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Thailand Mother-of-Pearl Inlay
Story & Photo : Viboon leesuwan

Foot of Buddhasaiyat image
at the Wat Phra Chettuphon Wimon Mangkhalaram.
The Third Reign craftsmanship during the Rattanakosin Period.


The mother-of-pearl inlayed soles of the Reclining Budda
at the Wat Phra Chettuphon Wimon Mangkhalaram.
The Third Reign craftsmanship depicting 108 auspicious signs.
Traditional Thai arts and crafts feature several characteristics that reflect sophisticated and refined craftsmanship. These qualities are more pronounced in works of art associated with Buddhism and the Monarchy. As a result, such artistic pieces are often referred to as 'fine arts'.
Mother-of-pearl inlay is one aspect of such fine art that reveals the painstaking efforts and the refined minds of the Tahi craftsmen. It is this technique that has been applid to architectural structures associated with the King as well as Buddhism. Mother-of-pearl can be found adorning the doors and windows of viharas in Monasteries as well as in numerous Royal Residences both in Bangkok and upcountry.
The mother-of-pearl's exquisite patterns are created by pearl-shell chips in silvery purple, blue and other glittering colours embedded in wooden boards to be used as part of window and door panels or as decorations on items like containers.

This particular Thai craft could well date back to the pre-Ayutthaya Period as mother-of-pearl inlays have been found adorning the doors of viharas and of the main chapels of several temples believed to have been built during this era. These precious works of art testify to the high skills and craftmanship of inlayers of the Ayutthaya Period.
Craftsman during the Rattanakosin Period exhibited similar artistic qualities which can still be seen in several temples in Bangkok. Among the most notable are the door panels of the Wat Phra Sri Rttana Satsadaram (The Temple of the Emerald Buddha), the Wat Phra Chettuphon (The Temple of the Reclining Buddha) and of the Wat Ratchabophit.
The mother-of-pearl inlay technique was also used by traditional inlayers on containers such as trays, boxes and musical instruments, although, these articles usually belonged to the Royal Family, special people of the elite class or to monks.
Thai motifs were selected to befit the materials used and of course to suit the shape of the items being decorated. In many cases the Kanok, the Kan Khod and the Krajang designs were untilized as the themes for smaller boxes and containers while stories from traditional literature or subjects as related to Buddhism were depicted on objects with a larger surface area, for example on door and window panels.
The traditional way of making the mother-of-pearl inlay is very interesting not to mention intricate. The inlayer initially designs then sketches the story on a normal piece of paper. Once the desired patterns have been created, the whole is transferred onto a special type of copying paper. As for the mother-of-pearl, only the glittering section of the pearl-shell can be used. This is cut into small pieces along the curve of the shell with a certain thickness being maintained so that the polishing process can take place. The pieces are then polished and refined untl they appear thin and smooth. Once this has been achieved, the pattern on the copy paper is transferred onto these sections then cut and all the individual segments are placed on the original piece of paper. This in turn, is placed on the panel or container then coated with a liquid lacquer. The pearl mosaics are fixed thus remaining on the surface while the paper is gradually peeled off. The next step involves filling the gaps between the pearl-shell pieces with black lacquer which is a concoction of lacquer and fine vegetable ashes usually the product of burnt banana leaves, lalang grass and black shoots. The gaps in between are filled to the same height as the pearl surface but once dry, the surface is ground with the use of honing stones until the beautiful mother-of-pearl inlay can clearly be seen. As part of the final phase, the lacquer is polished thus creating a glowing contrast with the mother-of-pearl inlay.
Despite the apparent simplicity of this technique, refinement is essential as is patience. As long as these two qualities are in abundance then the painstaking efforts of the craftsman will be revered for centuries to come. The beauty truly lies in the motifs and the artistic styles of the craftsman themselves.
Art of Living Magazine, September 1996, P. 117 - 122.
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