The article focuses on the analysis of similarities and differences in the use of varnish in the visual arts of three East Asian countries: Vietnam, China and Japan. Derived from the same source, natural resin, lacquer has undergone a long process of development and has played an important role in the traditional art of the region. However, each country has developed its own approach and direction, reflecting the unique characteristics of its culture, aesthetic philosophy, and historical context. While in China, lacquer developed as a form of palace decoration associated with ritual objects, Buddhist statues, and high-quality handicrafts, using complex techniques of mother-of-pearl, gold, and silver inlaying, as well as multi-level relief carving, Japan stands out with its maki-e and urushi-e techniques, emphasizing refinement, minimalist expression, and creating philosophical depth through the use of metallic powders (gold, silver) to achieve specific visual effects. In Vietnam, based on traditional craft foundations, lacquer was transformed into an independent artistic material, with the development of multi-layered techniques, grinding, and polishing to create spatial depth and distinctive chiaroscuro and color effects, especially since the period of the School of Fine Arts of Indochina (1925–1945). The article is based on a comparative research method, with the application of techniques analysis, the study of characteristic works, and the reference to theoretical sources, with the aim of revealing the following aspects: the basic material, processing methods, purposes of use, and aesthetic features. The results contribute to a clearer understanding of the specific features of the plastic language and technical innovations of each country, and also highlight the role of Vietnam in the process of modernization and localization of lacquer, establishing its special place in the context of contemporary art in East Asia.