On the island of Thulhaadhoo in Baa Atoll, a handful of families still practice an art form that transforms a block of wood into a layered, polished object of geometric precision — a craft that may have arrived with Chinese traders centuries ago and has survived through an unbroken chain of master-to-apprentice transmission.
When you first see a piece of Maldivian lacquer work — a vase, a jewellery box, a kurandi (betel-nut container) — the immediate impression is of something both ancient and alive. The colours are bold: deep red, bright yellow, black, sometimes green. The patterns are carved through layers of lacquer, revealing the colours beneath in a technique that demands a steady hand and years of practice. This is liyelaa jehun, the Maldivian tradition of lacquer work, and it raises a question that goes beyond craft: how does a practice rooted in the materials and constraints of small coral islands survive in an era of mass production and imported souvenirs?
Maldivian lacquer work is a living tradition concentrated on a single island — Thulhaadhoo — where artisans continue to use techniques that may date back to pre-colonial trade routes. The craft is not frozen in time; it has adapted, with new colours and designs emerging, even as the number of practitioners remains small. Understanding it means looking at both the technical process and the social and economic forces that shape its survival.
Craft enthusiasts curious about non-Western lacquer traditions
Travelers to Baa Atoll seeking meaningful cultural engagement
Anyone interested in how artisan traditions adapt to modernity
| Region/Variant | Primary Colours | Key Technique | Status Today |
|---|---|---|---|
| Thulhaadhoo (Baa Atoll) — liyelaa jehun | Red, yellow, black, green | Lacquer layered on turned wood, carved to reveal colours | Active, with several families continuing the tradition |
| Other Maldivian islands (historical) | Red, yellow, black | Same basic technique, but fewer practitioners | Largely dormant; knowledge not transmitted to younger generations |
| Laa Fenkurun (alternative style) | Natural tones, protective gloss | Heated lacquer applied to mosque beams and columns | Rare; associated with specific mosque decorations |
The craft is not uniform across the Maldives. The table above shows the concentration of practice on Thulhaadhoo, a pattern that raises questions about how knowledge survives — or fails to — when it depends on individual masters and family lineages.
Where the Craft Began: Trade Routes and Local Adaptation
The origins of Maldivian lacquer work are not documented in any single surviving text. What scholars and artisans agree on is that the technique arrived through trade. Historical records indicate that the Chinese were among the earliest producers and traders of lacquerware, and it is plausible that the craft reached the Maldives during the era of flourishing trade between China, Japan, and South Asia, as noted by the Pradhanmantri Sangrahalaya. Maldivian artisans adapted the technique to local materials — using wood from coconut and breadfruit trees, and natural pigments derived from plants and minerals available on the islands.
The yellow pigment, for example, came from fashurisseyo, a Maldivian herbal medicine. Red was achieved using a substance called uguli. Black pigment was obtained by heating a ceramic tile with an oil lantern and collecting the resulting tar. These materials tied the craft directly to the island environment, making each piece a product of its place.
A common misconception is that Maldivian lacquer work is a single, unchanging tradition. In reality, the craft has evolved. Some artisans now use oil colours for a wider palette, and designs have shifted from purely geometric patterns to include floral motifs that may have been influenced by Chinese ceramics. The tradition is not static — it adapts.
The Process: From Wood to Polished Object
Making a piece of lacquer work is a multi-stage process that can take anywhere from a few days to a month, depending on the complexity and size of the object. Mohamed Ali Manik, a 48-year-old artisan from Thulhaadhoo who has been practising for 25 years, told the Maldives Independent that the time investment is substantial: “If the designs are more complex and depending on the size of the object, you spend a lot of time and care carving these shapes.”
Artisans select local woods — coconut, breadfruit, or palm — and shape them on a lathe. Traditionally, a manual lathe called Dhigu Haru or Bomakan’dhu Haru was used, operated by a cord wound around a spindle. Some workshops now use electric motors, though the manual method is still practised.
Layers of coloured lacquer are applied to the spinning wood, one after another. The order matters: typically, the process begins with a lighter colour and ends with a darker one, often black. Each layer must dry before the next is added.
Using a sharp implement, the artisan carves or etches designs into the dried lacquer, revealing the layers beneath. This stage — called laa negun — is done freehand, sometimes without prior planning. The patterns are geometric or floral, often inspired by island life.
The finished piece is polished with dry coconut leaves until it shines. This final step gives the object its characteristic smooth, glossy surface.
Thulhaadhoo: The Island That Keeps the Craft Alive
Thulhaadhoo in Baa Atoll is the only island in the Maldives where lacquer work is still actively practised by multiple families. The knowledge has been passed down through generations, preserved within a small number of households. On other islands, the scarcity of practitioners meant the craft was not transmitted to younger generations, as noted by the Pradhanmantri Sangrahalaya.
The concentration of the craft on one island is both a strength and a vulnerability. It means the knowledge is deep and specialised, but it also means that if the line of transmission breaks — if young people leave the island for education or jobs in the tourism industry — the craft could disappear within a generation.
If you visit Thulhaadhoo, ask at the island council office about arranging a visit to a lacquer workshop. Be prepared to purchase a piece if you watch the process — these artisans rely on sales, and watching without buying can feel extractive. A small jewellery box or kurandi is a reasonable purchase and a genuine cultural artefact.
How the Tradition Is Changing
Maldivian lacquer work is not a museum piece. Artisans are experimenting with new colours and designs. Traditionally limited to red, yellow, black, and green, some now use a wider range of colours, including oil-based paints that offer more variety. The Maldives Expo in Hulhumalé in recent years featured lacquer pieces in non-traditional colours and larger formats, including decorative vases several feet tall.
This evolution is not without tension. Some purists argue that the use of synthetic colours and electric lathes dilutes the tradition. Others see adaptation as necessary for survival. The debate is not resolved, and it reflects a broader question facing many artisan traditions worldwide: how much change is acceptable before a craft ceases to be itself?
| Aspect | Traditional Practice | Contemporary Adaptations |
|---|---|---|
| Colours | Red, yellow, black, green (natural pigments) | Wider palette including oil colours |
| Lathe | Manual (Dhigu Haru), cord-operated | Electric motors increasingly common |
| Designs | Geometric patterns, floral motifs | Some artisans experiment with non-traditional motifs |
| Objects | Small containers, vases, walking sticks | Larger decorative pieces, modern shapes |
| Market | Local use, court gifts | Tourist souvenirs, craft fairs, international buyers |
- Maldivian lacquer work is concentrated on Thulhaadhoo island, where a small number of families continue the tradition.
- The craft involves layering coloured lacquer on turned wood, then carving patterns to reveal the layers beneath — a technique that may have originated in China and was adapted to local materials.
- The tradition is evolving, with new colours and designs emerging, but the number of practitioners remains small, making transmission to younger generations a critical concern.
Questions Readers Ask
Is Maldivian lacquer work the same as lacquerware from other countries?
No. While the basic principle — layering lacquer and carving through it — is shared with traditions in China, Japan, and Myanmar, Maldivian lacquer work uses local woods and natural pigments, and the designs reflect island life. The technique is distinct enough to be recognised as a separate tradition.
Can I buy authentic lacquer work outside Thulhaadhoo?
Yes, but with caution. Craft shops in Malé and some resort boutiques sell lacquer pieces, but not all are authentic. Some are mass-produced imports from other countries. Look for pieces that show the characteristic layered carving, and ask about the origin. The Maldivian Authentic Crafts Cooperative Society is a reliable source.
How long does it take to learn lacquer work?
Artisans typically begin learning as children or teenagers, working alongside a family member. Mastery takes years. Mohamed Ali Manik, who has been practising for 25 years, describes the process as requiring “a lot of time and care.” It is not a skill that can be acquired in a short workshop.
Is the craft dying out?
It is under pressure, but not extinct. The concentration on Thulhaadhoo means the tradition is fragile. However, cultural organisations and the Maldives Expo have helped raise awareness, and some younger artisans are taking up the craft. The outcome is uncertain.
What is the difference between liyelaa jehun and laa fenkurun?
Liyelaa jehun refers to the full process of shaping wood and applying lacquer to create decorative objects. Laa fenkurun is a related technique used specifically for applying heated lacquer to architectural elements like mosque beams and columns, providing a protective glossy finish.
What the Survival of This Craft Reveals
Maldivian lacquer work is not just a decorative art. It is a record of trade routes, resourcefulness, and the choices communities make about what to preserve. The fact that it survives on one small island, passed through families who have chosen to stay and teach, says something about the value of patience and precision in a world that often rewards speed and scale. The next time you see a lacquered box in a shop in Malé, you might wonder: how many hands shaped it, and how many more will be needed to keep the craft alive?
For a deeper look at how Maldivian artisans are adapting traditional crafts to contemporary markets, read our guide on Maldivian art and craftsmanship from lacquerware to weaving secrets.
Sources and further reading
Dhivehi Raajje. “Maldivian Lacquer Work (Liyelaa Jehun) – An Ancient Craft.” 2025. 🔗
Maldives Independent. “Heritage meets high-tech: inside the Maldives Expo.” 🔗
Pradhanmantri Sangrahalaya. “Gleaming Traditions: Exploring the Art of Maldivian Lacquer Work.” 🔗
Maldives Compass. “Maldivian Crafts.” 🔗
Related reading on IslandHopperGuides
The Art of Weaving: Decoding the Patterns and Meanings of Funaa — explores another Maldivian textile tradition with its own regional variations and cultural significance.
Protecting Maldivian Culture: Sustainable Tourism for a Vibrant Future — examines how tourism affects traditional crafts and what travellers can do to support cultural preservation.
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