ICH Courier

acquer will live forever!”
With his fist raised high and his voice echoing through the conference hall, Maung Maung declared these words at the International Symposium for Safeguarding Lacquerware Heritage Shared in the Asia-Pacific, held in Hanoi, Vietnam, from 16 to 17 October 2025, co- hosted by ICHCAP and the Vietnam National University, Hanoi School of Interdisciplinary Sciences and Arts (VNU SIS). His voice carried not only conviction but centuries of devotion—a deep belief that Myanmar’s lacquerware is more than a craft. It is a living embodiment of beauty, function, and spirituality.
Born in Nyaung Oo, near the ancient city of Bagan, Maung Maung grew up surrounded by lacquer. For him, the art form was never distant; it was part of the air he breathed, the rhythm of everyday life.

He watched his elders work in silence, their patience reflecting something sacred. That quiet discipline stayed with him. In 1991, he founded Ever Stand Lacquerware Workshop with just six artisans. His goal was not only to create but to revive lacguerware—to give younger generations both livelihood and pride through craftsmanship.
In Myanmar, lacquerware has always carried a spiritual meaning beyond its visual beauty. The finest works were created for monasteries: alms bowls, offering trays, and ure chests. “The act of making these objects,” Maung explains, “was itself a meritorious deed—a quiet offering of devotion.” The intricate ka-note designs often depict Jataka tales, the stories of Buddha, continuing a lineage of visual storytelling that dates back to the

11th century. For him, these patterns are not mere decoration, but a meditation on patience, faith, and continuity—a sacred conversation between art and the human spirit.
As Maung explains, lacquerware reflects the spirit of his people: patient, harmonious, and deeply devoted to their craft. “It’s a way of life that reflects how we relate to one another and to our heritage,” he says. Amid modernization and globalization, he sees in lacquerware a mirror of Myanmar’s cultural identity, one that resists the erosion of meaning by holding steadfast to integrity. “Each piece carries the touch of the human hand.” For Maung, lacquer is not only a craft but a moral practice—it reminds us of the importance of time, care, and truthfulness.
At Ever Stand, he extends this philosophy to community training. Between 2013 and 2015, he trained 24 young people from rural villages; more than half chose to remain in the craft. He believes that connecting training with both purpose and opportunity sustains young artisans’ interest. “When they see that lacquerware can offer both dignity and livelihood,” he says, “their motivation grows naturally.” Leaning forward with determination, he continues—youth who once felt uncertain about their future discovered pride in becoming artisans, not laborers. “Through training, I saw transformation happen— youth gaining skill, pride, and purpose, and beginning to see themselves as creators.”
Craftsmanship, for Maung, is both a form of cultural preservation and social development. “It allows people to stay in their native place,” he says, “to work with their hands and hearts, and to build stronger communities rooted in self-reliance.” This belief also led him to co-found the Myanmar Lacquerware Association in 2016—a platform where artisans can share knowledge, conduct training, and advocate for collective support. In 2018, the Association launched a tha-yo training program for sixteen young artisans, reviving a nearly lost relief technique.
He acknowledges, however, that no individual or association can sustain tradition alone. “We need national support,” he emphasizes, pointing to ongoing efforts toward Geographical Indication (GI) protection for Bagan lacquerware—a step crucial for safeguarding authenticity against mass-produced imitations. Yet he also sees opportunity amid challenge. “Our

goal,” he says, “is not to resist change, but to guide it—to bring innovation that respects tradition.”
For Maung, authenticity is born from intention. He insists that innovation must grow from understanding, not departure. “Before one can innovate,” he teaches his apprentices, “one must first master and respect the foundations—layering, engraving, using true thit-si resin, and honoring natural processes.” Once grounded in discipline, artisans can explore freely. Even the most modern piece, he believes, retains authenticity when it carries sincerity. This approach has carried his influence beyond Myanmar. His teaching experiences in Bhutan and Taiwan have allowed him to both share and absorb—bringing international ideas back into local practice. His works, showcased across Asia, foster a dialogue between tradition and modernity, earning recognition for innovation rooted in cultural depth.
Yet perhaps his most profound contribution lies not in the objects he creates, but in the ethos he carries. To Maung, lacquerware is not static heritage—it is resilient. “It has endured centuries of change—through dynasties, social shifts, and modern challenges—yet it continues to thrive because of the dedication of artisans and the values it embodies,” he says. “Each piece holds the patience, skill, and spirit of those who create it, connecting the past to the present.”
Leaning forward with determination, he continued, “Lacquerware is me. I love lacquer from my heart, and my life has been devoted to ensuring its survival. It is not just my work—it is part of who I am. I hope that the next generation will feel the same connection, learning to love lacquer as they would love themselves, carrying this tradition forward with pride, devotion, and the same resilient spirit that has sustained it for centuries.”
When he raised his hand in Hanoi, his voice was more than a closing remark; it was a declaration of faith. For him, lacquer is not simply an art form—it is a moral practice, a spiritual discipline, and a cultural heartbeat that refuses to fade. His life’s work embodies a truth shared across generations of artisans: that what is made with sincerity endures.
In that moment, his words seemed to echo the very essence of lacquer itself—glossed with history, layered with care, and unbreakably resilient.