CPA Media

In Lanna, land of a million rice fields, hands do not rest idle between the planting and harvesting of the paddies. In over 700 years since Chiang Mai was founded as its capital, the inhabitants of this former kingdom have developed a reputation for producing some of the most beautiful and diverse handicrafts in Asia. The range of these products is virtually endless, but some of the more popular among visitors are silk and cotton, silverware and lacquerware, ceramics, umbrellas, woodcarvings and antiques.

Where to go to see the handicrafts depends on time available. Visitors in town for only a few days often settle for a walk through the Night Bazaar, where they can find everything from a 20 cent hilltribe doll to a $20,000 antique. Those with more time and a stronger interest usually make a half-day or day trip along the Sankamphaeng Road, also known as the 'Handicraft Highway', while those in the export business spend several days in the outlying villages. The great attraction of visiting the out-of-town sites is that it is possible to watch the craftsmen at work and appreciate the deft finger work necessary to produce such fine objects. Even if one is not planning to acquire any of these handicrafts, the various fascinating processes provide great photo opportunities for those wanting to record something of traditional northern culture.

The first stop along the Sankamphaeng Road is usually to see the silk-weaving process. The cocoons that the silkworms form must be one of the wonders of nature since, when unravelled, the threads enclosing them measure over 300 meters. Visitors can watch the caterpillar-like creatures at different stages of growth, the method of collecting the silk, the spinning of it into thread, the dyeing process, and the laborious weaving of plain and patterned cloth, which is still done on cumbersome wooden looms. Not surprisingly, most visitors are keen to purchase something made of Thai silk. Although the most popular buys are lengths of cloth (sold by the metre or yard) or ready-made clothes, smaller and cheaper items are available, such as ties, napkins, cushion covers, scarves and purses, which are usually decorated with distinctive Thai motifs.

The shine of silverware is another great attraction for souvenir hunters, and with prices considerably cheaper than in other countries, sales are brisk. The traditional centre for this craft in Chiang Mai is along Wualai Road, south of the old city moat, but many factories are also located along the Sankamphaeng Road. Modern showrooms display a variety of items, the most famous being bowls stamped with intricate designs and often featuring characters from the Ramakien, the Thai version of the Indian Ramayana epic.

Behind the modern showrooms lie forges that are little more than a roof and furnace. Here the silversmiths, eyes fixed on their work, wield hammers and fashion works of art in the same way as their forefathers have done for centuries. Most of the silver used in the production of these objects is of extremely high quality and in some cases 100-percent pure. However, customers should check carefully before purchasing a piece since it is not unknown for unscrupulous dealers to sell inferior merchandise at inflated prices.

One of the most practical crafts to take home is the local lacquerware, which is very light to carry and at the same time typically Thai, although many designs show a Burmese influence that reflects the intermingling of these cultures over the centuries. Glossy trays, bowls, vases and delicate cabinets are the most common products, traditionally finished in black and gold but sometimes in other colours.

The time-consuming process necessary in making lacquerware goods shows the Thais' amazing patience, which has applications far beyond the realms of handicraft production. After making a frame of bamboo strips, the artisans begin to apply layers of lacquer. A typical piece requires about seven layers, each of which must be left to dry for about a week, and then polished with a combination of ash and clay. The best quality lacquer is kept for the final coat, after which the glistening black base is painted or embossed with intricate gold designs.

Though more fragile to ship across the world, local ceramics are also a popular buy, especially the Thai celadon, which is usually finished in a pale green colour and cracked intentionally to give an intriguing natural pattern beneath the final glaze. This is done by quickly cooling the pot after firing at 1250 degrees Centigrade, which assures that each item will be totally unique. The key step in celadon making is the application of the wood ash glaze. The wood used for this is from the overcus belutina tree, found in densely wooded areas of Northern Thailand.

Unfortunately, like many of Thailand's trees, this one is becoming scarce due to widespread logging, and soon, craftsmen may be forced to use a chemical glaze. The preference for this particular tree's ash stems from the similarity between the colour of the resulting glaze (a milky green) and that of jade, the most auspicious stone for the Chinese. By adding tiny quantities of cobalt or iron to the wood ash glaze, celadon also comes in blue or dark green.  The most popular items among visitors are dinner sets, though vases, plant pots and figurines made in casts also sell well.

Apart from factories engaged in all kinds of traditional crafts, the Sankhampaeng Road leads to the village of Bor Sang, where it seems that all inhabitants are involved in the production of umbrellas and fans. Dainty toy umbrellas adorned with silk make delightful room decorations, while at the other extreme some workshops produce giant umbrellas up to five metres in diameter - beautiful objects but probably a bit unwieldy in a storm!

Like most local handicrafts, only natural products are used in the making of umbrellas. A bamboo handle and spokes support a top made of 'sa' paper, the production of which is a long and arduous craft of its own that involves the pounding of mulberry bark into a pulp, virtually dissolving it in a tank of water, and finally collecting it on a fine mesh to dry. The hand painting of the umbrellas gives a chance for the painters to dazzle visitors by producing intricate portraits of birds or flowers within seconds. It is even possible to have one's jeans or T-shirt 'individualized' with a bright design.

Woodcarving is another craft whose origin is lost in the mists of time. The main centre for this craft is at Ban Tawai, about 15 km south of Chiang Mai, though plenty of carvings can also be found along the Sankamphaeng Road and in the Night Bazaar. The subjects depicted in the carvings are limitless and range from Buddhas and mythical Thai figures to brightly painted flowers, frogs, parrots and cowboys.

A carver's needs are few: a set of chisels, a hammer or mallet and plenty of skill. After sketching the design on a block of wood, the carver chips away, using progressively smaller chisels until he is satisfied with the work. After sanding, the carving is then either 'aged' by smoking or dirtying the wood, or it is painted or lacquered, depending on whether the item is to become an imitation antique or a modern carving. Many items are inlaid with coloured glass, giving a glittering effect reminiscent of Thai temples. Teak is generally regarded as the best wood for carving because of its beautiful grain and durability, though softer woods like mulberry and jackfruit are used for items to be lacquered or painted.

The vast range of crafts in Lanna may seem daunting at first, but, with patience, most visitors manage to come away with a very special reminder of their days in the land of a million rice fields. The Lanna kingdom may have given way to high-rise buildings and department stores in the centre of Chiang Mai, but its craftsmen are keeping traditional wisdom alive in the hills of Northern Thailand.

Story by Ron Emmons; Photo by Ron Emmons