Page 62 - Bonhams March 22 2022 Indian and Himalayan Art NYC

Elite Silversmiths of the Burmese Silver Age

From c.1850 to 1930, a period starting with the growing British annexation of Burma
(Myanmar) and ending with a national insurrection against colonial rule and the global advent
of the Great Depression, Burma witnessed a ‘Silver Age’ of artistic production. In this period,
elite silversmiths that had previously worked for the Burmese monarchy now applied their
superb technical artistry to cater to a burgeoning clientele of affluent Burmese, emigrant
Indian nouveau riche, and European expatriates and tourists.
Among the silversmiths were masters who seized the world’s attention by winning various
medals at colonial expositions and international art competitions. Such events were held in
Delhi, Calcutta, Hanoi, and London to name a few. Maung Shwe Yon (d.1889) is arguably
the finest and most acclaimed Burmese silversmith of the late 19th century. He established
Maung Shwe Yon & Sons with his three apprenticing sons, the most talented of whom,
Maung Yin Maung, succeeded his father as the most successful commercial silversmith of
the early 20th century. Maung Yin Maung led the rebranded Mg. Shwe Yon Bros to become a
premier vendor, employing other exceptional goldsmiths and silversmiths.

However, little is known about the lives of these and other elite silversmiths. There is only
one substantive chronicler in English, Harry L. Tilly, who produced two monographs in 1902
and 1904, the second of which includes a studio portrait of the gold-medalist Maung Yin
Maung and several other elite silversmiths (Tilly, Modern Burmese Silverwork, Rangoon,
1904). Adding to this dearth of information on artisans and their trade practices, Burmese
silversmiths rarely inscribed their name, initials, or a documented trademark. The relatively
few signed works were either created for international competitions or commissioned by
colonial patrons, who were accustomed to seeing (and no doubt requesting) silver hallmarks.
Sometimes a figural insignia, such as a deer or a tiger, might unveil their identity to the
initiated, but there was no consistent hallmarking system in place. It is possible that this
anonymity reflected the religious and cultural values of both the silversmiths and their primary
Burmese clientele. Nonetheless, the legacy of these silversmiths is evident in the thoughtful
conception and skilled technical execution of their silverwork.

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