleeding, yet the next day I would be back in the workshop beside my father. Now, at more than 60 years old, I remain wholeheartedly devoted to the craft I have pursued for decades.

Many people see stone as lifeless, but to me, it is like a lifelong companion. I understand every grain, every vein, and every sound it makes when struck by a chisel. My entire life has been inseparable from these blocks of stone.

Looking back on your decades-long career in stone carving, what are you most proud of?

I am most proud of contributing to numerous cultural and historical monuments in Dong Nai and other provinces and cities.

Over the years, I have created works including the statue of national heroine Vo Thi Sau on Con Dao Island; statues of Vietnamese historical figures such as Ly Thai To, Nguyen Trai, Le Quy Don, Trinh Hoai Duc, Nguyen Dinh Chieu, Huynh Van Nghe, and Nguyen Du, now displayed at the Tran Bien Temple of Literature; as well as a stone statue of President Ho Chi Minh and a blue-stone incense burner at the War Zone D Historical Relic Site.

Whenever I revisit these works, I I am filled with a very special feeling. An artisan creates more than just sculptures—we help preserve history and culture. That is my greatest happiness.

In your opinion, what distinguishes Buu Long stone craftsmanship from that of other regions?

Every craft has its own challenges, but stone carving demands exceptional patience and skills. The uniqueness of Buu Long stone carving begins with its material. We traditionally use a type of fine-grained green stone, which is extremely durable, naturally smooth, free of glittering patterns, and retains its elegant color over time without fading or discoloration.

This exceptional material allows artisans to produce a wide range of works—from religious sculptures, sacred statues, guardian animals, ancestral tablets, and stone steles to everyday household items such as millstones, mortars, chess sets, and stone lanterns. Every piece requires meticulous craftsmanship.

Equally important is the carving technique. In our profession, we have an interesting concept: "living stone" and "mature stone." "Living stone" refers to carefully selected raw material. Once transformed by an artisan into a finished work, it becomes "mature stone." It is not merely a physical transformation but the process of breathing life into stone.

Every artwork carries stories of Vietnamese culture, beliefs, and traditions. Those are the values we strive to preserve.

Preserving the craft for as long as possible

Stone carving is not an easy craft.  What are your thoughts on that?

In the past, everything was done by hand. Artisans had to develop their own techniques and trade secrets to master the craft, which meant knowledge was often passed down only within families. It takes more than five years to train a competent stone carver. Apprentices spend about two years mastering basic chiseling techniques before they can move on to more advanced artistic skills.

To practice this craft, a stone carver must possess both physical strength to work with blocks weighing hundreds of kilograms and an artistic eye. Simply knowing how to hold a chisel does not mean you can make a beautiful statue. Sometimes, adjusting a single line on a statue's face requires long hours of deep thought. Just a tiny deviation can completely alter the expression and soul of the piece.

“The lasting value of stone carving lies in transforming raw stones from nature into works of art through human craftsmanship. Trees, flowers and animals are brought to life in stone, creating masterpieces that reflect Vietnamese culture and daily life.”

Pham Duy Linh, Director of Tan Phat Hung One Member Co., Ltd.

Is that why finding successors to the craft has become increasingly difficult?

My greatest concern is that the stone carving craft is gradually fading away. When I was young, the sound of chisels echoed throughout the village. Nearly every household made a living from stone carving. Today, only a handful of workshops remain. Many artisans have switched to other jobs because stone carving is physically demanding and incomes are unstable.

Even more worrying is that younger people are no longer interested in the profession. They have many career options, while learning stone carving requires years of training in dusty, labor-intensive conditions that can affect one's health. Very few are willing to commit.

Raw materials are becoming another challenge. Traditional workshops like ours no longer have direct access to stone quarries. We have to source stone from various suppliers, making it difficult to maintain consistent quality. At the same time, we must work hard to secure enough orders to provide stable employment for the craftsmen who have remained with us over the years.

Given these challenges, preserving the craft for future generations cannot be easy?

I have never thought about giving up. There were times when orders declined and many people advised me to change careers. But I always asked myself: if everyone walks away, who will preserve the legacy handed down by our ancestors? To me, keeping even one craftsman employed means preserving part of the soul of Buu Long Stone Village. As long as I can still hold a chisel, I will continue working—not simply because it is my profession, but because it is my way of safeguarding the priceless heritage entrusted to us by previous generations. I will retire only when I can no longer hold my tools or hear the sound of hammer striking stone. As long as the workshops of Buu Long still resonate with those familiar sounds, the craft will continue to live. And as long as I remain steadfast, those who work alongside me will still have a livelihood.

By Vuong The - Translated by Mai Nga, Thu Ha