Thai Stone-Polished Bronze Ware

The beauty of stone-polished bronze ware at Baan Bu, on the banks of Bangkok Noi Canal, characterizes a handicraft that has been passed down for more than two centuries. It is distinguishable by its uniqueness in terms of its robustness, durability and luster; yet it is cool to the touch, resonating when tapped. In addition to being made into musical instruments, such as cymbals and gongs, it is used for other purposes such as water holders, pedestals, ancient cups fruit and salad bowls, water sets, dessert sets, coffee sets and ashtrays, among others.

According to Khun Metta Salaononta, seventh generation of the Saengsajja family, and owner of the only stone-polished bronze ware factory still functioning, ancestors of the Bu community made their living making stone-polished bronze ware, an art passed from generation to generation since the Ayutthaya Period. However, after World War II, production of stone-polished bronze ware declined as residents of the Bu community fled the war; materials become harder to come by, and the younger generation had little interest in the craft.Although stone-polished bronze ware production is not complicated, it does require expertise, accuracy, refinement, a passion for the work and intense perseverance. Moreover, because Bu residents still make their stone-polished bronze ware the traditional way, completing a single piece is time-consuming. From more than 50 households once engaged in making stone-polished bronze ware, the number has steadily declined. Today, only Saengsajja factory survives the changes, carrying on production and sustaining this particular branch of Thai folk wisdom.

The term “Bu” means hammering. That is to say, hammering to achieve the desired shapes. The technique employed is usually associated with metalworking. Villagers working on beaten water holders use bronze – an alloy of copper, tin, sometimes zinc and lead – as the base material. Appropriately, finished products are known as bronze ware. Hammering bronze sheets into the desired shapes is a skill known among craftsmen as “Bu”, while the products are known as “Kruang Bu”. “Kruang thong long hin” owes its name to the polishing technique that involves the use of stone in the polishing stage.

A craftsman must follow six stages in the production process, starting with the person who hammers the metal sheet. He must be knowledgeable about metal-mixing techniques to obtain a sticky substance appropriate for stone-polished work. A molder places a metal mold into the crater at the center of the stove, covers it with charcoal and continues to heat the stove until the metal blends completely before being poured into a clay mold. Once the substance cools, it becomes a solid lump to be alternately heated and hammered on an anvil.

The one in charge of hammering has to hold the metal sheet with pincers and gradually hammer it until the heated sheet is almost cool. At this point, the sheet is reheated and hammered again until a rounded shape is achieved. Then it is tilted as the rounded shape is hammered from the bottom of the vessel to the outer edge. Once a rough shape has been achieved, more hammering follows to refine the shape. By this time, the refined container is heated and immediately plunged into water to cool so that the metal becomes hardened and durable.

The next stage involves the person in charge of making motifs who further refines the surface of the container until it is thoroughly smooth. It is then covered with tar to prepare it for motifs. This stage is known as making container motifs.

The molder smoothen the inside and outside of the container producing a glowing effect, which is further refined by a grinder. Originally, a file was used for the grinding work; today an electric grinder is used to refine the edges of the vessel. The shiner, who today uses an electric shiner to do his job, removes any defect on the surface. Finally, it’s polishing time. The villagers of Bu once preferred to use a finely powdered clay mold with coconut oil wrapped in a piece of cloth but buff the container’s surface. Today, a motorized sand polisher does the job instead.

A graduate in accountancy, Khun Metta has helped her family since being of tender age. The attention she gave to her apprenticeship was handsomely rewarded as she become skilled enough to supervise craftsmen when she was only 22 years old and responsible for the quality control of bronze ware products. After almost four decades in the business of producing and promoting this notable form of folk wisdom, Khun Metta is concerned that she may not be able to recruit craftsmen to faithfully carry forward this art legacy. Today, government agencies are making efforts to prevent this art form becoming extinct and working to extend the life of the stone-polished bronze ware of Baan Bu.