Hands at Work: U Ba Nyein Lacquerware Workshop, Bagan, Myanmar

Closeup: woman

Etching Details
Making fine Burmese lacquerware is time-consuming and labour-intensive.

There is something universal about the search for beauty.

We may not agree on what “beauty” is – indeed, Western philosophy has argued conceptions of beauty extensively over time – but we all seek to surround ourselves with objects that are not merely functional, but are also aesthetically pleasing.

One of the many joys of travel, for me, is seeing how “other people” do things – especially in terms of creating functional objects in beautiful forms. From clothing to architecture, people seem driven to decorate themselves and their environments in ways that are culturally and regionally distinctive.

Take Burmese lacquerware for example: it takes time, skill, a steady hand, and an eye for design to transform simple wood or metal surfaces into richly decorated objects.

For centuries, people in Asia have used lacquer made from the resin of the “Japanese varnish tree” or the “Chinese lacquer tree” (Toxicodendron vernicifluum) to give wooden products a tough, durable and water-resistant finish. A simple red lacquered wooden bowl thought to date to the 5th millennium BC was found in Zhejiang, China. Much later, during the Shang Dynasty (ca. 1600–1046 BC) in China, sophisticated lacquer techniques were developed and it became a highly artistic craft.

The Burmese style of making lacquerware, called Yun-de, was introduced into the country by Yun or Laos Shan artisans from the north of Thailand in the mid-1500s. The lacquer, which comes from the sap of the “Burmese lacquer tree” or “Thitsee” (Melanorrhoea usitata), starts out straw-coloured, but turns black when exposed to air. Many layers of lacquer are applied to a bamboo form, each needing to dry for several days before being polished to a smooth finish, engraved with intricate designs, and painted.

“The best lacquerware in [the] world is crafted in Bagan, Myanmar, a village steeped in two hundred years of practice in the craft.” When I visited the U Ba Nyein Lacquerware Workshop in Bagan, I was able to watch some of the steps in the manufacture process.

On a photographic note: I don’t usually opt for black and white, but my original shots were “noisy” with colour, which I thought distracted from the sense of quiet concentration I felt emanating from the workers. Working in black and white also gave me a chance to experiment with different editing processes.

U Ba Nyein Lacquerware, Bagan Myanmar, B&W BlackandWhite

Weaving the Base
A base for the lacquer coating is made of bamboo strips woven together with horsehair.

Portrait: Burmese woman weaving horsehair and bamboo into a bowl, U Ba Nyein Lacquerware, Bagan Myanmar, B&W BlackandWhite

Weaving Bamboo
The combination of bamboo and horsehair gives the material strength and flexibility.

Burmese man with Bamboo pots, U Ba Nyein Lacquerware, Bagan Myanmar, B&W BlackandWhite

Bamboo Pots
The bamboo form is built up in layers.

Burmese man with a Chisel, U Ba Nyein Lacquerware, Bagan Myanmar, B&W BlackandWhite

Chiselling the Base
Bamboo bases are chiselled into the desired form.

Burmese man Applying Thayo to pots, U Ba Nyein Lacquerware, Bagan Myanmar, B&W BlackandWhite

Applying Thayo
Thayo, a thick mixture of thitsee resin with ash or sawdust, is layered onto the bamboo forms. Subsequent layers of resin might be thinner.

Burmese man working on lacquerware, U Ba Nyein Lacquerware, Bagan Myanmar, B&W BlackandWhite

Pressing and Polishing
Thayo, the thitsee tree resin mixture, can be sculpted while wet.

Closeup: man

Engraving Details
Once the many layers of lacquer are dry and polished, detailed patterns can be etched into it.

Burmese woman etching a pattern on a burmese lacquer tray, Bagan Myanmar B&W Black and White

Etching Lacquerware
All the designs and engraving are done free-hand…

Burmese woman etching a pattern on a burmese lacquer tray, Bagan Myanmar B&W Black and White

Etching Lacquerware
… taking steady hands …

Portrait: Burmese woman etching a pattern on a burmese lacquer tray, Bagan Myanmar B&W Black and White

Etching Lacquerware
… and a great deal of concentration.

Burmese man painting a pattern on a burmese lacquer tray, Bagan Myanmar B&W Black and White

Painting Lacquerware
Elaborate designs commonly use red, green and yellow colours – or even gold leaf.

Close-up: Burmese man painting a pattern on a burmese lacquer tray, Bagan Myanmar B&W Black and White

Painting Lacquerware
Large pieces can take a year to complete.

Close-up: Burmese man washing burmese lacquer pieces, Bagan Myanmar B&W Black and White

Washing Lacquerware
Even small pieces can take months.

Burmese lacquerware pots with lids, U Ba Nyein Lacquerware, Bagan Myanmar, B&W BlackandWhite

Lacquerware Pots
As well as intricate patterns, designs include pictorial scenes from popular stories, and signs of the Burmese zodiac.

Burmese men working, U Ba Nyein Lacquerware, Bagan Myanmar, B&W BlackandWhite

Final Wash and Polish

Burmese man working, U Ba Nyein Lacquerware, Bagan Myanmar, B&W BlackandWhite

Sorting Pots and Lids

Wall Display, U Ba Nyein Lacquerware, Bagan Myanmar B&W Black and White

Wall Display
A range of items are on show in the display area, including hsun, rice bowls with stems and spired lids.

Vases and Table-Ware, U Ba Nyein Lacquerware, Bagan Myanmar B&W Black and White

Vases and Table-Ware

Home Decor, U Ba Nyein Lacquerware, Bagan Myanmar B&W Black and White

Home Decor

The advent of plastics, porcelain and metal for use in everyday utensils have greatly reduced the need for lacquerware, and today it is predominantly produced for decorative items and for tourists.

However, while the opening-up of Myanmar has meant more international tourism, it has put whole new pressures on the job market, with young people preferring work in the hospitality sector.

In a recent (February, 2014) news story, Ma Mee Mee, co-owner of the U Ba Nyein Lacquerware Workshop, said: “We are worried that Bagan will lose the battle to save our traditional lacquerware culture.”

Sign-Off-Happy-ShoppingThat would, indeed, be a great shame.

I did my bit, and came home with a small piece of beautifully crafted artwork.

Until next time ~ Happy Shopping!

Pictures: 18September2012

  • pongpet - July 28, 2014 - 11:11 pm

    This makes me really feel like visiting the place.
    Thank you.ReplyCancel

    • Ursula - July 29, 2014 - 9:56 pm

      Thanks, Pongpet! It is a special place.:DReplyCancel

  • […] Etching Lacquerware Our next stop was at a handicraft workshop, where high quality lacquerware is still produced in the traditional manner. (See the Blog Post: Etching U Ba Nyein Lacquerware) […]ReplyCancel

  • nayzar aung - February 28, 2016 - 5:01 am

    I’m inpressed.Can i get ur mobile number or office phone number for my business?ReplyCancel

    • Ursula - February 28, 2016 - 3:15 pm

      Thanks for your visit!
      As you can see from the Blog, this business is not mine – but their information is on their website. 😀ReplyCancel

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