Crafts

The northern parts of Thailand are famous for the fine workmanship of the lacquerware, silverware and woodcarvings made there. The crafts are influenced primarily by Burmese traditions, but also by the heritage of the Shan States, the Khmer, and Thai tribal groups such as the Khoen. Lao craftsmen also contributed to the mix, particularly in the field of weaving. As in all parts of the country, Buddhism, tinged with Hindu and animist elements, is a major motif of the handicraft arts. While many cultures contributed to the styles of northern Thai handicrafts, the resulting products are distinctively Thai and northern. They are easily distinguished from similar crafts made in Burma or other parts of Thailand. This may be partly because the area lacked good transportation and communications infrastructure until the early 20th century. Isolation gave rise to designs and techniques which are unique to the area.

Silverware
For almost a thousand years silversmiths have practiced their craft in Chiang Mai, which was the second capital of the Lanna kingdom which controlled much of northern Thailand around the same time the Sukhothai kingdom was being established. Legend has it that 500 silversmiths and their families fled from Pagan, Burma, to Chiang Mai in the late 13th century to escape the onslaught of the advancing Mongols. At that time, and for several centuries thereafter, silversmiths were considered prizes of war and were often kidnapped by conquering rulers and put to work in the royal household. The Burmese later conquered Chiang Mai, and their influence on Northern Thai Silver has been profound. Both the Burmese, and the Shan states of northern Burma and Thailand, have a long tradition of working silver, and the styles, particularly the floral and flame patterns, Buddhist images, and mythical figures, distinguish it from the silver of the South and Central regions. Shan bowls and boxes often depict the twelve year cycle of life represented by the mouse, ox, tiger, rabbit, dragon, small snake, horse, goat, monkey, chicken, dog and elephant, in that order.

Lacquerware
Chiang Mai is also renowned for the fine lacquerware produced there which, like northern silverware, also reflects a Burmese influence. The art of making lacquerware originated in China, or possibly Persia, and reached Thailand by way of Burma. Traditionally it is made of the black resin of the Lak tree applied to a base of bamboo or teak, with hand painted designs made from natural pigments. The techniques of the traditional craftsmen have to a large extent been supplanted by commercial producers who may use other kinds of resins, apply them to a base made of clay or metal, and use synthetic pigments. This is a response to the increased demand for lacquerware products, primarily from tourists. The traditional methods which made it popular with royalty in centuries past, and which use a slow process of repeated lacquer coatings and drying, can take weeks or months to produce a finished piece. These techniques are not well suited to large scale commercial production. A few highly skilled artisans still use the traditional methods.

Probably best known are the color fill engraved lacquer pieces with gold on a black background, known as Gold-Leaf lacquerware. Also well known are the pieces which incorporate mother-of-pearl designs. Many kinds of lacquerware objects are produced, including trays, betel boxes, and alms bowls, with designs based on the Ramakian or Buddhist stories, or sometimes with designs of flowers and trees. Intricately designed lacquerware boxes were sometimes commissioned by nobility or wealthy merchants, who donated them to monasteries at the time of their death in order to make merit. Lacquerware was also used in the decoration of ornamental door and window panels for palaces and wats, or temples.The art is thought by some to have reached its peak during the late Ayutthaya or early Bangkok periods (17th and 18th centuries), and to have gradually degenerated thereafter due to Chinese artistic influences.

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