Information Sheet N0. C- 2178 ( I )
Okkar66126
YANGON
Information Sheet
N0. C- 2178 ( I ) 14th, April, 2002
This office is presenting an article entitled "Myanmar Tapestry" written by Kyi
Kyi Hla which appeared in the Myanmar Perspectives Vol. 5 1/2000 for your
information.
The art of tapestry or "Shwe Chi Hto" (gold embroidery) as we call it, is said
to have originated in Myanmar about a thousand years ago. It is a form of
needlework to create a variety of pictures and patterns so delicate and
detailed that it requires skill, artistry and patience. It is a highly
decorative embroidery that employs gold thread as its name indicates, but in
fact silver and coloured threads as well as other materials such as tinsel,
sequins, semi-precious gems, colourful cut glass, seed pearls and beads go into
the making.
The earliest record of such embroidery is the mention and description in
Chinese chronicles of the costumes worn by the 35 artistes and musicians of the
Pyu Period who were members of a cultural mission to China during the reign of
King Mahayaza, circa AD 800. The garments and headgear they wore were said to
be aglitter with gold and tinsel and tiny tinkling bells. Then in the Ananda
Temple of Bagan can be seen a wall frieze of the birth scene of the Lord Buddha
in which mother Queen Maya is clad in a nether garment adorned with, in all
likelihood, gold embroidery. Evidence of such embroidered apparel can also be
found in other temples of Bagan like the Lokahteikpan and mention of it can
also be found in Myanmar literature. A description of such embroidery is found
in the Laymyethnar stone inscription which says:
"...adorned with colours and copper thread."
The eminent monk-author of the Inwa Period of the 15th century also describes
garments of court ladies artistically embroidered with gold thread in one of
his epic poems " Taunt Tai Htun". There are written records in later periods
which show that the art of gold embroidery was very much alive and flourishing.
The Kaung Hmu Daw Pagoda inscription of the 17th century Nyaungyan Period
contains a description of the clothes worn by courtiers decorated with artistic
gold embroidery.
By the 19th century, Myanmar diplomatic missions venturing to foreign parts
brought novelties that included raw materials and new techniques to further
enrich the original embroidery. When King Alaungpaya was exerting every effort
to consolidate the Third Myanmar Empire, conflicts broke out with neighbouring
countries over boundary demarcations. Prisoners of war from these battles with
Manipur and Ayudhia brought in new skills and patterns in embroidery and in
other arts and crafts.
Then in the last Myanmar Dynasty of the Ratanabon Period, trade was further
opened up to the West, and this brought in an influx of new materials. There
was satin and velvet from China, sequins of all shapes and sizes and tinsel
fired the imagination of the creators of tapestry and the embroidery, if
anything, became more elaborate and intricate.
The centre of this craft was and still is Mandalay, the long-standing hub of
Myanmar culture and art. The ancient ceremonial royal raiment known as the
"Maha Latta", worn from time immemorial by kings and queens is a very heavy
gold-embroidered and gem encrusted robe. The Maha Latta was worn by King Thibaw
and Queen Suhpayalatt, the last reigning monarchs of Myanmar. Their robes were
the creation of skilled seamstresses, goldsmiths and other artisans of
Mandalay. These raiment are on display at the National Museum in Yangon. The
embroidery of gold thread and gems is so fine and intricate that it defies the
imagination of an unskilled layman. The most outstanding artisans became court
craftsmen by royal appointment. They sewed and embroidered all kinds of royal
raiment for the monarch and the royal family, ministers and generals, from
headgear down to footwear as well as other furnishings for the royal place such
as wall tapestry, fans, cushions, pillows and so forth.
The national ethnic groups also favour gold embroidered garments and headgear.
The ceremonial dress and headgear of the Mon, Rakhine, Shan, Palaung, Kachin,
Kayah, Padaung, Akhar and many others are heavily embroidered in gold and
silver thread and encrusted with silver ornaments and beads. They are really
gorgeous.
It takes a lot of time, practice and perseverance to become skilled in this
decorative art of embroidery.
To create an artistic piece of traditional Myanmar gold thread embroidery one
needs a piece of white cloth of suitable proportions that has to be stretched
and tightened on a square wooden frame. Then on the rigid and smooth surface
the figures or patterns desired are sketched in outline with charcoal or
pencil. In ancient times the basic motifs were floral patterns, vines and
curlicues. The sketched outlines are then stitched over with gold, silver or
coloured thread. This is the edging or border of the central picture of the
embroidery. Then comes the ornaments that are sewed on such as silver stars,
sequins, cut glass, beads and seed pearls to bring the picture to life. This
part of the embroidery is called" ayoke cha gyin", which literally means"
laying down the figure". Then the stitches are brushed over with glue on the
underside to strengthen and prevent the threads from breaking. It also makes it
easier to cut out the figures separately. The cut figures or pictures are then
appliquéd on the piece of velvet or satin or silk which will form the
background of the embroidery. However an opening is left through which cotton
is later stuffed to make an embossed figure. Then other adornments such as
sequins, beads, seed pearls and semi-precious and even precious gems are added
around the figure which is the central theme of the embroidery, to form a
backdrop. Depending on the main figure or theme this backdrop could be a palace
or a pond, a forest glade or a galaxy of stars or just patterns pleasing to the
eye. Some of the more elaborate tapestries bring to life tales from the
Jatakas, tales of valour and historic events. Sometimes a colour painting or a
patchwork of coloured velvet is worked into the picture. Whatever it may be, it
certainly requires great skill and artistry. The gem studded embroidery has to
also call upon the work of gold and silver smiths. So a picturesque Myanmar
tapestry is hardly the work of a single craftsman but a cooperative effort.
The needlework is varied and delicate and the names given to different stitches
are truly fascinating.
The patterns and names given to the small coloured cut glass are equally
fascinating. Some of them are called Diamond Dome, Rhomboid, Emerald Square and
Banyan leaf.
The sequins used in the embroidery for royal wear was made of genuine gold or
silver and the artisans who made them lived in their own colony known as
"Kyaikhat Win" as their descendants still do today. The ward where the gold
embroidery is famous for is still known as " Shwechi Hto" ward to this day.
In creating gold embroidery, the size, colour, designs and patterns as well as
the materials to be used depend on the object it is intended for, and in the
days of the monarchy the place or person intended for.
A whole range of objects was adorned with gold and silver tapestries including
monasteries and palaces. Some tapestries were used to adorn the ceiling of a
shrine hall or used as room dividers and wall hangings in monasteries and in
palaces. Sometimes an entire wall would be hung with heavy tapestry. Other
smaller objects such as fans were edged with gold embroidery. Then there were
cushions and pillows and even palm leaf manuscripts that were ornamented with
delicate gold embroidery. Royal crowns and coronets, headdresses and turbans,
cuffs and sashes were embroidered with suitable insignia of rank and royalty.
Other apparel for royalty were embroidered with pure gold thread and gems right
down to the footwear. The harnesses and saddles of elephants and horses were
also decorated with such embroidery for auspicious and ceremonial occasions.
A young novitiate temporarily entering the Buddhist Order of monks is allowed
to dress in cloth of gold and a gold embroidered crown after the manner of
royalty before he has his head shaved to cast off all worldly accoutrements to
lead the life of an ascetic. Similarly, a teen-age girl often wears a gold
embroidered headdress and costume at her ear-boring ceremony.
The traditional designs and patterns were usually based on the Jataka tales and
historic events or were depictions of celestial bodies and nature at different
seasons of the year. There were also animals from elephants and lions to birds.
Nowadays, Myanmar tapestry has become an attraction for tourists from abroad
and there is a wide variety of objects in gold embroidery. The traditional
tapestries are still available but there are many
eye-catching novelties like clutch purses, handbags, cushion covers and even
baseball caps. But the basic figures and illustrations and the techniques
remain about the same. Because of the huge popularity of Myanmar gold
embroidered articles the previously small cottage industry has now spread to
Yangon and other places. This has opened up employment opportunities for women
with a skill and talent for needlework.
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