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Lacquerware of Bagan has a long tradition. Isolated evidence from ancient lithic inscriptions in and around Bagan, references in old literature and chronicles provide proof that the art of lacquerware had existed with other arts and crafts at Bagan in its heyday (11th to 13th century AD). Besides there are archaeological finds of ancient lacquerwork dug up at the excavations. A tube lacquerwork dated AD 1274 was found in the Mingala Ceti at Bagan. On display at the Bagan Museum are a number of excavated antique lacquer works such as Buddha images, votive objects and household pieces.
Reasons for the continued survival of the art at Bagan
The availability of materials used in lacquerwork, making the transmission of the art to the next generation in the family and local, and later, foreign demand for the lacquerwork explain why this time honoured art of Bagan has not died out totally but continues to survive.
Lacquer in Myanmar is called "Thitsi" meaning the sap of a Thitsi Tree (Melanhorrea Usitata) which is native to Southeast Asia. In China and Japan the tree from which lacquer is tapped is a different species "Rhus Vernicifera." In Myanmar,the Thitsi tree grows wild in the Shan State and hilly regions. The resin of this tree has been extracted and used for coating and varnishing by Myanmar folks since time immemorial. A person who earns his living by the art of coating and varnishing with Thitsi is called "Thitsi thama".
Bamboo and wood that are used as frame or base in making lacquerwork are easily and cheaply available around the Bagan area. Besides cowdung, saw dust and animal bone which are some of the ingredients used in the preparation of some lacquerwork are found in the countryside as Myanmar is an agricultural country.
Traditional art of Bagan
Though not all Bagan people are lacquerware makers, a majority of them are engaged in this art which has been transmitted from generation to generation either within the lacquerware making families or in village guilds which are run by lacquer masters with a few apprentice pupils. Lacquerware making in Bagan is a cottage industry as it always has been. The lacquerware training school set up under the Department of Home Industry in the post- Independence period has been upgraded to institute-level by the present Government and trainees are recruited from around the Bagan area. They receive stipends and scholarship grants from the Government. There are quite a few private Guilds which train lacquerware makers and also open lacquerware shops at Bagan and at other centres of tourist attraction in other ancient cities.
With the promotion of local and foreign tourism, the adoption of market-crientated economy and accession of Myanmar into the ASEAN (Association of South East Asian Nations ) in 1997, lacquerware making has become a thriving industry. Particularly Bagan lacquerware is noted for its genuineness, skilful wormanship and traditional colour and design. Bagan lacquerware is enjoying good market at home and abroad.
Types of Bagan Lacquerware
Roughly speaking the following types may be listed:
 Plain lacquerware
Incised lacquerware
Gilt lacquerware
Relief moulded lacquerware and
Glass mosaic and gilt lacquerware
Plain lacquerware is called Kyauk Kar in Myanmar. It is a native product made of wood or bamboo and lacquerware resin. Because it was first produced in a place named Kyauk Ka, a village near Monywa, it came to acquire that name. Plain lacquerware has only two colours, black and red which are natural pigments. Such products comprise trays, goblets, cups, rice containers, boxes, chests to keep clothing or books and salvars to serve pickled tea and sweetmeats etc.
Incised lacquerware is called "Yun" ware. The framework is made of the same materials used in plain lacquerware. Mostly wicker frames of bamboo strips are used. Many coatings of lacquer are applied to the frame. The design and decoration are exquisite. Designs and motifs are incised on the surface of the object with a fine iron stylus. Incised areas are filled with colours red, yellow, orange, blue, green, white and black. Such types of lacquerware are produced for ornamental, decorative and votive purposes. There are folding screens, folding tables and chairs, flower vases, caskets for keeping relics, chests, plaques, plates, napkin rings, bangles and souvenir pieces.
Gilt lacquerware is Shwezawa in Myanmar. Incised designs and figures on the surface of the lacquer coated objects are filled up with gold foil, achieving an extremely regal beauty. Such type of gilt lacquerware in olden days was reserved exclusively for royal use or for offering to Buddhist shrines. Some old temples and monasteries still have their walls and ceilings coverd with gilt lacquer plaques.
Relief moulded lacquerware is called Tha-yo in Myanmar. Tha-yo means animal bone. Ashes of animal bone, paddy husk and sawdust are concocted into a very sticky plaster. Sometimes cowdung powder is added to it. This pliable plaster is mixed with lacquer and rolled into long threads of required thickness. With an iron or wooden stylus these threads are stuck onto lacquer coated surfaces of the object forming a relief on the designs already sketched out. Skilful craftsmen can create any design or figure freehand. When the Tha-yo threads dry up and are pasted firmly on the surface, many lacquer coatings are executed on them. Finally colouring or gilding takes place. A good work of Tha-yo is so neat and so fine that it can be easily mistaken for a carving.
Hmansi Shwe Cha Yun is the Myanmar word for glass mosaic and gilt lacquerware. Pieces of mirror or coloured glass are cut into different shapes. They are inlaid in the surface of Tha-yo lacquerware by applying special lacquer as adhesive. The whole object is gilt and then washed with water which carries away the gold foil from glass pieces leaving only those on the Tha-yo. Plinths and thrones for keeping Buddha images or couches for head monks to sit on while preaching, chests, betel boxes, caskets, containers for jewellery, covers of folding manuscripts and palm leaf manuscripts are made of such lacquerware.
Betelhut Container & Rice Container
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Basket (or) Pa-Lo-Taung
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Soon-Oak
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Soon-Oak
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Tha-Beik
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Dawn-Lann
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Farmer Rice Container
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Arakanese Flower vast
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Dawn-Lann with Tri pot
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Lunch Box and Soon-Oak
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Soon-Oak and Rice Container
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Soon-Oak
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Oil Pot and Rice Container
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Cigar Boxes
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Variety Lacquer Wares
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Soon-Oak and Dawn-Lann
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Soon-Oak and Clothing Container
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Soon-Oak and Lunch Box
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Beletnut Containers
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Manuscripts Box
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Soon-Oak and Flower Bowl
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Soon-Oak, Betelnut Box, Rice Container and Lunch Box
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Soon-Oak with Stud glass
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Soon-Oak
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