by a single person. Forms The most distinctive vessel is probably a rice bowl on a stem with a spired lid for monks called hsun ok. Lahpet ok is a shallow dish with a lid and has a number of compartments for serving lahpet (pickled tea) with its various accompaniments. Stackable tiffin carriers fastened with a single handle or hsun gyaink are usually plain red or black. Daunglan are low tables for meals and may be simple broad based or have three curved feet in animal or floral designs with a lid. Water carafes or yeidagaung with a cup doubling as a lid, and vases are also among lacquerware still in use in many monasteries. Various round boxes with lids, small and large, are known as yun-it including ones for paan called kun-it (; betel boxes). Yun titta are rectangular boxes for storing various articles including peisa or palm leaf manuscripts when they are called sadaik titta. Pedestal dishes or small trays with a stem with or without a lid are known as kalat for serving delicacies or offering flowers to royalty or the Buddha. Theatrical troupes and musicians have their lacquerware in costumes, masks, head-dresses, and musical instruments, some of them stored and carried in lacquer trunks. Boxes in the shape of a pumpkin or a bird such as the owl, which is believed to bring luck, or the hintha (Brahminy duck) are common too. Screens and small polygonal tables are also made for the tourist trade today. Industry Bagan is the major centre for the lacquerware industry where the handicraft has been established for nearly two centuries, and still practiced in the traditional manner. Here a government school of lacquerware was founded in the 1920s. Since plastics, porcelain and metal have superseded lacquer in most everyday utensils, it is today manufactured in large workshops mainly for tourists who come to see the ancient temples of Bagan. At the village of Kyaukka near Monywa in the Chindwin valley, however, sturdy lacquer utensils are still produced for everyday use mainly in plain black. A decline in the number of visitors combined with the cost of resin, which has seen a 40-fold rise in 15 years, has led to the closure of over two-thirds of more than 200 lacquerware workshops in Bagan. Vietnamese lacquer painting Sơn mài is a painting technique in Vietnam. It developed from the painters of the Hanoi