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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