Bagyi Aung Soe, “Burmese Lacquerware”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 48-52.
48 Burmese lacquerware which is as popular as Thai silk in the market today not only contributes to the country’s economic growth but also makes known the genuine art of our country. It is much liked by foreign visitors; they always buy one or two pieces of lacquerware. If you have visited other countries, some of you may know from experience that they proudly hang them on the walls as souvenirs of Myanmar. The reason is because lacquerware is still decorated with traditional motifs. 49 Any artist who wants to concentrate on traditional Burmese art must focus on the designs of lacquerware. As our lacquerware has distinctly Burmese motifs, its art is an honourable skill for artists. One must not forget that there are other countries where it is a popular and developed industry. Russia, for instance, has Russian lacquerware. Another country such as Japan produces lacquerware with traditional motifs which are known globally. What I want to point out here is that artists in Russia keep their motifs, as do the Japanese. Their lacquerware is proudly presented worldwide. 50 Their affection for traditional art and preservation of it demonstrate their love for the country and its people. I thus would like to request our craftsmen to keep creating works of lacquerware and never let that art disappear. I have friends who are craftsmen living in Bagan and Nyaung Oo. Although they are very poor and lead a difficult life, they keep creating lacquerware with Burmese motifs. Moreover, the government opened the Lacquerware School in Bagan (in 1953, if I am not wrong) and hired Japanese professionals as teachers. Next, some craftsmen of Burmese lacquerware were sent to further studies on lacquerware in Japan. Bagyi Aung Soe, “Burmese Lacquerware”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 48-52.
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There are hence now professionals who mainly create lacquerware with traditional motifs and others who create works with Japanese motifs with the skills they learnt from their Japanese teachers. 51 Their competence at creating the Japanese style is amazing. Through great effort, the art of transferring Burmese tradition onto lacquerware made in the Japanese technique emerged. That is a great thing indeed. It is the advantage of professional collaboration through competition between the art of Burmese and Japanese lacquerwares. This can also be said to mark progress in the lacquerware industry. But there is one thing I would like to point out. I urge Burmese craftsmen who want to improve the quality of their works to follow Japanese technology and to take a great care in not replicating Japanese art in Burmese crafts. In fact, if they copy not only Japanese images but also those of other countries, Burmese lacquerware will come to an end and there will only be foreign lacquerware. As such, they should not forget to keep to our own designs. The world pays respect to our lacquerware because they admire the Burmese motifs. 52 The counterfeit will never turn out to be the real and will never be as good as the real. If the Japanese imitates our lacquerware, it is no more than a copy. Similarly, if we copy them, our works will not be as good as theirs. We will then lose the respect of countries from all over the world and be ashamed like a disguised crow amongst peacocks. Burmese lacquerware and hand-woven cloth are integrating genuine motifs and folk [?] art. You can see them in Burmese sculpture and architecture too. Here, I think it is appropriate to include an article on the soul of Burmese architecture by Dr. Lwin Aung. Burmese sculpture is not discussed now as there is the inclination to write a book on it one day.
Bagyi Aung Soe, “Burmese Lacquerware”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 48-52.
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Translated by Pann Hmone Wai
Bagyi Aung Soe, “Burmese Lacquerware”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 48-52.
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