Embossed elegance

THE USUALLY quiet National Gallery was positively buzzing last Tuesday as several hundred people turned out for the opening of “Salak Dun”, an exhibition of ancient elaborately embossed metalwork from the collection of noted art historian Paothong Thongchua.

Indeed, so large was the crowd for the compact exhibition room that visitors had to take it in turns to gaze appreciately at more than 300 rare pieces painstakingly crafted by old masters more than a century ago. Displayed in glass cabinets, the priceless treasures are divided into Thailand’s four regions to clearly illustrate the distinctive styles and motifs of each region, as well as those of neighbouring Myanmar, Cambodia, Laos, and Vietnam. 

“Salak Dun – chasing and repousse – is an age-old art technique requiring highly skilled craftsmanship to delicately craft the pattern on the surface of the metal and emboss from the back to give a higher relief. I hope to raise awareness of this high art form that has been associated with Thai culture for centuries, as evidenced by royal regalia, the architectural embellishment of temples and pagodas, utensils for religious purpose as well as ordinary household utensils,” says Paothong.

The chasing metal technique is used to refine the design on the surface of the work by sinking the metal while repousse is used to work on the reverse of the metal to form a low or high relief on the front.

Once made with the purest gold and silver in exquisite patterns, the metal art is today mainly produced with aluminium, copper and tin while machines have taken over the painstaking work once carried out by man.

Many steps in the process of handmade silverware demand the skills of highly trained craftsmen who seem to be on the decline, despite the efforts of several institutes like the Fine Arts Department’s Office of Traditional Arts, Sirikit Institute, and Kanchanapisek Royal Goldsmith College in preserving this refined art.

The stunning century-old collection of chased and repousse silverware from the North of Thailand has silverware sets deeply embossed with a curl pattern at each end called gon hoy (snail-like motif), and highly ornate belts, bowls and boxes with floral and pine leaf patterns as well as the 12 animals of the Chinese zodiac signs.

“Lanna embossed metalwork reflects the cross-cultural influences of Lanna, Luang Prabang in Laos, Shan state in Myanmar and Sibsongbanna in China. The history can be traced to the reign of King Mengrai (he consolidated his power by merging the cities in the north and founded the Lanna Thai Kingdom in 1296 with Chiang Mai as the capital). He brought skilled goldsmiths and silversmiths from Mynamar, Laos and China to Chiang Mai, Many of them lived around the Wua Lai area, which is still famous today for its metal carving and embossing. The embossed patterns of Lanna are thus a mix of cultures,” says Direk Sittigan, named a master artisan of Thailand by the Support Arts and Crafts International Centre of Thailand.

Direk himself is a master of embossing in the Wua Lai community and known for his work in building the world’s first embossed silver and metal ubosot (chapel) at Wat Srisuphan in honour of His Majesty King Bhumibol Adulyadej and to demonstrate the exquisite craftsmanship of the Northern artisans. 

From the South, there are embossed silver trays, bowls, belts and betel nut containers. Many of these were created by artisans in Nakhon Si Thammarat – a city known for its nielloware and silverware.

“Many embossed patterns of the South share similarities to those of the Central region as seen in kanok (flame-like motif). During the second Burmese-Siamese war in the 1700s, which resulted in the sacking of Ayutthaya and the end of the kingdom, many Ayutthaya artisans relocated to Nakhon Si Thammarat and finally integrated their chasing and repousse technique with the South’s niello making. Several patterns like the dok pud tan (a hibiscus-like relief) were also influenced by the Chinese artisans of Guangdong,” says Teerachai Chantarangsi of the Office of Traditional Arts.

The Ban Pan Thom, Ban Mor and Wan Chat Bridge areas of Bangkok were once the capital’s centres for embossed metalwork though business today is very much on the decline. Paothong was able to source silverware dating back to the early 1900s produced in these communities including bowls, tray, serving spoons, ice bucket and tea container that were chased and embossed with intricate bas-relief patterns of the peacock, grapevine and Chinese zodiac signs.

“The exquisite chased and repousse works were a status symbol. 

The royal regalia were made of purest gold and commoners were not allowed to use of gold for certain items. Noblemen had to make do with pure silver to reflect their status and power,” says Bunchai Thongjaroenbourgarm, a craftsman of the Bureau of the Royal Household. 

“The highly intricate embossed works made out of purest gold are valuable national treasures and part of the royal paraphernalia. A large collection is on display at the Pavilion of Regalia, Royal Decorations and Coins in the Grand Palace. It’s open to the public and well worth a visit.” 

The embossed works of the Northeast region, continues the Ubon Ratchatani-born Bunchai, were influenced by Laotian patterns including the elephant and the singha (lion). 

“When King Rama I invaded Vientiane, the Laotian artisans were forced to move to Siam. The ornate silverware made in Nong Khai and Nakhon Phanom provinces, for example, thus incorporated the style of the Lao kingdom of Lan Xang,” he says.

Among the collection of metalwork from Laos is the khan mak – literally a betel nut tray but also used to refer to the traditional tray of gifts from the groom to the bride’s family during the engagement ceremony – with delicate singha patterns in relief and bowls boasting the curled gon hoy motif and naga and grapevine patterns. 

“The circular box reflects the cultures of Laos and Sibsongbanna in China while the crescent moon-shaped container has definite Shan influences. And the betel leaf container with an upturned end was created by Lua artisans living in Xiangkhoang, Laos,” Paothong points out.

Myanmar artisans, and particularly those raised in the royal court of Mandalay, were well known for their richly decorated masterpieces in high relief. The graceful, three-dimensional patterns were full of life and mostly dealt with the Jakata tales and the Ramayana epic. 

Also on show is a selection of Khmer silverware outstanding for its animal forms – chicken, bird, buffalo, turtle and snail – to hold betel nut, shredded tobacco, as well as odds and ends. The singha and dragon-patterned boxes were influenced by the work of China and Vietnamese artisans, and during French colonial times, European silver holloware, cigar boxes, lighter holders, champagne coolers and spoons were also crafted with Angkor-inspired motifs and mythical creatures.

 

MARVELS IN METALWARE

The “Salak Dun” exhibition, organised by the Support Arts and Crafts International Centre of Thailand, continues until September 4 at the National Gallery on Chao Fah Road in Bangkok.

The gallery is open Wednesday to Sunday, from 9am to 4pm. 

Call (02) 281 2224.