The Burman is first of all an agriculturist. He is only a moderately good carpenter, though he can put the bamboo to many uses. As a boat-builder he excels, fashioning large boats on lines of grace and beauty. Also he can, of course, make his own flimsy house of mat and thatch, or a more substantial dwelling of teak or jungle-wood. But the few manual industries in which Burmans really shine are those which have an artistic basis. Where the secret of a glaze is known, as at Bassein in the delta, and at Kyaukmyaung, the port of Shwebo, pottery is practised as an hereditary art, and many gracious shapes and designs are fashioned out of ductile clay. Silk is grown by an obscure race called Yabeins. But it is as dangerous to cultivate the silkworm as to be a fisherman. More often, therefore, imported silk is used on Burmese looms, where cloths of lovely mingled colours and delicious wavy patterns are still produced. Alas! this charming domestic industry is on the wane, and both silks and cottons are now as a rule imported from Europe. The fine natural taste of the people is deteriorating. One of the saddest signs of this degeneracy is the substitution of the ugly gingham or silk umbrella for the darling, bright-coloured little tis,[42] which used to preserve the complexions of Burmese maids. This cruel sacrifice to economy and utility has almost succeeded in spoiling the incomparable dazzling glory of mingled colour which used to characterize a Burmese crowd. On the occasion of a royal visit to Mandalay, when boat-races were being held on the Moat amid the most picturesque surroundings, the delightful effect of rows upon rows of gaily dressed Burmans lining the farther edge was marred by a forest of imported umbrellas reared hideous to the sky. However, word was sent along the line that it was disrespectful to raise an umbrella in the presence of royalty. And as if at the touch of an enchanter’s wand, the horrible excrescences disappeared and light and beauty reigned once more.
The Potter.
The Myo-ôk-gadaw.
An extraordinarily effective art is the lacquer-work of Pagan. Bowls of exquisite shape, boxes for sacred books or for carrying the necessary betel, offer choice specimens of the artist’s skill. The designs in rich colouring on these lovely works are full of vigour and originality. Lacquering is a laborious art. A really fine box or bowl takes months to complete. The most elaborate work is based on a foundation of horsehair, the finished product so flexible and supple that a bowl can be bent till the opposite sides meet without the fabric cracking. I confess that, as regards my own treasured specimens, I am content to know that this can be done without putting them to the test. Even at Pagan the hateful modern spirit has begun to shed baleful influence. Mingled with bowls and boxes, consecrated by use and wont, may be seen cigar cases of Western shapes and other signs of decadence.
Burmese silver-work and wood-carving are world-renowned. These fine arts are still flourishing. Besides fashioning portable articles, such as figures of men and elephants, or ornamented boxes, wood-carvers show their skill and taste in elaborate designs on monasteries and other public buildings. Some of the carving on monasteries in Mandalay, the Queen’s Monastery in A Road, and others of earlier date, is of the highest æsthetic merit. The specimens of wood-carving in the Palace have never appealed to me so intensely. In the presentation of figures the execution is bold and dignified. Wood-carving seems to me to have preserved its native simplicity, to have been less affected than other arts by devastating Western contact. Silver-workers still produce fabrics of grace and beauty in the best indigenous fashion; but too often degenerate teapots and decadent toilet-sets give evidence of debasing utilitarian propaganda. I grieve to hear that electric light has been installed on the Great Pagoda in Rangoon as well as in the temple of the Yakaing Paya.[43] Much have we done for Burma. But it is sad to think that we have sullied and smirched the tender bloom of Burmese art and artistic ideals.
Of the national character, indications will be found scattered over these pages. It is a mass of apparent inconsistencies. Kindness and compassion are noticeable virtues. Children are treated with indulgence, not always according to discretion. You will see a constable come off a long spell of sentry duty, and straightway walk about with a child perched on his shoulder. No orphan is left desolate. No stranger asks in vain for food and shelter. Yet these good people have a full mixture of original sin. They produce dacoits who perpetrate unspeakable barbarities on old men and women. Sudden and quick in quarrel, the use of the knife is lamentably common. Gay, careless, light-hearted, with a strong if uncultured sense of humour, they can be cruel and revengeful. The statistics of the Courts reveal a mass of criminality as shocking as it is surprising. Murders, dacoities, robberies, violent assaults, are far too numerous. I can understand the prevalence of crimes of passion and impulse; but in a land flowing with milk and honey, a fair and fertile land where there are work and food enough for everyone, I cannot understand why there should be any such sordid crimes as theft and embezzlement.