A SILVER OFFERING BOWL WITH FLORAL AND FAUNAL DECORATIONBURMA (MYANMAR), SHAN STATE, DATED 1921 The underside has a dated inscription, translated, "1283 [1921 CE]. Mr Shwee Ba's silver bowl". 4 3/4 in. (12 cm) high; 8 1/4 in. (21 cm) diameter; 21 troy oz (655 grams) approximate weight Shan State Silversmiths Representing the largest ethnic minority in Myanmar, primarily living in the eastern Burmese Shan State, the Shan people are a Tai ethnic group whose ancestry is traced back to Yunnan and Sichuan provinces in modern-day Southwest China. Rather than narrative representations, silversmiths of the Shan State are better known for their design repertoire drawing from nature, mythical creatures, and astrology. 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 , 2020, p.90, no.S14, fig.3.83.