PROPERTY FROM THE NOBLE SILVER COLLECTION A SILVER OFFERING BOWL WITH SCENES OF A LOCAL BURMESE LEGENDLOWER BURMA (MYANMAR), DATED 1909 The underside has an inscription, translated, "1271 [1909 CE]. Madam Pwar Oos silver bowl". 5 1/2 in. (14 cm) high; 12 in. (30.5 cm) diameter; 42 troy oz (1,314 grams) approximate weight As Buddhism spread throughout Myanmar, the religion incorporated a preexisting nat (spirit-deity) tradition tied to local legends that continues to thrive today. This bowl likely depicts the "Sula Than Pwar" legend. Domestic Patrons of the Burmese Silver Age (c.1850-1930) There is yet no evidence of anymercial-scale manufacturing of silver for export during the Silver Age. Aside from the calendar of international expositions, Burmese silversmiths catered to a domestic market of native residents and foreign expatriates and visitors. Frequently depicting the moral lessons of the Jataka tales, Ramayana, and local legends, the art of the Silver Age often reflects the Burmese championing of Buddhism and traditional Burmese values within familial, religious, and ceremonial contexts. But beyond the expression of these important values, the depiction on silver of key narratives from the Buddhist and traditional canons also suggests the persistent Burmese attitude of resistance toward colonial rule and desire for national self-determination. Burmese Silver Ceremonial Offering Bowls Produced in great numbers, the finely decorated ceremonial offering bowl is the quintessential Burmese silver artwork. Its simple geometry follows the shape of traditional alms bowls carried by Buddhist monks. Its function in the home was versatile – the offering bowl served as a vessel for temple offerings; as a storyboard for teaching and reinforcing ethical values and spiritual wisdom; as a display of wealth and status; and to simply please the senses when filled with tropic flowers. However, in contrast to Burmese silver made for Europeans, who were accustomed to hallmarks, most of the silver made for native residents went unsigned, as such a mark would quite likely have been interpreted as a distasteful display of vanity. Instead, it was the owner's name that would be inscribed, for pragmatic religious reasons. In Theravada Buddhism, the offerings made to monasteries, temples, and shrines generate karmic merit for the donor, and the monetary value of the container used was in part proportionate to the amount of merit earned. Additionally, a highly valuable silver bowl would be lent tomunity relatives and friends to make offerings themselves, which would generate merit for both the borrower and the owner of the bowl. Therefore, Burmese silver offering bowls were prized and shared, then returned to their rightful owners whose names were inscribed underneath. Published: David Owens, Burmese Silver Art: Masterpieces Illuminating Buddhist, Hindu and Mythological Stories of Purpose and Wisdom , 202