A SILVER OFFERING BOWL WITH SCENES FROM THE SAMA JATAKALOWER BURMA (MYANMAR), DATED 1914 The underside has a dated inscription, translated, "U Po Hlaing's silver bowl 1276 [1914 CE]." 6 1/2 in. (16.5 cm) high; 10 1/4 in. (26 cm) diameter; 40 troy oz (1243 grams) approximate weight 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 (c.1850-1930). Aside from a 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. Modesty, filial piety, and generosity are moral principles that the Myanma are very much known for today. 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. The Sama Jataka One of the final stories in the Buddhist Jataka tales, the Sama Jataka is a favorite for its emphasis on loving kindness ( maitri ). Filial piety is also a key theme in this jataka, making it a popular subject in Burmese dwellings, where the didactic impact of decorative items can reiterate traditional familial values. The Sama Jataka's linear narrative was also an ideal subject for silversmiths. The bowl shows: the ascetic couple to whom the miraculous birth of the bodhisattva was a boon; his caring for them after they were poisoned and blinded by a serpent; his mortal wounding by a hunter-king, and that king's show of remorse before grief-stricken parents; and finally the divine intervention of a local goddess who resurrects the bodhisattva, rewarding the loving-kindness both he and his parents demonstrate throughout the story. 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 pra