Arts and Crafts
100 Shuttle Traditional Weaving Industries
Weaving of Lun Yar Kyaw, which is one of the Myanmar Traditional Fabrics. First of all, the white silk is dyed according to design and one's favourite colour. The dyed silk is made into yarn by using a small spindle and put into the wooden reel. These are used as a warp threads when weaving. Simultaneously, yarn of various colours is mixed and made in accord with design and the number of yarn one desires. These mixed yarn are also wound onto the small bamboo bobbin of the wooden shuttle casing for the desired amount. These are to use threads of the weft in weaving. Dividing upper and lower yarn of warps from hitching-frame is made by hand using big spindle. After that, yarns from the big spindle are put into wooden spool. These yarns are put into the frame of the reed in a loom. If you finish carrying out these tasks, it is ready for weaving.
When you have chosen the design, weaving can take place. It is very difficult to weave the 100-shuttle fabric. Much waft and weave to create the wavy design. It takes about three years to learn the art. Depending on the design, 100 or more looms are used. Therefore, it is called Lun Yar Kyaw, which means fabric specially woven with a hundred or two hundred shuttles of multi-coloured silk thread. Myanmar silk fabrics with intricate wavy design or pattern need 2 or 3 girls in a loom. To finish a fabric for one person, it take at least one month. Mirror is used to check designs, because woven up-side down. Right leg presses first and shuttle is put when upper yarn and lower yarn are kept open. When all shuttle are woven for entire line and only a frame of the reed in a loom is used once. When the weaving is done, the fabric's edge are cut with a pair of scissors and a systematic Lun Yar Kyaw fabric is obtained. There are altogether (50) to (70) patterns of Lun Yar Kyaw fabric. It varies from pattern of the Royal Era to present days like Sabei kon, Pan Bayin, Thonn Yaung Che and Da wei sin. In this way, beautiful Lun Yar Kyaw fabrics are being woven all the year round for Myanmar women.
An Umbrella for Style
There is a scenic little town by the small lake of Pindaya named after Pindaya town. Somewhere in the southeast corner of the Shan State, set in a plain surrounded by mountains, this little town has been famous for a natural cave where more than 9,000 statues of the Lord Buddha are enshrined. Pindaya is also known for its umbrellas, especially those with a canopy of paper. It is indeed a sight to watch a Pindaya craftsman making a Pindaya umbrella.
Every part of the umbrella - the hub, the shaft, the ribs, the handle are hand crafted and the Indian trumpet, which goes by the botanical name of Bignonia indica, is the wood of choice for these parts. First the hub is cut and grooved accordingly on a foot-operated turner lathe. Then it is fixed to one end of the shaft. Next the ribs are fitted into the grooves on the hub and the underside of the ribs is then decorated with intricate patterns of woollen threads of various colours. The lengths of the ribs and that of the shaft are then adjusted as required. With this framework completed, the craftsman goes on fixing the canopy over the ribs. The material for the canopy may be either paper or cloth, depending on one's taste and choice. If it is to be paper, then two layers of a kind of coarse paper made from mulberry pulp are stuck onto the ribs with glue made from the juice of a certain fruit. The colour of the product is light brown but one may order the colour of one's choice. In order that the umbrella may be furled or unfurled smoothly, the stiff paper or cloth has to be folded by hand to get the creases in the right places. Finally fix the cap above the hub, the catch at the right place on the shaft and the handle and ready to have a truly handcrafted Pindaya umbrella! For durability, just give the canopy a good coating of crude oil and the umbrella will be yours for all seasons: to adorn your parlour or to protect you from sun and rain.
Art in Glass Bottles
Glass bottle painting, the art painted inside glass bottles, is a unique kind of art painting. The first glass bottle paintings appeared in China at the beginning of the19th Century. Most artists can paint on the outer surface of a bottle, but it is not easy to paint on the inner surface. Although it looks like canvas painting, glass bottle painting is a more intricate type of art, which needs to be precise in scale U Nyo Lay from Myanmar, is an imaginative glass bottle artist who taught himself the art. He suffers from polio since childhood and he became a disable after several freak accidents. Thus the lower past of his body and his right hand and arm are now useless, and he became a wheel chair bound artist working with his left hand only. But out of his perseverance and dedication he became the first glass bottle artist in Myanmar and his work of art is well known. U Nyo Lay explained, "Bottle-art depends upon the subject which is going to be painted, and to finish a bottle, it takes at least 15 days. Unlike ordinary painting, it is done in reverse style.
Bamboo Toys
At the Kinpone Base camp before you start hiking to the Kyaikhtiyo Pagoda. Along the way, there are many shops and malls selling souvenirs of Bamboo toys. How Bamboo toys are made here. And the process is very simple with the regional products. So please take a look at it. The first step is to cut the Bamboo as required measurement and the next step is connecting the bamboo and the wood. There is a hole where they can put a plastic pinion then, they will put it inside and they can make the sound like a bullet. So it's the second step. The third step is very interesting as he blows the wind through the pipe by using a candle, he can write letters as he wish. The items can be done as the costumers require. They are made with Bamboo and very sample. So it's a must for every visitor to come and buy these things for souvenirs for children. It is enjoyable how the processes are made and they are making. So come and see and take them.
Beach Souvenir Sea Shell Decoration
What do the sea waves bring to the beach? Shells. It is really a nice hobby to collect shells on the beach. And, it is also lucrative business to produce these beautiful shells into decorative household adornments. There are various kinds of shells on the beach. Some are big and some tiny and cute. They have various kinds of shape and design. When we combine each of their beauty and create skilfully with the art of human hands by stringing, these beautiful little ones become more beautiful and useful in household decorations. With the creation of a skilful designer, oyster shells decorations designed as birds, elephants, owls, rabbits, turtles, and shell partitions, hair bands, necklaces, hats table lamps and so on are attractive souvenirs to the holiday beach-comers. Shell decoration business will last forever until the sea and the lovely creatures, which are washed upon the sand along with the white waves, exist.
The Cotton Weaving Industry of Inlay
Most people, depending on the terrain and climate of their environment or on the kind of raw materials available, wear clothing made of silk, satin, cotton.
But from the point of view of health, clothes made of cotton are the best. So, especially when the weather turns warm, we normally choose cotton wear. Pure cotton fabrics are available in our country. The people of Inn-lay region, which lies in the south-eastern part of the Shan State, are very talented and innovative in weaving and designing cotton and silk fabrics and in sewing attractive articles from materials such as silk, cotton and wool.
The young girls who need very good reflexes and a lot of practice and skill to work with hand looms. A good weaver needs concentration of mind and perfect co-ordination of eyes, hands and feet to work the loom, to produce a handsome fabric from which all manner of articles may be sewn. Of the many fabrics produced by the looms of Inlay, one of the most charming accessories is the shoulder bag, generally known as a “ Shan Bag ”, although many other regions in Myanmar produce different versions of the same bag. This shoulder bag made of cloth of variegated colours is stitched together from wool and from cotton material woven on a small low back-strap hand loom known as “Jut-Khok”.
The weaver sits on the floor with both legs outstretched and a belt strapped around her waist to keep the hundreds of thread in line. She then has to beat each thread into place with a piece of flat wood, hence the name “Jut Khok” (hacking into place). With this small traditional loom, the young girls, with utmost patience weave pattern of fabulous mythical creatures like the `Tonaya`, a lion-like creature of the Himalayan regions, dragon, fishing boat, as well as symmetrical squares, stars, dots and stripes. The bags with their eye-catching patterns are a favorite with young and old, and much in demand by foreign tourists.
The Innlay region also produces “ pasoe”(men’s wear) and “ htamein” (women’s wear), of the best cotton in all colours and designs especially for the ladies. The men’s wear is more sober but the material for both is smooth and flawless. So, if you desire not just piece of cotton fabric, but one with the right colours and attractive designs. Then the variety of cotton material produced by the Innlay region will certainly have something special.
Embroidery
Embroidery is a Myanmar Traditional artistic work. It is the art of sewing silver and gold threads on costumes, garments and dresses of members of royal palace of many decades ago. These are modern embroideries, which are a combination of articles and artist work according to traditional handicraft figures. The embroidery paintings are being implemented by handicraft to bring out the shape of figures including ideas of light and dark and a mixture of colours and views of art.
Pictures depicting traditional oil lamp dance, a romantic dance by a male and a female dancer, or a duet dance, single dance and a damsel carrying a bowl for offering of food to monks and other pictures of traditional cultural styles drawn on the fabrics are sewn with silver and gold threads on the painting which becomes a beautiful embroidery. Moreover, pictures of pagodas and beautiful national scenes of Myanmar are also sewn on it. Painting plays a vital role from the beginning to the end of an embroidery work. It is the painting that brings out the figures in the embroidery to be distinct.
In the process of an embroidery painting, the artist first draws the sketches on a piece of silk, satin or velvet. The artist then uses cotton to bring out the figures to be distinct and also strings beads and spangles with coloured threads and decorates the figures. Then embellishes the faces of the figures by his artistic work. Painting is one of the ten traditional arts and crafts. Embroidery painting is a combination of art and handicraft work. The embroidery is attractive to viewers to preserve Myanmar traditional cultural heritage.
Fabulous glassware decoration
Glass-wares, the clear colour and transparent materials are considered precious items, as their beauty is exquisite and at the same time decorative. And that's why we, Myanmar, like to use glass-wares not only in the kitchen but also use them as home decorations. Nowadays, Myanmar glass-wares are starting to compete in international markets. Though they are produced by machine, many of the glass-wares are hand-crafted, thus they are regarded as Myanmar handicrafts. There are many private glassware enterprises.
Among them Naga Glass Factory situated in Hlaing Township is well-known and sought out by buyers from with-in and out of the country. Many of the products have handicrafts designs. The raw materials are pieces of glass, lime, sand and silicon compound which are systematically mixed for the production process. Among the many items produced for decoration, the fish-shaped vase is very interesting. The main glass furnace has 8 crucibles that can be used to melt simultaneously 8 colours of molten glass. First, take required molten glass from the furnace, heated to 1200`C. Then make it round by turning it in a cup mixed with a little bit of water and oil.
Then the round tip is taken out by long pliers. That's the amazing skill of handicrafts maker. It's very important to create the desired shape in time, as molten glass can cool in a moment. That's the head of the fish. Moreover tactile skill is also essential in making the body. Later on, the eyes of the fish are placed. So also spines and fins are then made. To mould the molten hot glass, like wax, it depends on the skills of the glass craftsman. And it is also important to give heat if needed to the glass while moulding. How to make fish tail in a short time using long pliers is also artistic. Making of glass-mug is also amazing. After taking molten glass from the furnace, blow it into the cast iron mould. The mug is shaped out not only with mouth but also with skilful hands. When the molten glass handle is added, the mug is completed.
Making glass tube for science laboratory is also a speciality of this workshop. To produce these glass-tubes, two employees stand facing each other and one blow the molten glass into a well-proportionate glass-tube. To get fine glass-wares, one needs to anneal all the finished products in the kiln for 24 hours and cooled again for 24 hours. Molten glass is also used for cutting glassware. After polishing with abrasive machine, the smooth and wonderful glass-wares are ready to be used. Glass-wares are well-worth, priceless handicrafts and these fabulous glass-wares will always make fine precious household decorations.
Fabulous Shweku Dake Daw Gyi
Pakokku District lies on the west bank of Ayeyarwaddy River in Magwe Division, Central Myanmar. This District is where varieties of Myanma culture flourish in the days of Myanmar dynasties since the pre-pyu era. One of the culture heritages is the Shweku Dake Daw Gyi, the ornamental backdrop of a throne, inside Shweku Gyi Pagoda in Pakkokku. The intricate and genius work-of-art is famous not only in Myanmar, but is renowned throughout the World. The meaning Shweku Dake is the fabulous backdrop of a throne, which is designed and decorated with traditional Myanmar work of art. This work of art is one of Myanmar's ten traditional arts and crafts and the Shweku Dake Daw Gyi was created by purely Myanmar sculpture.
Among Myanma traditional sculpture, which is a work of art, all specialists and professionals regard the Pakkokku Shweku Dake as the best of it's kind. The Shweku Dake Gyi is 12' 10'' high and 5' 10'' wide and 6.8 inches thick, it is sculptured with Yamanay wood and on five-feet wood blocks. The eight layers of traditional works-of-art are carved. As the wood block is 6 and eighth inches thick, it is carved in eight floral layers, one layer is not even an average of one inch thick. Depictions on the Dake Daw Gyi are the main features of Daywar Yaw Ha Na Jataka, Nay Mi Jataka, Tha Mi Na Jataka and Bein Ma Tha Ya Jataka. Statues of Buddha, Arahat and Kings, the celestial beings, the Ministers and Princess and dancers were so superb that these statues look like real humans. On the Dake Daw Gyi, altogether 136 human, 18 birds and animals statues were carved right inside the eight layers on a single block of wood amazing all who behold it. It took four years for sculptors U Kan Gyi and son Maung Tay to complete the work of art. The tools, the chisels and over one hundred pieces of equipments used in sculpturing were made by the father and the son who were well versed in blacksmiths as sculpture and to access through inner layers of the main sculpture required intricate equipment. That is why, only those who knew sculpture and blacksmith could capture such a blend of art, which is amazing, one felt as if they were in the midst of the hills and forests. The characters depicting in the Dake Daw Gyi such as three-dimensional sculpturing of the chariot drawn by three horses in the eight-tired floral design were so lifelike. If one were to personally visit the Dake Daw Gyi, one world really enjoy the experience much more.
Glazed Earthen Pot
Myanmar generally use glazed earthen pot to store water, oil and also for interior and outdoor decorations at homes. The process of making these useful glazed earthen pots are as follows. First, the potters mix the red and yellow clay powder with water. And then, gradually shape thoroughly mixed-clay into various forms of pot by using their hands. The amount of clay they use depends on the shape and size of the pot they want to make. After that, they put them onto the potter's wheel and shape the pot. Before finishing, they give the finishing touch to the pot's mouth. Then pots get dry under the shade for 7 to 10 days. After that, they apply glazed lead carbonate liquid to the pot and dry the pot in the sun. When the pots are dried, put in rows and baked in 1300ºC over. After being baked, the pots are left in the oven for about 6 days till they get cooler. Then, 1st class glazed earthen pots are taken from the oven which are ready to be used. The potters also make small water pots besides the glazed earthen pots. Glazed vases with floral arabesques drawings are also available. The glazed earthen pots piled on the bank of Ayeyarwaddy River and ready for sold. The buyer will carry pots along the river by boat or bamboo raft forward to the market. That glazed earthen pots and ceramics are still part and parcel of Myanmar society even though plastic and metal wares are in vogue, nowadays.
The Gold and Silver Smith of Inlay
The Inlay region which lies in the southeast of Shan State receives its fame from the presence of a large natural island lake which lies in its midst like a sparkling emerald. The Intha and Inthu natives of the region are peace loving simple folks, but they are also persevering, patient and industrious. This may be why, we find in the Inlay region many diversified cottage industries famed for the high quality of their products. The weaving, pottery, blacksmith, gold and silversmith enterprises, which still thrive today, have been handed down through many generations. I would like to tell you something about the goldsmith and silversmith cottage industries of the Inlay region.
The goldsmiths of today still follow the true methods of yesteryear. The goldsmith begins his work by first melting the gold. The gold is then placed and hammered slowly on an anvil. The process of heating and hammering to flatten it goes on till the required gold foil is obtained. He then proceeds to make marks on the sheet of gold before moulding it into the desired article. Then only does he give it the final finishing touches. It sounds easy but it isn't. Each stage requires time and patience. The goldsmiths of Inlay produce jewellery such as rings, bangles, bracelets and earrings and so forth. The finished gold products are of high purity and are solid and chunky, preserving the traditional patterns of their forbears. The Inlay silverware is equally famous. Most of the stages of production in gold smithy and silver smithy are similar.
In producing silverware, bits and pieces of silver are first melted and after cooling, the molten silver is hammered into small blocks till it is ready for making the article desired. Suppose, one wishes to make a silver chain. Then the small blocks of silver have to be stretched and pulled to form filigrees. This takes a lot of time and patience, for thin silver threads cannot be obtained with one pull. To produce a silver bowl, needs even more painstaking work. The silver has to be slowly hammered to form a foil form outdoing into a round bowl.
Once the bowl takes shape, comes the more delicate work of tracing the traditional "Kanoke", that is the floral pattern of leaves and stems of the lotus vine, and figures of humans and figures from the Buddha stories. Then these designs are beaten and tapped again and again most delicately to form the relief figures that make a silver bowl a true work of art. Only when the artisan is satisfied, will he proceed to polishing and giving the finishing touches to produce a silver bowl of the Inlay region. The gold jewellery and silverware produced in the region are highly valued by the Inthas and Inthus. On occasions such as religious festivals or noviciation ceremonies and weddings, one can see the beautiful and artistic silver bowls filled with flowers for offering to the Buddha image, or with neatly folded robes for members of the Sangha (Buddhist monk) placed in them. These bowls are held by the prettiest damsels dressed in their finest, on their way to the pagoda or monastery to the joyous music of rhythmic gong and drumbeat. And of course, one will be able to see the happy smiling faces of the people, especially the ladies bedecked in the best gold ornaments produced by the gold smiths of the home region.
Historical Shwe Inn pin Monastery
The construction of Shwe Inn-pin monastery dates back 100 years ago. The architectural design of the monastery is the masterpiece of Myanmar architects in 19th century, Kongbaung era. It was built and donated by a devotee, U Sat Shwin, in 1895. The monastery has 164 POSTs with marble covers atop of them. There are altogether 8 brick stairs, one brick stair each in east and west and 3 brick stairs each in south and north. You can see 4 ft statues, relief and sculptures curved on the door leaves. You can also observe sculptures and relief everywhere on the spire like roof corners of the monastery. The monastery has a 7-tiered roof decorated with sculptures and relieves. It consists of Danu hall, Marabin hall and Bawga hall. 10 Jataka stories are intricately depicted on the base of the grand POST of the monastery in front of the Marabin hall. You can also observe masterpieces of a statue or celestial being noted for peacemaking and two royal attendants carrying a belt on their shoulders. Moreover, wood sculpture of floral arabesque, ornamentation with carved figurines and floral designs are intricately carved beside the throne in the monastery. Myanmar artistic work of Shwe Inn-pin Monastery is an ancient art museum, pride of Myanmar nationals. If you have an opportunity to visit Mandalay, please take a good chance to study the Shwe Inn-pin magnificent monastery in Day-won ward, Maha Aung Mye Township, Mandalay.
Kayin Traditional Weaving Industry
The Kayin State located in the South east of Myanmar is the residence of Kayin nationals, one of the national brethrens, are residing. The backdrop of Kayin State is the greenish forest and bluish mountain ranges. They make their living through agriculture and livestock farming. Weaving industry is also one of their professions of Kayin female. All the Kayin females are able to do every process of ginning cotton, yarning, and weaving. The imagination of the weaves for drawing the multi-coloured designs is very important. Golden and silver threads are also used in weaving. Stepping peddlers by foots & moving shuttle looms with the control of technical know how is very complicated. Shirts of Kayin male, blouse of female and longyi are very unique attires and weaving hand-made clothes are the evidences of preserving culture. Otherwise, one of the customs of the national brethren to be proud of.
Lei Gaing Monastery with Wooden Statuettes
The best place to study Myanma wooden crafts and architecture in one setting is none other than Lei Gaing monastery with wooden statuettes situated in Pwint Byu Township, Magwe Division in centurial Myanmar. It was built in AD 1883. Four corners of the monastery was decorated with carvings of Myanma traditional floral design. Timber was used for main pillars of the monastery. Seven tiers of roof were embellished with statuettes depicting stories of the Lives of Buddha. Each separate pillar around the building depicted each complete story of the live of Lord Buddha. Between each pillar, there exist three carved peacocks framed by floral designs. One will also witness mythical bird, carved on beams, which were used for supporting each pillar. To sum up, the monastery with many statuettes of Lei Gaing is like a museum or a storehouse of the heritage of Myanma arts and architecture.
Myanmar Musical Orchestra
The Myanma Musical Orchestra will consist of the leader who will be playing the circular drums, the oboe player, the brass gong player, the small gong player, the main drum player, the symbol player who plays the rhythm beat, on whose rhythm, the whole orchestra relies on for the melody. The music ensemble of Myanmar is somewhat different from that of European orchestra. It is dominated by percussion instruments, and the strings are absent here, its centre base is a circle of 21 drums called drum circle, which is the main function of Saing Waing or Myanmar orchestra. In other words, it can be called Putwainggyi or big circle drum because small orchestra or Putwainglay has only 9 drums. Around this gong-circle of Kyeewaing which is a full-scale instrument like the drum circle. These are a single large drum or Putmagyi (six-side drum of Chaukloneput), stick struck drum of Seedo, bamboo flute (Palway), oboe (Hne`), bamboo clappers or Warlatkhote, cymbals or lakgwin. In Myanmar music, its beats and rhythm are pounded by Se and War.
All these companion support the Saing Waing or drum circle systematically. Every player has to know by heart the left hand and right hand combinations and permutations of the notes of the composition just as much as the player of the drum circle. In deed, the gongs have to supply the notes omitted by the drums in their re-occupation with rhythm and emphasis. Myanmar singing most in key is the required direction in curves and loops, deeps and loose in free variation of rhythm and embellishment. It is free to pause on the pen artefact note for as long as the singer and the instrumentalist think fit. Such crescendo would be unthinkable in a European orchestra. So, we'd like to invite you to study at least one's performance of Myanmar orchestra.
Myanma Bamboo Parquet
In Myanmar, floor, wall and furniture used to be decorated with hardwoods such as teak and iron wood. Now, bamboo is being used instead of hardwoods for modification. Using bamboo is in harmony with Myanmar geography. Bamboo is a self-replenishing plant. So, if it is cut according to sustainable yield, there need be no worry for deforestation. Hardwood like teak is a valuable perennial tree but substitute for bamboo must be used in the long-term interest. Bamboo parquets are being produced at New Golden Bamboo Industry Ltd in Hlaingtharya Industrial Zone, Yangon.
Over three years Kyathaung bamboo has been used for bamboo parquet. Kythaung bamboo has rich veins and is hard. Only this bamboo of 3 inches diameter can be used because of equal texture. It is split into equal sizes and is boiled under chemical treatment to remove the sweetness and fat as well as to disinfect and dry it. The de-moisturized parquet states are water and heat resistant. After they are dried, MUF (Melamine Urea Formaldehyde) Glue and pressure is applied to obtain the strength when being struck to the floor. Bamboo parquet ready for use is obtained after four or five coating with Ultraviolet Acrylic Urethane Coating on its surface for resistance from heat and water and to prevent streaks showing up and to be bright. Regarding production of bamboo parquet, it is produced in natural and coffee colour. Besides bamboo parquet, we have produced other bamboo-based materials. So, Myanmar Bamboo parquet fetch good price not only here but also in foreign market.
Myanma Gem Mosaic
The precious stones from gem mines of our country are turned not only into valuable pieces of jewellery for personal adornment but into fine works of mosaic art to decorate the living room as well. These works of art are now gradually finding their way into the foreign market and are steadily establishing themselves as a source of income in foreign exchange for the country. The first thing the mosaics have to do is to paint the picture. Next selects pieces of low-grade uncut precious stones such as ruby, spinal, sapphire, jade, obsidian, apatite, lapis lazuli, calcite, peridot, etc, whose colours will match those of his original painting.
They then crush those selected pieces separately with such care as to get granules or speck of the size. These are then separated by size by the use of graded sieves. Now the mosaics come to the most exacting part of the creative work. Takes a sheet of glass or mica and places it on the original painting. Then, smears a fine layer of glue on it and sprinkles over it the granules or specks of gems, taking great care to match the colour, tone, light and shade of the granules to those of the original painting.
This part of the creative work demand to the concentration in order to select the right grand of precious gems to match colour for colour, tone for tone, light for light and shade for shade of the original painting. Finally, the mosaic is sunned for the glue to dry and then put in a frame. As every step of the production process is done without the aid of a machine the art of creating such gem mosaics deserves to be considered an innovative trade in the annals of Myanmar handicrafts.
Myanma Traditional Gold Leaf Works
Gold leaf works is a cottage industry that has existed since the time of ancient Myanmar monarchs. Gold leaf is mostly used for offering to pagodas. Myet-par ward in Mandalay Maha Aung Myay Township is the hub of gold leaf works. When you get into Myet-par word, first thing you will notice is a rhythmic sound like `tong ton...'' which come from small tents where pounding on packages of 6 inches square by big hummers. Each tent is a room about 60 square feet for gold leaf making. In the working room, a small table in east corner on which some offering to the guardian for successful production, such are; three branches of banana, a coconut, a currency note shaped in conical and a quid of betel inside. An earthen water-pot and sinking coconut shell inside is placed in front of workers, it is nothing but a timer for pounding. There are 4 or 5 workers on every day in each place and about 100 workers for 20 gold leaf making places.
In making gold leaf, first of all, refined pieces of gold are to be liquefied and turned them into thin and flat gold sheet 0.75 inch wide and 5 feet long out of 12 grams of gold. That gold sheet divided into 200 pieces. Each piece put into two layers of bamboo papers like sandwiches filling. In this stage, paper size is about 4 and half inches square and pounding with 6 lbs weight hummer for 30 minutes that gold expand to the size about a coin of US$ one. Next, gold foil is cut into 6 pieces and altogether 1,150 gold coloured bamboo papers with gold leaves are then piled up and put into a small leather bag for another 30 minutes pounding again. A coconut timer counts each time for 3 minutes and few seconds to sink completely into water. Second stage of pounding is completed when after coconut timer sink 9 times. A pounder can get a break between sinks of coconut cup into water about 30 seconds. Each sinking time 3 minutes and few second take 120 stokes in pounding. A pounder must know the weather condition because gold expand by heat and size in which he has to take an account room temperature. There are two ways of pounding, pounding to get more heat or to get more size. If it is over pounding, gold leaf will become gold pounder for melting again to began first stage.
Third or final stage is moving gold foil into a bigger size of bamboo paper 6 inches square and pounding for about 5 hours or 90 sinks of coconut timer, gold leaf making is finished and only left for packing. Straw paper will use in making packages. Each gold leaf cut into 2 inches square and put between to straw paper. Now it is ready to apply or stick gold leaf in a place of one's desire. I cordially invite you come and see our traditional way of gold leaf making in unique way.
Myanma Traditional Handiwork of Casting
The handiwork of making items cast or wrought from bronze, copper or brass is one of the ten traditional arts and crafts. Casting bronze Buddha images, bronze bells and triangular brass gongs include in these arts and crafts. Since the time of ancient Myanmar monarchs to the present day, the art of casting items was carried out as household industry at bronze casting part of Tanpawadi Ward in Chanmyathazi Township, Mandalay. Painting and crafting are added in the handiwork of casting.
In preparations for casting of bronze Buddha images, mixing of clay, husks and water comes first. The rough models of Buddha images are made of the mixed clay by craftsmanship. The clay model is only a rough one. The next step is to paste thin wax plates on the whole clay model. Joints on it are then polished. The model is then touched with the arts of crafting in detail. It is done so as the smelted bronze will take the place of the wax. The craftsmanship of the model depends on waxing of the clay model and polishing it in detail. After various processes of finishing touches, the rough models are covered with wax. They are again pasted with clay and taken down for pouring the smelted bronze liquid into the models, which are baked in an oven to melt the wax in them and to let it flow out. The models are then tightly bound with steel planking to keep them together. The rough models are then baked in a brick oven and given heat to an extent. Later they are taken out of the oven and placed upside down in a pit in the ground for the smelted bronze liquid to be easily poured into the models. Bronze and zinc are mixed and given heat to smelt it. One kilo of bronze is mixed with 70 % of zinc to acquire golden colour. When the mixed metals are smelted, it is poured into the models in the pits through ready-made holes in them. Manpower is vital in pouring the smelted bronze into the model and it is also harmful. The smelted bronze is systematically poured into the model by experience of the workers. If their guess is incorrect, thinness and thickness of the bronze layer inside the model will not be equal. Then take the models out of the pits and keep for two days to cool down the heat. The clay pasted on the models is hammered out to separate it from the models. Then the bronze welding is given according to requirements. A process of finishing touches is carried out on the models, which are then polished with Ingyin stone powder (petrified wood) so as to shine them. Those who cast the bronze are skilful to decide thinness and thickness of the smelted bronze liquid and weight of the metal by guessing. We can see today various kinds of significantly cast bronze handiworks in shops at pagoda archways. The handiwork of bronze casting is a traditional heritage, which had been presented generation-to-generation.
Myanmar Lacquer ware
Lacquer ware is one of Myanmar traditional handicrafts. It is made of strips of bamboo, hair of horse tail and wood. After polishing with black sap from the "Thit-si" tree, it is painted and decorated with floral designs. Lacquer tray, rice and cheroot boxes are exquisite household utensils and also souvenirs to be cherished for the tourists. To produce a lacquer ware, first, segments of bamboo are split and coiling work is started on a desired mould. Some items are missed with hair of horsetail and some are bamboo only. Then it is painted with resin that make framework to be stronger and then polished with a sharp knife to make smooth surfaces in and out. Again coated with resin mixed finely grounded and sieved powdered clay. Repeatedly, it is polished by hand with dry Dahat leaf (abrasive leaf). Each of above steps need 2 to 3 days to dry up. Good quality resin is used for coating 2 or 3 times in the final step. In accord with colour of sap is black, whole item is in black when it is done. The item has to be kept in the cellar for about 3 or 5 days depend on weather condition. There are available red and gold painted lacquer ware to meet the choice of different buyers. Red colour made by adding mercuric sulphide and gold colour with pure gold leafs.
We use finely grounded mercury to obtain the red colour, which is the dominating colour in making the traditional Bagan lacquer ware, and the colour, which is acquired by pounding the Hintha mercury, is very fine. We have to mix the powder with water and stir the solution till it's well-blended. The article that will become lacquer ware will first be coated with resin and after coating it with the powder solution it will be kept in the underground vault to be dried out. After applying several times according to one's taste Next steps are to put a floral designs and pictures on items come from our Myanmar believe and custom. First we draw lines to depict pictures of Buddha stories and way of life in our culture. Painting is based on line drawing in sketch and conception; so several stories can be placed even in a small item. A stylus etching to make a groove lines along drawing lines. There are 3 colours red, blue and green normally put into groove lines to match with it's nature like green for trees. Colour putting into groove line cannot be done in once for 3 different colours. Stylus etching to make a groove lines to be done one colour another. When after full colour is put into lines that become a complete design. Final polishing to make bright after colour painting is rubbed up by only plain hand with petrified wood powder. Some of the lacquer ware are painted with enamel paint. In this way, beautiful and elaborate lacquer ware are obtained. Please do not miss to visit this workshops in Bagan.
Myanma Toddy Palm: A Source of Rural Income
Toddy palms can be found throughout Myanmar except in the highlands. Groves after groves of toddy palms can be seen many from 50,000 to 100,000 in a stretch. Toddy juice is produced from the palm for drinking and making palm sugar or jaggery purposes. However, in central Myanmar, it is very important for rural economy. Toddy palm is very useful because over 80 million kilos of Jaggery is produced every season. The toddy juice and fruit can be consumed in various ways. The juice or milk can be consumed as sweet drink, fermented toddy drink or made into jaggery. Seasonally the toddy palm forms a cluster of fruit stalks that are sapped for juice. Once the sapping of the fruit-stalk is begun, it must be done daily. An earthen pot is used as container to store the juice. Toddy palm worker has to climb the palm twice daily to collect two to three pots of juice. By using a 20 feet long ladder, a toddy palm worker can climb 25 to 50 palms daily. A palm yields about two to three pots full daily and the juice is mainly processed for jaggery. Therefore, toddy palm is an important source of income for some of the rural populace in Myanmar.
Myanmar Traditional Art, Silversmith
Silversmith in Myanmar is a one of the traditional art. We are proud to use those utensils such as silver bowl, jar, kettle, necklace, armlet and rings are the products of silversmith. Silverwares are usually adorned with figures from religious stories and folklores and floral designs. To make silverwares, silver is mixed with brass and melt. When silver and brass melt and mixed, the alloy is transformed into ingots, which in turn are hammered and cut as required. Very roughly, this required ingots are created into many forms as desired. After that, we draw figures and floral designs on outer surface with pencil. Sealing-wax are used in filling up inside and cover outside of item, one step after another to make strong it's shape and forms when depicting figures in relief. These desired figures are then curved and embossed with chisel and awl. And after the curving work is completed, the silverware is polished and washed to shine and you will be able to witness intricate Myanmar silverware at it's best.
Myanma Traditional Tayaw-Kinbun Shampoo
As a saying,"Good health is a blessing", personal hygiene is important and the topic is "shampooing the hair". The good-look of the hair is a pride of Myanmar women because there's a saying " The splendour of a woman depends on her hair-style ". So, we have to choose what kind of shampoo is the best to have the dark, long and healthy hair. I would like to explain about the Myanma Traditional Tayaw-Kinbun shampoo. The Tayaw is the kind of small tree on shrub and its botanical name is Grewia Polygama. The Kinpun is the tree grown in dry region, and its botanical name is Acacia cocinna.
Now, how we can get Tayaw-Kinbun shampoo. First, dry hard and dark-brown Kinpun beans are boiled, cooled down and sieved). The Tayaw bark is stripped, beaten flat and soaked in water. The thinner the bark-ship, the more it is foamy. The Kinpun fluid can cleanse the dirt and the Tayaw can make the hair dark, soft and shiny. The shampoo is ready to be used after the Tayaw is mixed with the Kinpun fluid. Let's have a look at hair washing with the Tayaw-Kinbun shampoo. The Myanma traditional Tayaw-Kinbun shampoo is the bio-herbal, which is extracted from the natural resources. It has no chemicals so that is can be used safely by all walks of life.
The Myanmar people assume hair washing as auspiciousness. On the Myanmar New Year Day, the young pay respects to the aged by washing their hair and cutting their nails. It is a delighted scene. If one cannot have time to make the Tayaw-Kinbun Shampoo, there are small modern packets of Tayaw-Kinbun shampoo. Those have been made with modern machine and produced by local manufacturers and compete with other shampoos in quality, modern style and reasonable price. So, wish all of you to have the good-look of the hair by using Myanmar traditional Tayaw-Kinbun shampoo. Now you can see how good-looking of the Myanmar women with their long hair.
Myanmar Thanakha Incense Sticks
Myanmar People used to apply incense at the traditional religious affairs. To have a strange and outstanding smell of incense, you can make it with Thanakha- the bark of a tree give good smell, soft skin and protect from sunburn. So, Thanakha is familiar with Myanmar women. It is used for one of the natural cosmetics and all the people like its smell. The Thanakha with scented bark are perennial trees and mostly occur in dry zone of Myanmar. To make the Thanakha incense stick, you first have to mix the paste of the Thanakha stem, paste of the wood apple tree and that of the tamarind tree and which has been ground together and the water are moved through a sieve.
After the water is thus removed, you get pure paste that is applied on a thin bamboo stick. For this all kinds of bamboo are used stripped and cut in lengths of 10.5 inches or 11 inches. These strips are rolled with the pure paste. Then, it is dried in the sun and coated with various kinds of scented liquid and finally you get required Thanakha incense. Yaesakyo Township, Pakkokku district, in upper Myanmar is where you find most of the Thanakha incense stick industry. Production of Thanakha incense, using Thanakha trees, wood apple trees and tamarind trees threaten deforestation and they are replanted. When these plants are about seven years, they can be cut for the production of incense. It is not only one of our handicrafts and cash earners but also used for our religious affairs. Moreover, it brings you income as well as merit.
Myanmar Bamboo Xylophone (or) Pattalar
The Bamboo Xylophone (or) the Pattalar that is known in Myanmar language as an ancient musical instrument with the sound box underneath, with the seven graduated keys, it can produce melodious and unique sounds to the ears. Later on, ten keys were added and nowadays, 24 keys are being used.
The name pattalar means a musical instrument on which you can play from the crescendo to the bases or from the base to the crescendo. Whichever the musical has to be played and when you play the xylophone, you need two sticks wrapped around with the cloth at the top which can produce harmonious melody or sound.
To make a bamboo xylophone, first, you must split the Waboe bamboo into four parts and then immerse it in the mud, about a year and then you have to wash it thoroughly and later on, you have to smoke it for a year. So, the bamboo becomes seasoned. The seasoned bamboos are cut into slats which are smoothened out, polished and made in a left to right position where 22 bamboo slats are sandwiched with the largest slates which are one and half feet and shortest is 6 inches respectively. Later on, the slates are drilled with the holes so that the string, which will hold them together and can be passed through. In this way, the Myanmar musical instrument bamboo xylophone is made. There are seven musical keys in the Western musical note. Also Myanmar Pattala has seven musical keys, which are reproduced from the sounds of animals and also from Myanmar Oboe, which has seven holes. In the ways, we can see Myanmar musical instruments are differ in shape and tone from western musical instruments but they all have the same musical notes.
Naga Traditional Handicrafts
In connection with Naga New Year Festival, Naga traditional handicrafts and cultural showrooms were opened at Lahe' Sports ground. The handicrafts showroom displayed blacksmith, woodcarving and traditional crafts of bamboo, rattan and fur. There are various shapes and types of knives for various uses. The smithy or workshop consists of bellows employing twin bamboo cylinders and charcoal is used at the furnace. Iron rods are heated and then made into knives of sorts. Knives are kept in sheaths or hung on the loincloth. They are for various uses to bear in festive occasions varying in shapes and types. Just look at the knife borne by the middle dancer. In woodcarving, human figures were sculpted since early times leaving behind Naga statuettes. A demonstration of baskets and mat weaving by Naga nationals is also very interesting. Household articles made of bamboo and other crafts are also shown. Naga New Year Festival is celebrated annually. The festival is always great event for Naga nationals to celebrate their achievements to ponder over the future tasks a0nd forge unity and amity. There are areas of interest to be discovered. All are invited to come and see for yourself at your convenience.
Padonma Lotus Robe
Long since the arrival of Theravada Buddhism in Myanmar, offering various kinds of sacred robes to the Pagodas, Buddha Images and members of the Sangha have been upheld. Among various kinds of sacred robes, Padonma lotus robe from lotus fibre is regarded as sacred. And this kind of sacred robes can only be found of Inlay Lake because Padonma lotus can only be grown in Inlay Lake. After getting the Padonma Lotus Stalks form the Lake, these stalks are cut into pieces and from these stalks, fibre can get. These fibres are rolled into a tiny thread. About 50,000 of Padonma lotus are needed to complete a robe of human size. This thread can be rolled into handlooms. The lotus stalks are plucked and then washed. Later it soaked again in rice congealed and dried. The dried yarn is again spun and then it is made ready for finally weaving into a rope. Weaving a Padonma lotus robe is very time consuming and it has to work laboriously so it's no doubt its very expensive. The quality of this Padonma lotus is light, fragrant and suitable for all seasons. And if you have a chance, do come and visit Inlay Lake and you can study the process of weaving Padonma Lotus robe.
Toddy Palm Arts
Artistic handicrafts are in vogue to adorn the parlour as mosaics and works of arts. Toddy palm fronds can be converted into works of art. Toddy palms, mostly common to Central Myanmar are useful from trunk, leaves, and fruits to roots. Nowadays, dried palm stalk, dried palm leaves and fronds are valuable materials for works of art. In the creation of toddy palm arts, materials such as dried palm stalk, the frond, the hairy bark and the dried leaf are utilized. The most common artistic designs are depiction of scenes of rural life of Central Myanmar. The work is made intricately. The simplicity and the uniqueness of toddy palm arts make the works treasured souvenirs to visitors. It is also amazing to find the genius of the artist in these creations. So, Myanmar handicrafts and their innovative creations have won many hearts.
Palm leaves for roofing
Highland Toddy Palms grow in many parts of Thahton, Belin and Kyaik Hto Townships in Mon State, South Eastern part of Myanmar. Local people earn their living by manufacturing. Highland toddy palm leaves into useful utensils. Among them, stitching palm leaves for roofing is the most significant. A 7-year-old highland palm can bear 30 to 40 branches a year. Cut the stem of the leaf from the base and remove the stalk. Tear them into 2 to 4 pieces according to the size and pile them into two, corner and middle parts of the leaves.
Then, they can stitch 6 feet long roof sheets by versifying the torn leaves onto the cut and smoother bamboo stripes. 2 roof sheets can be obtained from 3 leaves of palm. Long stem highland toddy palm have long and soft leaves with large diameter. So it is better to use in roofing material. Local women's skilful and rhythmic work is amazing. Stitching root sheets is the main business in the region. Then, remove spines on remaining stems for making mats, unveil the over and smoothen it. After drying in the shady place for a while mat weaving is started. For a 6 feet long 4.5 feet wide mat, 270 stems are needed. A thousand roof sheets and 20 mats can be obtained from 1500 palm leaves. Mat weaves create beautiful designs according to their imaginations.
They can also make the relaxed chair's sheet by the stem of that palm in the frame of bamboo. After polishing neat and tidy the relaxed chair is ready to give you the treatment of cool and comfort. 5 million roof sheets are produced annually and transported to all over the country, especially to eastern regions of Bago Division. Highland toddy palm roof sheets can give cool feeling in summer and it can endure bad weather. So, Myanmar Traditional Houses from rural areas decorated with highland toddy palm roof sheets are calm and peaceful and environmentally friendly.
The Pathein Umbrella
The umbrella industry of Pathein, the capital of the Ayeyarwaddy Division of Myanmar's delta region, is well known in Myanmar. This cottage industry was established in Pathein over a hundred years ago. The first umbrellas were made of paper, in the course of time and experience; the makers became innovative and began to produce umbrellas with canopies of cottons, silk and satin with attractive floral designs. These newly fashioned umbrellas gained popularity with the ladies and sales expanded to the whole country. The umbrella attracts foreigners to buy as souvenirs or for interior decoration on walls and for use as unique lampshades. The production of the Pathein umbrella is more or less a family industry, and there is division of labour in the making of a single umbrella. Each worker is assigned a different task, with one responsible for making the framework of ribs and another the shaft, with still others making the canopy, the grip, the ferrule or the hub which holds the ribs together, and even the wedge or switch for opening and closing the umbrella. Each person works separately and is a specialist in his own line of work. The shaft and ribs of the umbrella are made of bamboo and the ferrule and grip from softwood locally known as "Ma-U Thit". The raw materials of bamboo and wood are obtained from the lower hill slopes of the Rakhine Yoma Mountain Range near Chaungthar, which is close to Pathein.
When all the different parts made by different craftsmen are ready, they are put together to make an umbrella. Then the canopy, dyed in pastel shades of mauve, pink, green and blue to deflect the sunlight, are attached to the frame, but there are a few darker shades too, such as black, dark blue and bottle green. When the canopy has been fixed to the rib frame, small flowers of varying shapes and colours are painted on the background colour. The wonder of it is that many different parts made by different hands all fit so snugly together, that one is able to open and close the umbrella smoothly without a hitch. Once the umbrella is folded then a small bamboo ring wrapped in coloured wool thread and attached with the same thread to an indentation on the grip, can be slipped on to keep the umbrella tightly closed. The bright and colourful Pathein umbrella seems to enhance grace and charm to Myanmar feminine beauty. Pathein umbrellas in all sizes and colours are readily available in any market throughout Myanmar, and since it does not take up much space when neatly folded, it would be ideal for foreigners to buy this lovely item as a gift for someone special.
Pottery, a home industry
One can get much benefit from the lands we live in Myanmar. It is very useful and gives great help in agriculture and way of life. Even the natural clay from the soil gives us very useful earthen wares for our daily use. You will be able to experience a family's pot making cottage industry in Shan state.
First, take good conditioned natural clay, sprinkled it with water and leave it for a night. In the morning, add the clay with sand and water and mixed them thoroughly. And then, pound and beat the mixture thoroughly to get the clay can be used in pot making. After that, ready to make unbaked earthen pots such as lid of the pot, vase, water-pot, earthen stove, etc on the potter's wheel. Patience, perseverance, diligence, effort, imaginations and inspirations turned the clays into useful utensils.
There is a saying in Myanmar concerning this process. It says "you can get a flameless and magnificent pots only if you pound them it well enough". And then, apply red clay onto the unbaked earthen wares are left to dry in the sunshine. Later pile-up with straws and covered with ash and then baked at the fireplace. At the end, you get nice-shaped hand made pots, ready for use or sale.
Shwe Nan Daw Kyaung
Shwekyaung (or) the Golden Monastery renown as Golden Kyaung Daw Gyi is 19 Century Kon Baung Manama Architectural Work and is 118 years old. It is situated in Maha Aung Mye Township, Dawna ward, Mandalay. Since a palace hall is constructed and donated as a monastery, it is gilded with glittering gold layers inside and outside thus called "Golden Monastery".
Golden Kyaung Daw Gyi is one of palace buildings on the northern side of Hman Nan Hall of Mya Nan San Kyaw Shwe Nan Daw Gyi Palace. When King Thibaw Min, son of King Mindon ascended the throne when father Mindon Min who built the Mandalay Yadanabon palace. King Mindon passed away in a building and that building removed and reconstructed a monastery at a cost of 120,000 Kyats on 31st October 1883 and donated it. Golden Palace Kyaung Gyi has a three-tiered roof. The middle upper second layer was the Zay Ta Wun Saung. Unlike the monasteries of an earlier era, in the whole of Shwe Nan Daw Kyaung, from East to North, there are 15 Teak pillars and South to West 10-pillar line. A total of 150 pillars and 54 Nayar decorated support poles and being built with five Thayet Kin Brick Stairs. The whole Shwe Nan Daw Kyaung is decorated with Myanmar woodcarvings, tapestry with floral designs of Kon Baung Era as well as fabulous works of art and doors decorated with bird and animal statues as well as Myanma cultural mosaic.
The front parts of the interior are teak pillars, the bases that are adorned with carving of Jataka stories in detail. In the interior of the eastern side is the Buddha statue made of cemented ashes of a branch of the sacred Maha Bowdi Banyan Tree revered by King Mindon. The Golden Shwe Nan Daw Kyaung Gyi resembles the original Mya Nan San Kyaw Shwe Nan Daw Gyi, which escaped allied bombing during World War II. It stands as a Museum of Myanmar Culture of which all Myanmar nationals should be proud of.
A thin kind of Paper
Myanmar is endowed with beautiful natural scenic spots. Especially, Shan state (North), the residing place of the Shan nationalities is rich with green environs. In Shan state, many plants and trees, which are beneficial to mankind, grow in large numbers. Paper can be made from a kind of fibre and the local people can make a living out of them.
First, the bark is exposed in the sun and soaked in water for a night. Then it is mixed with water, lime and ash and boiled heated. Ten viss of raw material are boiled for about one day. Afterwards, it is beaten with wooden slab and stirred while keeping in bamboo tube. When they become crumbled, pour them on a large cotton sieve with a wooden frame, and separated them to get smooth paper. Then, these are exposed in the sun for about five to fifteen minutes and pieces of paper are obtained. A five-member family can make 300 to 500 sheets of paper a day. The papers are delicate and can folded easily like a piece of cloth and they can soak water. Because you can find the raw material all around the country, this kind of cottage industry involving paper making is carried widely only in the Shan states. The fine paper we get here is distinctly used to create traditional elephant figures used in elephant dances in Myanmar.
Thin Straw and Bamboo Pulp Paper for Gold leaf making
Straw paper for gold leaf packing
Thin Straw Pulp Papers are being made in some rural areas of Myanmar as a cottage industry. The first stage of making its process is sinking dried straw into lime solution lasting at least seven days to about one month. These hard straws cook in steamer for twenty-four hours to become it soft. After cooking it, the straws wash with water to clean lime. Then, it dries sun heat. After that it is pounded to get pulp. The pulp mixes with water according to ratio and stirs it thoroughly. The mixture is poured onto the clothing tray. The bubbles on the surface of the mixture are removed by stick. This is to prevent from become holes on paper. After that the trays are leaned to sieve water. Now you can see the golden pulp stuck on clothing tray. These trays are put in the sunshine to dry pulps. When these are dry, they become paper. These papers are taken out and cut in required size. Thin straw pulp papers are used last stage in gold leaf packing for sale. As making thin straw pulp paper is a cottage industry, this is surviving as a traditional work in rural areas of Myanmar.
Bamboo paper for gold leaf making
The process of making Straw and Bamboo paper is almost same but the different is time consumption between the straw and bamboo paper-making. Bamboo is cut into pieces and sink into lime solution for 3 years. Good quality paper will not come out if less than 3 years in lime solution. The best time to cut Bamboo for paper is in the beginning of raining season and one year old bamboos. When after bamboo paper are cut in 6 inches square, every twelve cutting paper is sandwiched with one wet paper for twenty-four hours. After that, the sandwiched papers are placed on steal plate and beat it with hard wood stick. By doing so, bamboo paper become like wax paper but strong resistance for heat and pounding pressure and gold particles will not stick on paper as well. After all these stages, the paper is ready.
Thrones of Myanmar Sovereigns
Myanmar, is an ancient country with its own national identity, culture and civilization. Since ancient times, it was an independent sovereign nation ruled over by its own monarchs in their splendid palaces. So in royal ceremonies of days gone by, the throne of the King was the most important symbol of sovereign power. The King seated on his royal throne, would preside over various important ceremonies, and hand down judgments. However, different thrones were used for different specific occasions and there were 9 thrones altogether but of 8 different kinds installed in their respective halls. The thrones were known by different names depending on the ornate carved motifs that encircled and decorated the pedestal of the throne.
The "Thihathana" Lion Throne (numbering two)
There are two such thrones. It is made of "Yamaney" wood, which yields a smooth-grained timber. The pedestal is decorated with figures of the Myanmar Royal Lion. Hence the title Thihathana, for "Thiha" means "Royal Lion". One of these thrones is kept in the Royal Audience Hall located in the forefront of the palace building where the King resides. From this throne the King receives the homage of his ministers, queen, wives of courtiers, feudal lords and other officials. The other royal Lion Throne is located in the Hall of the Council of Ministers or "Hluttaw". From this throne the King passes royal judgments and issues royal edicts. It is a replica of the Throne in the Audience Hall.
The "Padommarthana" Lotus Throne
It is made of the wood of the mango tree and because the pedestal is decorated with lotus blossoms, so known as the "Padommarthana Lotus Throne". It is located in the Western Audience Hall where the King receives homage of the Queen and royal ladies.
The Bhammayarthana "Bee" Throne
It is made of wood from the tree of the cinnamomum species or caraway tree. The base is decorated with the bee motif. It is located in the "glass palace" used for wedding ceremonies, and on festive occasion such as the "Thingyan" Water Festival. It is also the throne for the King to spend his hours of rest and relaxation.
The Mayuyarthana "Peacock" Throne
It is made from the wood of the "Pauk", parrot tree and its motif is the Peacock. It is kept in the West Entrance Hall. The King accepts tributary gifts such as a white elephant or a horse of high stock.
he Migarthana "Deer" Throne
This throne with the "deer" motif on the pedestal is made of the wood of a species of the fig tree, usually found near watercourses. It is placed in the South Entrance Hall. The King uses this throne for charitable events such as alms giving and noviciation ceremonies.
The Hantharthana "Brahminy Duck" Throne
This throne is made from the wood of the Thingan or rock dammar tree and is decorated with the stylised figure of a Brahminy duck. It is located in the East Zetawun Hall, which has a three-tiered roof. It is used for religious occasions when the Buddha Image is placed on the throne and on diplomatic occasions when the King receives foreign envoys.
The Gazathana "Elephant" Lotus Throne
This throne is made of the wood of the "Sagar" (champak) tree and the pedestal is adorned with the elephant motif. Its place is in the Privy Council Hall. This is the throne from where the King issues royal orders and edicts.
The Thinkharthana "Conch Shell" Throne
This throne whose base is decorated with the 'conch shell' motif, is madeof the wood of the Jack Fruit tree. It is placed in the Open Air Balcony, which is also called the Royal Crown Room. It is used on occasions for granting royal audience as well as when the King occasionally listened to religious sermons.
The ancient Kings of Myanmar thus used 9 thrones each with its own functions and respective motifs of lion, lotus, bee, peacock, deer, hintha, elephant and conch shell, which were considered auspicious. But of the 9 existing thrones 8 were destroyed by fire in the Second World War. Only one of the two Lion Thrones survived. This throne has been renovated and refurbished in its original splendour and is now on display at the National Museum for the benefit of scholars and researchers.
Traditional Weaving Art
Traditional weaving art is one of Myanmar's crafts. It is an honoured handicraft handed down from generation to generation. The Myanmar makes their clothes on these handlooms. Since long days ago, cotton is grown in rural areas to be used to make clothes on the traditional looms. This tradition is still practised in those rural areas. To get a longyi, threads are dyed to their desired colour and wound on spindles. Then, these spindles are arranged accordingly to colour in order to obtain the desired design. Then, weaving work is started. Here, they are weaving women's longyi in all sorts of floral designs which Myanmar women are fond of. Damsels who are weaving use both their heads and legs skilfully in making beautiful artistic cloths. Myanmar hand-made cotton clothes, which are good for one's health, are sold at reasonable prices. We invite you to come to Myanmar and see for yourself the traditional way of how these hand-made clothes are made and try them on yourself and relish the feeling of comfort and freeness case.
Usefulness of the whole toddy palm
The natural palm, which is a kind of beauty in rural areas of upper Myanmar is called toddy palm. Dry season is the like of toddy palm and wherever we see, in the central Myanmar, it is covered with the toddy palm forest. Toddy palm is a kind of steep palm tree and its usefulness is very wonderful. In the season of toddy palm, palm climbers bring their implements and climb toddy palms to tap toddy sap. They usually tap toddy sap twice a day in the morning and in the evening. There are two kinds of toddy sap. One is sweet and another is a little bit stronger in tastes what we called bitter toddy sap. Sweet toddy sap is used to made jaggery, which is medicinal. Myanmar people usually have it as a snack with green tea, which goes well. Some people drink the strong ale toddy sap as liquor. Leaves of toddy palm are used as roofing of the houses. Stalk of Palm and fronds of the toddy palm is divided into strips, which are to be made toddy boxes, baskets and hats. In addition, comfortable chairs are made of using stem of toddy palm. Toddy fruit can be eaten and also can eat the shoot of toddy palm-nut singed. Stem of toddy palm can be made walking stick, tables, house poles, yoke, bridge pole and cattle feed box. Therefore, toddy palm is very useful for rural areas dwellers given by nature.
Mother-Of-pearl Mosaic Painting
Paintings are designed in accord with Myanmar traditional way of life, Buddha stories and famous sceneries. Mother of Pearl, gems and variety of oyster shell in different colours are used for certain places to set a picture. Colourful germs and jades of various sizes are glued on the pattern. The significant thing about this painting is that in designing and decorating the picture, all the works are done only by hand. Most people know only that pictures are sketched with pencil or painted with brush in watercolour or oil.
How a picture of mother of pearl mosaic is created?
The answer is, Myeik Archipelago in Southern Myanmar abound with variety of oysters, including pearl oysters. Shells are various colour and sizes. The largest shell of an oyster is about 9 inches. To shape and design these shells, first to saw shells off a piece according to the size desired, and then it is scraped off by a sharp knife and sand paper to get original colors. Some shell give green and some give brown, black and white. Mother of pearl has five colour layers. the first layer is green, second layer is brown, third layer is light brown, fourth layer is white and fifth and final layer is shiny rainbow colours.
Shells are covered in moss and slime make gray and dull in sea water. Therefore, oyster shells need to be cleaned to bring out the gloss and sheen. The instrument used in this process is a small, mechanized wheel to which sand paper has been attached. After repeated rubbings the last layer of original shiny rainbow colours slowly emerge. Depend on design and colours to be used in painting that mother of pearl will be seen in its natural colour of green and brown in some painting that you may not notice it.
Thus, the characteristics of mother of pearl painting are;
- All colours seen in a picture are natural colour of shells and no artificial colour was used.
- The designer need great creative eye and imaginary feeling within limited colours.
- All process is done by hands, need skill and time.
Creating an inlaid mosaic picture of mother-of-pearl. One has first to draw an outline sketch on a piece of velvet. The mother-of-pearl and other shells are then cut and fashioned according to the pattern, colour and figure to be glued onto the velvet piece. But it is not simple task of gluing together the pieces. Each piece has to be carefully laid in the appropriate place so that its hues will not clash, and the one needs an artistic eye. Moreover, the right size of shell has to be selected from the very beginning. The sparkle colours of the shell are natural. After the colourful mother-of-pearl has been laid then semi-precious and low-grade gems are arranged around the shell figures to enhance their beauty.
When the picture has been completed it is first aired and dried before putting the picture in a glass frame. Now you have an artistic picture that is very similar to a painting, but is actually a mosaic of inlaid mother-of-pearl and colored stones. All in all, it needs a creative imagination, an artistic eye and skill to produce such a picture. These oyster shells with their hidden beauty were once unseen under the waves of the seas. But the innovative spirit of man has been able to create a thing of beauty. This special art of inlaid mother-of-pearl picture first appeared on the Myanmar market about ten years ago. Now they have begun to draw the attention of buyers from far and near. These purely hand-made paintings can now be seen in foreign markets and we can be proud of them because these are the creation of Myanmar artists.
