Antique early 20th Century exceptional Burmese (Myanmar) solid silver thabeik bowl, repoussé decorated in high relief with scenes from Burmese mythology, depicting scenes from the Jataka Tales. The bowl is meticulously repoussé decorated in high relief with a continuous narrative frieze depicting scenes from the Jataka Tales, one of the hundreds of stories recounting the former lives of the Buddha.
This exceptional silver thabeik (offering bowl) is a superb example of Burmese craftsmanship at the height of the country’s Silver Age, a period from approximately 1850 - 1930 that coincided with British colonial expansion, the decline of the Burmese monarchy, and growing cross-cultural patronage. As royal commissions waned, elite silversmiths redirected their artistry to serve a new clientele comprising prosperous Burmese Buddhists, Indian merchants, and European expatriates. The result was a flourishing of decorative silverware, typified by ceremonial bowls such as this one.
Although modeled on the alms bowls carried by Buddhist monks, silver offering bowls were deeply symbolic and served multiple roles in Burmese households. Used to present offerings at monasteries or shrines, they were also objects of spiritual instruction, visual storytelling, and social prestige. In Theravāda Buddhism, karmic merit is generated not only by the act of giving but also by the value of the item given. As such, the bowl itself became part of the offering. High-quality examples like this were treasured possessions, often lent to others in the community so they, too, could perform acts of merit, thus benefiting both lender and borrower.
In contrast to European silverware, which was typically hallmarked, Burmese silver made for domestic use was seldom signed by the maker. Inscribing one’s own name on a sacred vessel was seen as vain. Instead, it was customary to inscribe the owner’s name beneath the base for practical and religious reasons, ensuring the bowl could be returned after communal use and recording who would receive the spiritual merit of the offering. This bowl carries the inscription on the upper rim "Presented by Mr A.L.J. To E. Wilkinson Esqr".
This bowl, represents a mature phase of the Burmese Silver Age. Its form, decoration, and purpose reflect the unique convergence of artistic excellence, Buddhist devotion, and evolving cultural identities under colonial rule. By the early 20th century, such bowls were not only instruments of faith but also objects of historical and artistic legacy. This piece stands as both a sacred vessel and a cultural artifact, elegantly merging technical mastery with moral and spiritual resonance.
Reference Number: A00030
Antique early 20th Century exceptional Burmese (Myanmar) solid silver thabeik bowl, repoussé decorated in high relief with scenes from Burmese mythology, depicting scenes from the Jataka Tales. The bowl is meticulously repoussé decorated in high relief with a continuous narrative frieze depicting scenes from the Jataka Tales, one of the hundreds of stories recounting the former lives of the Buddha.
This exceptional silver thabeik (offering bowl) is a superb example of Burmese craftsmanship at the height of the country’s Silver Age, a period from approximately 1850 - 1930 that coincided with British colonial expansion, the decline of the Burmese monarchy, and growing cross-cultural patronage. As royal commissions waned, elite silversmiths redirected their artistry to serve a new clientele comprising prosperous Burmese Buddhists, Indian merchants, and European expatriates. The result was a flourishing of decorative silverware, typified by ceremonial bowls such as this one.
Although modeled on the alms bowls carried by Buddhist monks, silver offering bowls were deeply symbolic and served multiple roles in Burmese households. Used to present offerings at monasteries or shrines, they were also objects of spiritual instruction, visual storytelling, and social prestige. In Theravāda Buddhism, karmic merit is generated not only by the act of giving but also by the value of the item given. As such, the bowl itself became part of the offering. High-quality examples like this were treasured possessions, often lent to others in the community so they, too, could perform acts of merit, thus benefiting both lender and borrower.
In contrast to European silverware, which was typically hallmarked, Burmese silver made for domestic use was seldom signed by the maker. Inscribing one’s own name on a sacred vessel was seen as vain. Instead, it was customary to inscribe the owner’s name beneath the base for practical and religious reasons, ensuring the bowl could be returned after communal use and recording who would receive the spiritual merit of the offering. This bowl carries the inscription on the upper rim "Presented by Mr A.L.J. To E. Wilkinson Esqr".
This bowl, represents a mature phase of the Burmese Silver Age. Its form, decoration, and purpose reflect the unique convergence of artistic excellence, Buddhist devotion, and evolving cultural identities under colonial rule. By the early 20th century, such bowls were not only instruments of faith but also objects of historical and artistic legacy. This piece stands as both a sacred vessel and a cultural artifact, elegantly merging technical mastery with moral and spiritual resonance.
Reference Number: A00030
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