Lacquer ware
Lacquer comes from the resin of a tree known as Gluta usitata. The tree is tapped in
order to collect the sap, which is straw-coloured, but quickly turns a glossy black
colour. Burma has utilised the virtues of lacquer sap to its full potential, as it can be
used on many different surfaces such as wood, split bamboo, palm leaf, metal and
leather. It is waterproof, heatproof and resistant to bacteria and insects. It can also
carry colour, such as turning red when cinnabar is added or yellow with orpiment and
can be moulded and sculpted in a technique called thayo, (Isaacs 2000:32). All these
qualities make lacquer an invaluable material in a country such as Burma.
There are five pieces of lacquer ware in the Burmese collection. Although it is a small
collection, ethnographically it is interesting because it shows the variety of objects on
which lacquer is used within day-to-day Burmese life.
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‘lapeh ok’ - pickled tea leaf box, Accession number – 142.2000(1-5)
‘hsun gwet’ – Offering Vessel, Accession number – 142.2000.1
‘hsun ok’ - Offering Vessel, Accession number – 148.2000
‘hmok’ – Ladle, Accession number – 9.1945.2
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‘kun-it’ – Betel Box, Accession number – 10.2002
142.2000 (1-5) – ‘lapeh ok’
This box functions as a pickled tea leaf container. The box is composed of three
knobbed lids, a large tray, and a knob. The donor information is unknown, as is the
provenance, however the object has been viewed by
Ralph Isaacs who suggested a date of 1920’s – 1950’s. The three lids are covered in
red lacquer (cinnabar has been added), and are decorated in crude ‘yun’ style. The
design on the lids is a continuation of elephants alternating with stylised woodland;
this is known as either ‘yok-thepanbwa’ or ‘yok-thepabwa’, which means figures and
flowers. The large red lacquered tray has a central logo reading ‘hla’, which means
pretty/handsome or nice-one (Isaacs: Pers Comm. 2005).
Pickled tea is an integral part of social intercourse in Burmese life. Small packets of
pickled tea were sent in lieu of invitations. It was sent to friends to announce an
important event, and acceptance of the pickled tea made attendance obligatory. It was
also used to cement judicial decisions.
142.2000.1 – ‘hsun gwet’ – Offering Vessel
This object is a squat shaped black lacquered offering vessel. It stands on feet and is
divided into six compartments. Each of the compartments is lacquered red on the
inside. The body of the vessel has fluted ribs, which were built up separately in
‘thayo’ and stuck to the bowl using lacquer as glue. ‘Thayo’ literally means flesh and
bones. It is putty comprised of lacquer sap mixed with clay or sawdust, or for the best
quality ash (Isaacs 2000:236). The putty as shown in this example is then moulded or
sculpted.
This type of offering vessel would have been used by well-off Burmese families to
exclusively carry cooked food to the monasteries on Sabbath days. This in itself
would be deemed as a meritous act, and therefore earn more Karma.
The donor of this vessel is unknown and therefore exact provenance cannot be
determined. However, an image of this vessel was assessed by Ralph Isaacs
(22/11/05) who suggested that the vessel was of the type made in Kyaukka, (where
lacquer ware is black on the outside, red on the inside) Nr. Monywa, Central Burma
and could be dated anywhere between 1910 – 1960. He suggested that it would have
been new when bought (Pers. Comm. 2005). 36
An excellent example of an almost identical hsun gwet has been documented in
‘Visions from the Golden Land (Isaacs 2000:199).
148.2000 – ‘hsun ok’
A hsun ok is a spire-lidded vessel used for offering food to monks (Isaacs 2000:234).
Unfortunately, with this vessel the spire is missing. The container is made in the
coiled bamboo technique, and has been lacquered black on the outside and red on the
inside. Hsun ok can vary in height from 25cm – 2m, and most households have at
least one. They can be carried in the arms or on the head, to perform the meritous act
of giving food to the monastery.
The donor of this vessel is unknown and exact provenance cannot be determined.
However, an image of this vessel was assessed by Ralph Isaacs (22/11/05) who
suggested that the vessel was of the type made in Kyaukka, (where lacquer ware is
black on the outside, red on the inside) Nr. Monywa, Central Burma. It is difficult to
date this object.
An example of a coiled bamboo hsun ok of Kyaukka work has been documented in
‘Visions from the Golden Land’ (Isaacs 2000:148/49). References to Burmese lacquer
ware such as hsun ok can also be found in ‘Burmese Crafts Past & Present’
(1994:226-228).
Although part of this ‘hsun ok’ is in poor condition, it is an invaluable piece to the
scholar and the collection in that one can visibly see evidence of the coiled bamboo
technique.
9.1945.2 – ‘hmok’- ladle
A hmok’ is a ladle/drinking cup with a long handle. This ‘hmok’ has been covered in
red lacquer, and decorated in the ‘yun’ style with alternate flowerheads and parrots.
An image of the ladle was assessed by Ralph Isaacs who suggested that ‘the style of
the pleasant ‘yun’ decoration of flowerheads and parrots would be consistent with a
date of around 1930-40’s’ (Pers. Comm. 2005). The donor of the object is Mr R.
Waterfield of Teignmouth, Devon; however an exact provenance is unknown.
The ladle is usually located on a private of public drinking pot shelf. Public spirited,
charitable people provide these drinking places (a public shelf is known as a ‘yay
gyan zin’) and are donated as a deed of merit.
’Yun’ is a form of decoration whereby the lacquer ware is incised with a sharp iron
stylus. The incisions are filled with coloured matter to create a design. A detailed
description of the ‘yun’ technique is outlined in ‘Burmese Crafts Past & Present’
(Fraser-Lu 1994:232). An example of a lacquered ladle has been documented in
‘Visions from the Golden Land’ (Isaacs 2000:88).
10.2002 – ‘kun-it’ – Betel Box
This cylindrical betel box is composed of a lid, two internal trays, and one deep main
box. The black gloss effect, which is present on the inside and outside of the box and
trays, is produced through the application of a fine lacquer sap. The combination of
the black gloss effect and the gold decoration is known as ‘shwe zawa’ lacquer work.
One of the trays has a depiction of one of the animals, possibly a lion in gold. The
designs in gold on the outside of the box show the ‘gyo-shit-lon’, the Eight Planets
design, which symbolise the eight day of the Burmese week (eight because
Wednesday is divided into forenoon and afternoon), the planets and cardinal
directions. Apart from their decorative effect, the presence of the eight planets also
has a social function. As the birthday animal of the owner, guest or family friend will
be depicted on the box, everyone who gives or receives the boxes contents will be
made to feel welcome (Isaacs 2000:58). The exterior is also decorated with scrolls of
the variety known as ‘chu-pan’ (a standard decorative motif in the ‘shwe zawa’
technique (Fraser-Lu 1994:235).
The purpose of a betel-box is to hold all the ingredients involved in the betel habit: the
leaf of the betel pepper vine, the lime and the nut, which is actually the fruit of the
areca palm (Areca catechu). Chewing betel is very much a part of social intercourse
for both men and women, and features in every special occasion and ceremony (Isaacs
2000:65). In the past every household had at least one cylindrical betel-box. A further
example of this
type of decorative lacquer ware has been documented in ‘Vision from the Golden
Land’ (Isaacs 2000:77). A strong collection in the area of ‘shwe zawa’ vessels can be
found at Liverpool Museum.
Conclusion
The lacquer ware collection at the RAMM is made up of only a few objects, and when
compared to many of the British Museum pieces exhibited in ‘Visions from the
Golden Land’ the collection may appear insignificant. If assessing the collection for
its significance in regard to understanding lacquer ware and the importance of lacquer
to the Burmese, then the collection is significant. The collection shows the diversity in
which lacquer is used in Burmese day-to-day life. Technically, the lacquer ware also
highlights a number of techniques used such as the coiled bamboo technique, which
normally would not be visible. The collection also highlights the variety of design
techniques and symbolism employed in Burmese lacquer ware. Therefore in
providing an overall insight into the scope of techniques, design and symbolism
employed in Burmese lacquer ware, the collection is significant.