burmese
lacquer is very distinctive in its form, colour and production
methods. objects created in this long and fine tradition since
the time of the first urbanised inhabitants of burma 2,000 years
ago, are still very much a part of the daily culture in the country
that is today called myanmar.
in
burma, lacquer coloured with cinnabar, a brilliant red colouring
agent comprising mercuric sulphide, was traditionally used to
decorate the sophisticated wooden palaces and sumptuous buddhist
temples. lacquer also formed part of a rich cultural tradition
of diplomacy between burma and china in which there was a regular
exchange of gifts, mostly vessels, which were finely decorated
with lacquer and other precious materials.
today,
burmese lacquer is generally applied to vessels made from coiled
bamboo or jackfruit wood ranging from small cups and bowls to
temple jars, alms bowls and betel boxes, the latter used for storing
betel nut ingredients for social and ceremonial use.
the
decoration of burmese lacquer products is dominated by a technique
known as “yun”. in burmese, this word means lacquer as well as
the form of engraved decoration with colour added. another burmese
technique is relief moulded work, which is much less common today.
an
additional curiosity associated solely with burmese lacquer is
‘horsehair-coated lacquer’ in which strands of horsehair are woven
around a finely split bamboo frame and then eventually covered
in a paste of lacquer and ash known as thayo and then normal layers
of lacquer, resulting in very pliable containers. production of
horse hair lacquer requires special skills and experience.
the
art of lacquer making in burma is still very much alive, if only
to supply buddhist monks with alms bowls and temple jars. some
old original pieces are still available for purchase locally although
these are now generally very hard to come by.
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