Lacquerware art reached its peak during the Konbaung Period. The production of lacquerware objects in Myanmar expanded to thirteen locations in the Sagaing Division, three locations in Bago Division, three locations in the Magway Division, six locations in the Mandalay Division, one location in Rakhine State, and seven locations in Shan State. During the British colonial period, the art of crafting Hollow Lacquer Buddha statues went into decline.

Myanmar is known for producing six distinct types of lacquerware:

• Plain lacquerware (Kyauk-ka)
• Incised lacquerware (kanyityun)
• Gilt lacquerware (shwe-za-wa-yun),
• Relief moulded lacquerware (tha-yo)
• Glass mosaic and gilt lacquerware (hman-zi-shwe-cha)
• Dry lacquerware (man yun or man phaya).

During the Pagan Period, lacquerware lacked decorative adornments and was simply plain black. However, in the Inwa Period, paintings started to emerge on lacquerware. The Nyaungyang Period saw the surface of lacquerware being engraved with a fine iron stylus. It was during the Konbaung Period that lacquerware truly reached its pinnacle with the introduction of Shwe-za-wa (gold leaf lacquerware), Tha-yo (relief moulded lacquerware), and Hman-zi-shwe-cha (glass-inlay lacquerware).

The production of lacquerware involves the use of materials such as bamboo or wood, resin (thit-si), vermillion, yellow orpiment, indigo, and gold leaf. However, during the Colonial Period, the lacquerware industry faced a significant decline due to the influx of imported goods. It was only after Myanmar regained its independence that the government took steps to preserve this traditional handicraft by establishing the Institute of Lacquerware.

Information source:

“Art and History of Myanmar Lacquerware”  By Dr War War Oo

History of Burmese Lacquerware