AUNG KYAW HTET MYANMAR INSPIRATIONS SHIREEN NAZIREE
Presented by CHUNG ANTIQUES & ART Proud London-based partner of Thavibu Gallery www.chungantiques.com
AUNG KYAW HTET - MYANMAR INSPIRATIONS
Table of Contents
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Foreword by Jørn Middelborg
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Acknowledgements by Aung Kyaw Htet
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Myanmar - A Cultural Landscape
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Aung Kyaw Htet - A Silent Journey
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Rites and Rituals - The Art of Aung Kyaw Htet
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Plates
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FOREWORD Jørn Middelborg Thavibu Gallery
Aung Kyaw Htet is a talented artist from Myanmar
I would like to express my sincere thanks to Shireen
[Burma] who has risen from a humble beginning to
Naziree, art historian and independent curator for
become one of the country’s leading artists. He was
writing this book and thus bringing an important
born in 1965 in Myaungmya in the Delta region
part of Myanmar contemporary painting out to a
where the mighty Ayeyarwaddi River flows into
wider audience.
the Indian Ocean. It is a remote area with frequent floods and very few roads where the vast majority
I would also like to thank the collectors who have
of the population in the area lives as rice farmers.
placed their paintings at our disposal for inclusion in the book. They include, amongst others, Dung
He made his way to Yangon and enrolled as a
Babet, Sandeep Bhammer, Philip Cheong, Ramon
student at the State School of Fine Arts since he
Cierco, Charles Danforth, Sharon Day, Adrian
had an urge to be an artist. He is a devout Buddhist
Dunn, Neil McGreevy, Einat Gross, Ernie Hill,
and grew up in a small village — two factors which
Mallika Khurana, Liang Xiaohong, Sudha Natrajan,
have a strong influence on his art. His paintings of
Herve d’Oriano, Alexa and Onno Poortier, Kristin
religious life in Burma show monks and nuns in a
Rapan, Gary Rolfes, Manu Sabnani, Nitin Sibal,
realistic manner, though non-essential objects are
Malvinder Singh, Richard Stowell, Sujjain Talwar,
omitted from the paintings in order to focus on the
Ziad Abu Zalaf, the National Museum of Myanmar,
religious aspects. Aung Kyaw Htet paints the faces
and the National Art Gallery of Malaysia.
of monks and nuns in great detail to show their humanity. His works are now found in the perma-
Finally, I would like to thank Dennis Kon who pro-
nent collections of museums such as the National
vided information on Buddhism and monkhood in
Art Gallery of Malaysia and the National Museum
Myanmar and to James Christian for his editing
of Myanmar.
assistance and with help in finalizing the book.
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ACKNOWLEDGEMENTS Aung Kyaw Htet Yangon
My career as an artist has been both modest and ambitious. Modest because I aim to offer a brief glimpse into the rich culture of Myanmar and my Buddhist heritage. Ambitious, because I have endeavored to relate these facts through my art to a broader society beyond my own cultural boundaries. For this, I wish to thank my parents, U Lun Hlaing and Daw Kyi who quietly encouraged me. My teachers, U Thukha and U Aung Moe who instilled in me the importance of discipline in art. Daw Myint Myint Tin from the Yangon Art Gallery and U Myint Soe from the Summit Art Gallery Aung Kyaw Htet, 2007
who promoted my art. My special thanks to Jørn Middelborg whom I met on the 10 September 2000 when my daughter Aye That Khaine was born to me and my wife Kyu Kyu Khine whose love and integrity continues to be my guiding light and who blessed me with our son Khan Htet Thu in September 2004. To Shireen Naziree, the author of this book for her interest in my work, and to my friends and family for their faith and friendship.
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MYANMAR - A CULTURAL LANDSCAPE
Nestled between two of Asia’s most important
itself into the social tapestry of the country.
cultural nations - India and China at its northern borders, Myanmar is a vast country that languorously
The importance of Myanmar’s exceptionally rich Bud-
stretches south towards the Andaman Sea encom-
dhist historical landscape has been recognized from
passing along the way a vast and diverse spectrum
as early as 6th Century BC when Buddha Gautama,
of geography that has been enriched by a cultural
the last of the Buddhas visited Myanmar. Oral his-
history that dates back to the prehistoric stone
tory however, suggests that earlier Buddhas might
age. This diverse and pictorial landscape that
also have visited the region at least a thousand
possesses snow capped mountainous regions in
years earlier. One of the most significant events that
the North, verdant tropical jungles on its Eastern
relate to Buddha Gautama’s visits to Myanmar is the
borders with Thailand and a pristine coastline re-
arrival of his hair relics, which were enshrined in a
mains dominated by the central Delta region - a
stupa that was ultimately developed over the centu-
fertile farming land mass that is nourished by the
ries to become the renowned Shwedagon Pagoda,
majestic Ayeyarwaddi River which forms the main
which spectacularly reigns over Yangon and has
riverine artery of central Myanmar. The large scale
become one of Buddhism’s most iconic shrines in
landscape of the Delta region is also the most
Southeast Asia. Another event relates to Buddha’s
densely populated region of Myanmar, with many
footprints near the town of Shwesettaw where thou-
villages so remote and undeveloped that the
sands of pilgrims visit annually during Myanmar’s dry
Ayeyarwaddi remains its most important communi-
season when the footprints are most visible.
cation and transportation link with the commercial capitals of Yangon and Mandalay.
Thus the evolution of the Myanmar aesthetic is testament to Buddhism’s influences and the accep-
Pivotal to the historical development of the cultural
tance of its tenets and philosophies through the
landscape of Myanmar has been the influences of
various dynasties that have defined the country’s
Buddhism that has over the centuries manifested
long and complex cultural and artistic history that
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resulted from Buddhism remains one of its most important legacies. Amongst the most recognized is the tradition of novice monks and nuns entering monastic life - a practice that dates back to the Pyu Dynasty when it is said that children as young as seven would don the regulatory cotton robes and enter monastic life. This positive representation of early Buddhism in Myanmar lies in the legacy of the Sangha that refers to the body of monks who accompanied Buddha Gautama on his journeys and to whom monks in Myanmar directly trace Shwedagon Pagoda, 2007
their spiritual ancestry. This tradition gave rise to a defining identity, which further manifested itself
finally collapsed under British Colonial rule in the
during the Bagan Dynasty in the 10th century.
19th century. In this historical sense, the Pyu Dynasty remains the most visible though earlier dynasties
The rise of the Bagan Dynasty resulted in a renais-
reigned with equal importance. The Pyu Dynasty,
sance that marked a golden age of prosperity
which primarily reigned in central Myanmar from
both in political hegemony as well as cultural and
century until the 10 century had clearly
artistic wealth that were largely achieved through
imported aesthetic standards that originated
the Buddhist faith. This paramount identity was
within Buddhism’s Indian origins: evidence of which
propounded by the rich architecture of the unend-
has been emphasized in the richly embellished
ing amount of temple complexes and pagodas
artifacts and architectural reliefs that have been
that were constructed: some of which survived the
excavated from important archeological sites as
ravages of time and continue to dot the landscape
well as in the classical Pali script. Equally notable
around present day Bagan.
the 2
nd
th
in the cultural history of Myanmar have been the influences of the coastal Rakhine and the Mon
The rich architecture of the Bagan Dynasty, which
Kingdoms, which principally reigned concurrently
lasted until the 13th century, was embellished with
with the Pyu Dynasty.
the vibrant skills of the many artisans who typically expressed their artistic philosophy through
As much as Myanmar’s cultural aesthetic evolved
depictions of the Jatakas - sagas of Buddha’s experi-
from Buddhism, the forces of socialization that
ences on his journey towards Enlightenment. The
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intrinsic beauty of this flourishing culture was
palaces and temple complexes imprinted their power
further elevated by other artistic forms, which
on the landscape. Though depictions of the Jatakas
included the art of lacquer painting - initially intro-
continued to be an important expression in tradi-
duced by the Chinese, whose invading forces had
tional art forms, court painters of the period started
overthrown the earlier Pyu Dynasty. Lacquer was
to blend western styles with their own sensibilities
used not only to embellish palace walls, but signifi-
often resulting in secular portraiture of the reigning
cantly was adapted in the manufacture of everyday
nobility that was laced with surreal Edenic qualities.
utensils such as the alms bowls used by monks.
This modernist cultural aesthetic was particularly
The artistic practice in the making of lacquer ware -
affirmed during the reign of Myanmar’s last mon-
often embellished with imagery of the Jatakas
arch, King Thibaw who was eventually deposed by
have become an important craft form that contin-
the British in the latter part of the 19th century.
ues today and one that has prompted universal interest. Today some of the developed world’s
British Colonial rule affirmed itself in the economic
most important museums have Myanmar lacquer
wealth of Myanmar with little interest in the coun-
artifacts in their permanent collections.
try’s cultural history. As a result Myanmar experienced an abandonment in the arts which were ravaged
From within this cultural background that contin-
by the flourishing trade that characterized the
ues to remain historically important to Myanmar’s
British rule, the spiritual aesthetic of Buddhism
cultural landscape, emerged the following Pinya
survived and the close of British colonial rule in
and Inya eras when unique artistic sensibilities
1948 gave Myanmar every reason to be nostalgic
developed that were emphasized by a cultural
of their undeniably significant historical past.
reassessment of imported foreign influences China and Thailand that imbued itself on the existing
Buddhism had transcended time and though its
Buddhist culture.
elusive past is seemingly visible in the Myanmar landscape, the country’s modern day artists and
The last of the Myanmar Dynasties was the Kom-
craftsmen have once again turned to this spiritual
th
baung Dynasty that was established in the mid 18
aesthetic for nourishment. In effect the artistic
century. This was an era renowned for its progres-
aesthetic of Myanmar had renewed itself and in
sive milieu that was symbolized with overt western
turn the spirit of those who depended upon it for
influences that included painting. The Kombaung
their well being and remains a vital thread in its
dynasty had established important cultural centers
artistic tapestry.
such as Amarapura and Ratanabon where ornate
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AUNG KYAW HTET - A SILENT JOURNEY
The reverie associated with Buddhism has remained
The meager existence that his father, U Tun Hlaing
a popular narrative in Myanmar’s artistic vocabulary
earned as a paddy farmer was hardly sufficient to
and its traditions have become the starting point
feed his nine children - of whom Aung Kyaw Htet
for a new generation of artists who are using the
is the fifth son. As a child, Aung Kyaw Htet had
language of contemporary art to layer their work
little opportunity to venture further than Kan Ywa
with meaning. For Aung Kyaw Htet - his produc-
and as his parents’ lives were primarily devoted to
tive life as an artist has been the result of a long
feeding the family - painting or any form of cultural
journey that has been sustained by his deep faith
activity did not exist in his world. For many of
that has its realizations buried deep with in Myan-
Myanmar’s rural population, art was conceived as a
mar’s Buddhist history.
luxury oasis for the privileged. Along with the other children in Kan Ywa, Aung Kyaw Htet attended
He was born in 1965 to U Tun Hlaing and Daw
the local school and left at 15 years old after
Kyi in Kan Ywa, a small village located on the banks
completing the eighth standard.
of the Ayeyarwaddi river in the Delta region. About 150 miles from Yangon, Kan Ywa - a village
A quiet and modest personality, Aung Kyaw Htet
with a population of about 300 people is typical
most often had to tend to his own needs as a
of the rural communities that dot the Delta, and
child. And despite the extreme poverty and hard-
Aung Kyaw Htet’s early life was colored with hard-
ships - the young Aung Kyaw Htet survived on the
ship and poverty. With very little material wealth
enduring spirit of his family, which he underlined
and like the majority of Myanmar’s population -
by moments of quiet beauty that he seeked out
Aung Kyaw Htet mined the Buddhist environment
from his physical environment. He enjoyed draw-
around him for spiritual wealth that ultimately
ing and with the absence of art materials - his
sustained him through hard times and would ulti-
school slate board most often served as his
mately become his muse.
canvass. He recalls that his interest in drawing started as a seven year old and like most children,
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Kan Ywa Village, 2007
he would draw from memory and the subconsc-
tantly studying the Dharma while obeying all
ious. Later improvisational sketches were often
monastic precepts.
images copied from magazines and book covers. However these fleeting moments of pleasure were
Though the foundations of his religious discipline
purely playful explorations for its own sake as he
had already been laid several years before he en-
had no ambition or vision of becoming an artist.
tered monkhood - the communion with his faith as an overwhelming ancient culture was reinforced
For Aung Kyaw Htet, regular daily visits to the
through a tradition that dates back to as early as
local pagoda which were eclipsed by the devotion
the Pyu era when boys and girls at the age of
and beliefs of Buddhism were part of life’s rituals
seven would become novices in monasteries and
and like all young boys, he entered the obligatory
nunneries. These days the ritual of an adolescent
monkhood when he was ten years old. Living in
boy entering monkhood is traditionally marked in
the monastery, he was subjected to the same
colorful ceremony meant to symbolize Buddha’s
rituals and disciplines as the interant long term
abandonment of his life of luxury. Thus young boys
monks observed that included leaving the temple
are dressed in glittering finery before his hair is
grounds to beg for alms, meditating and impor-
shaven off and he dons the monk’s robes.
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Though Aung Kyaw Htet’s formal education ended
was vulnerable to its perils. As his world grew
when he left school at fifteen, he never abandoned
smaller and smaller, he was at times doubtful
his early interest in drawing. A life of rigorous labor
whether he would survive life in the capital or ever
defined Aung Kyaw Htet’s adolescence and ulti-
realize his desire to study art. Being poor, Aung
mately his view on life. As an youth in Kan Ywa, he
Kyaw Htet could only mine the traditional values
worked periodically at a variety of laboring jobs as
of Buddhism for spiritual wealth that continued to
primary means to earn a living and help support his
sustain him through his hard times.
family. He dug ditches, helped his family harvest in the rice fields and eventually worked on a fishing
When not working at the bakery in Yangon where
vessel that plied the Ayeyarwaddi River.
he finally found employment, he devoted his time to recording scenes of daily life on any scrap of
Following the lead of many of Myanmar’s poor
paper that he could find. By 1986 Aung Kyaw
from the Delta, Aung Kyaw Htet decided to leave
Htet had saved sufficient money to finally start
his village on the long and arduous silent journey
realizing his dream of becoming an artist when he
in search of economic opportunity and a future.
enrolled for evening art classes at the State School of Fine Arts located in Bahan Township near the
In 1983, the seventeen year old Aung Kyaw Htet
Shwedagon Pagoda. He attended classes at the
left his family and followed his destiny to Yangon.
school for three years during which he studied
With very little money and with only the blessings
under U Kyaw Nyant and Mg Mg Taik.
of his parents and an undying ambition to become an artist - Aung Kyaw Htet embarked on a one and
Despite the difficulties that he continued to endure,
a half day boat journey to Yangon. Knowing no
painting would become his quest for self awareness
one in Yangon, it is hard to imagine what courage
and which, he believed, could only be expanded
it took for this young man to leave his family and to
through formal art training: the integration of art
question the traditional values of his environment
and his social conscience would become the key
through his choice in life to chase his dream.
to unlocking the gate to his path in life. Studying at the academy was most often literal transcrip-
With continuing hardship in the passing years,
tions of the rudiments of drawing and painting.
Aung Kyaw Htet’s life in Yangon was plagued by
A meticulous student, he encountered a vastly
numerous misfortunes that witnessed him having
different environment to his past experiences.
to return to Kan Ywa on numerous occasions as
Devoid of any personal expressions - he was requir-
work was hard to come by and unknowing of the
ed instead to develop academic artistic skills that
rules of living rough on the streets of Yangon, he
paid homage to earlier masters and depictions
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from this first hand exposure to fine art although he still did not have many opportunities to pursue any artistic ambitions and despite his life of obscurity in Yangon, he was determined that his art would be a means to financial security. Notwithstanding the importance of Mandalay as the once renowned center for the arts of Myanmar, Yangon had become the artistic home for many painters by the second half of the twentieth century. Galleries that supported the arts were mushrooming and many artists formed collectives or became members of these galleries. Nearly all shared the common experience of training either at the more prestigious Yangon State School of Fine Arts where they were introduced to the formal aspects of fine art. Or, many young painters furthered their studies under the patronage of a Padaung Girl, Charcoal on paper, 39 x 55 cm, 1993 Collection of the National Museum, Myanmar
master painter - a practice that is reflected and deeply rooted in the traditional art and crafts practices of Myanmar. In effect, these apprentice
of paintings that were sculpted in artistic styles
artists most often produced images absorbed from
committed to traditional academic values and the
the painterly styles of their teachers rather than
mainstream notions of art.
seeking creativity in individual expression.
Academic training was based on copying and draw-
Aung Kyaw Htet had neither the financial means
ing on a tightly rendered syllabus that resulted in
nor the interest to associate himself with any par-
students becoming excellent technicians. The dis-
ticular art collective, and a career as a full-time artist
tinctive character of the academy’s teaching was in
would not manifest itself for a number of years.
preparing students to pursue possible careers in
After working in a variety of jobs that included
industries such as traditional lacquer painting and
painting number plates for cars and painting bill-
commercial advertising. He nevertheless benefited
boards, Aung Kyaw Htet secured work as a portrait
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artist in a gallery in the popular Bogyoke market in
in Kan Ywa through his paintings. Yangon was and
downtown Yangon in 1990. Although most of the
remains fertile ground for budding artists with the
gallery’s clientele were local, he came into contact
regular art shows hosted at any of the numerous
with people from diverse economic backgrounds
galleries and international hotels.
for the first time. Over the course of the following three years, he would draw hundreds of portraits
And like many aspiring artists of the day, by 1994
either in charcoal or pencil and though he was
Aung Kyaw Htet started exhibiting his paintings in
able to paint in his spare time, he had yet to settle
group exhibitions and started painting with oils.
on his own distinctive style.
These shows set the professional standards and included many of Yangon’s best known painters
The three years that he worked as a portrait artist
as well as up-and-coming younger artist. Aung
were years of intensive work filled with enthusiasm
Kyaw Htet displayed his works in various venues
of hope for a better life as the young artist contin-
that included Gallery 77, the Summit Gallery and at
ued to struggle financially as well as to forge an
major Yangon hotels such as Traders Hotel and
identity. But here in Yangon - nestling under the
the Nikko Hotel as well as the state run Myanmar
shadows of the Shwedagon Pagoda, by far the
Traditional Artists and Artisans art gallery at the
most important Buddhist site in Myanmar - Aung
Bogyoke market often having to sell his works at
Kyaw Htet remained the filial son more than ever
very nominal prices mostly to foreign visitors and
as his devout faith gave him the strength and sus-
Yangon’s expatriate community. Nevertheless these
taining philosophy to overcome hardship and pur-
sales sustained him as he believed that his prime
sue his own creative goals without the expectation
motivation for painting was for the sheer joy of it
of material reward despite being pushed to the
rather than for financial gains.
limits financially. 1994 was also the year that he was able to relocate In 1993, Aung Kyaw Htet had a breakthrough when
his parents from Kan Ywa to live with him in
Myanmar’s National Museum acquired one of his
Yangon. This productive phase in Aung Kyaw Htet’s
drawings which were shown at a group exhibition
life was made even more gratifying by his marri-
at the gallery of the Myanmar Traditional Artists
age in 1996 to Kyu Kyu Khine whom he had met
and Artisans Organization in Bogyoke Market. This
in Yangon in 1993. Working in a supermarket in
affirmation of his talent created a greater determi-
Yangon, Kyu Kyu helped to augment the modest
nation for him to succeed and he was beginning
income Aung Kyaw Htet derived from the sales
to support not only himself but also his family back
of his paintings. Despite the couple’s meager but
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happy existence, they willingly supported both their families. At times, Kyu Kyu became the model for his paintings and though not an artist herself, she supported his art through her profound appreciation of his talent. By the end of the last millennium, Aung Kyaw Htet was coming into his own as an artist and he believes that his prayers were answered when his daughter, Aye That Khaine was born in September of 2000 and the chaos in his life was being resolved through the divine intervention. The day also importantly marked the start of his international career as an artist. Against this backdrop, Aung Kyaw Htet has emerged as one of the most accomplished painters associated with Myanmar contemporary art. By embracing the values of Buddhism and valuing the rich cultural heritage that it has bestowed on Myanmar, Aung Kyaw Htet has nurtured his artistic identity that will not deny him a place in Myanmar’s modern art
Aung Kyaw Htet in his studio, 2007
history. By 2002 he participated in his first group overseas exhibition in Bangkok, Thailand and a solo
surrounds his art and the cosmopolitan sensibility
show in Hong Kong in 2004. His son, Khant Htet
that it has imbued in his career, Aung Kyaw Htet
Thu was born in that same year.
remains dedicated to his roots and continues to create expressive paintings as testament to the
Subsequent international exposure that has in-
dignity and strength of his beliefs.
cluded exhibitions in Singapore and Taiwan. In addition to Aung Kyaw Htet’s paintings becoming
Aung Kyaw Htet lives in Yangon and regularly
part of important museum and private collections
returns to the village of his birth, Kan Ywa once
and regardless of the optimism and admiration that
a year.
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RITES AND RITUALS - THE ART OF AUNG KYAW HTET
In the past decade Aung Kyaw Htet’s art has
given the fluid and global environment where
addressed the meeting of his culture and personal
technology has collapsed borders and physical
nature in the broadest sense. His work is a medita-
distances. And like in many Asian societies, western
tion on his world and the space and things around
secular culture and the conspicuous consumption
it that reflects a consciousness of the materiality
that most often goes along with, the liberal values
of Myanmar’s deeply rooted Buddhist culture.
of western democracy are often viewed as alien
Through his art, Aung Kyaw Htet has sought to
and decadent and more so in the traditionally con-
stimulate everyday experiences from the common-
servative Myanmar society.
place to the exceptional through the fluid status with which he reconfigures ancient rituals across
Despite mirroring the popular narrative of the basic
time. What is perhaps most interesting is the
rituals and values that encompass Buddhism in
manner in which he positioned his work and
Myanmar, Aung Kyaw Htet has established for
practice to reveal the beauty in the simplicity of
himself a distinct paradigm that emphasizes his
his world.
very individual artistic grammar - for his is a practice that endeavors to cross cultural boundaries. In
Depicting traditional Myanmar culture in contem-
essence, his challenge has been to make art that
porary art has almost become a tradition amongst
is highly personal as well as broadly meaningful
the country’s modern day painters. At a time when
while addressing the experiences of the world he
the traditional boundaries between Myanmar and
lives in. In effect - what sets Aung Kyaw Htet’s
the rest of the world are very blurred - the cultural
subjects apart is that his efforts are not superficial
environment that has been created is challenging
or self-conscious efforts to showcase his heritage
in that it has become an important hallmark of
and tradition as merely decorative art.
social wellbeing. Though tradition is a subject that can be questioned, yet as a starting point it may be
Aung Kyaw Htet’s work has also investigated the
explored as part of an exercise in self - definition
potential to extend his subjects with an emotion
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sees himself as an ordinary working man whose occupation is the expression of life through painting, which is his passion: all other media within which he has worked in the past were merely means to make a living although these experiences of rigorous labour have molded how he views his life and art. This has allowed his work to be sensitive and alive and also to develop his distinctive style of painting that has resulted in art that is richly detailed and self consciously beautiful and that could ultimately converse independently in the history of Myanmar contemporary art. At first glance, the presence of the identifiably Myanmar dimension is acutely visible in his work. Young Nun, Mandalay, 2007
However upon closer viewing, it becomes clear that Aung Kyaw Htet’s portraits and imagery are suffused with a deeply felt understanding of Bud-
that extends beyond being merely pictorial as his
dhist values. His finely rendered portraits of both
practice takes on meaning in his now well - known
family and strangers are monumental - not in the
depiction of novice monks and nuns under the
size of the painting but rather in the scale of the
relentless weight of the ritual practices of monastic
emotion of the moment. What is noticeably appar-
life. More than simply marking a pictorial turn, his
ent in almost all of his figures is a stillness - as if
works that date back from the last decade are
they are at peace with the world - a condition that
consistently inherent in its representation. In oppo-
he associates with the spirituality of Buddhism. The
sition to contemporary taste for “story-pictures� -
meditative sense of calm that his paintings evoke
complicated, detail laden based on literary sub-
becomes for Aung Kyaw Htet a visual analogue
jects, Aung Kyaw Htet has all his life been able to
typical of his own personality and the cultural
observe life directly and render these subjects as
environment that he has created in his world.
strong compositions. When Aung Kyaw Htet participated in his first Very much an individualist, Aung Kyaw Htet still
exhibition in 1991 his early works were all rendered
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in charcoal, simply due to his limiting financial condition at the time, nevertheless displaying his masterly rendering of the discipline. One of the earliest and most influential guideposts in his life was his father, U Tun Hlaing whose own life was devoid of material comfort but whose principles of truth and honesty became a fundamental social philosophy for his son. When in 1994, Aung Kyaw Htet actively started painting in oils - his family became willing subjects for his picture making. A later painting of his father simply titled My Father, 1998 (p.28) reveals an intimacy that is suggestive of his own emotional response to his father. This interpretation through the compositional element is exemplified through the element of light that highlights the influence
Nuns, Mandalay, 2007
of humanity through the laboring hands of his father. The painting provides a sense of understanding of Aung Kyaw Htet’s early life and place.
presence to identify place in the physical world.
Painted from a similar mental vantage point, but
He has been able to observe the smallness of man
with a softer rendering is Mother, 2003 (p.50). Aung
in the vastness of the all encompassing spiritual
Kyaw Htet portrays his mother, Daw Kyi bathed
which become the foundations of his luminist por-
with the same compositional element of light. In
traits - a subliminal spirituality created by the use of
both these paintings, his subjects are humanized
light and compositional elements. In his youth,
by the portrayal of the essence of his subjects: by
Aung Kyaw Htet would observe nature over and
capturing them in thoughtful moments, Aung
over again - at all times of day and absorb its inher-
Kyaw Htet has recorded intimate moments and
ent beauty. Indeed, Myanmar is a land blessed with
not merely the physical beauty of the scene.
an abundance of unspoiled beauty and although Aung Kyaw Htet does not view himself as a land-
Aung Kyaw Htet’s main subjects are people: for him
scapist, land and place has been an important key
these figures have become symbols of mankind’s
to his self-definition.
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Aung Kyaw Htet’s Mauyaw Lakee, 1999 (p.29) -
In the tradition of Theravada Buddhism that is
is a celebration of nature in its sublime detail.
practiced in Myanmar, the basis and discipline of
He depicts creation with remarkable verism that
the Sangha, the body of monks, have been defined
suggests that his landscape is Edenic. He strove to
since as early as the Pyu era by their communal
capture the vast and transparent nature of the
living in monasteries that is supported by the lay
scene and in doing so speaks of a divine presence.
communities. The importance of the rituals such
The mood of the painting is serenely still and
as the collecting and giving of alms are deemed
through the careful arrangement of light and
significant to both the monks whose livelihoods
composition, Aung Kyaw Htet has transformed
are sustained by donations: normally food on a daily
the mundane daily activity of villagers fishing into
basis and gifts of robes and utensils on ceremonial
a sweeping vision of dignity - spelling out the fact
occasions. But importantly the donor gains merit
that he has never required any palatial settings
for offering the donation or gift - an important act
to enhance his own dignity. However, as his figures
in advancing towards Nirvana or Enlightenment.
load their catch in the foreground of the composi-
Despite the austerity associated with the practice
tion - underscoring the significance of the human
and the countless rituals that have been handed
endeavor, it calls attention to grander things. With
down through the generations, the tradition that
its regular geometry and quiet amplitude as the
once encompassed a history filled with ancient art
water reflects the sky, Aung Kyaw Htet’s landscape
forms have now inspired a new aesthetic with
bespeaks solemn dignity.
a different approach - the Western practice of painting, which refers to Myanmar’s practice of
In another landscape, Floating Market, 2001 (p.38)
contemporary modern art.
set on Myanmar’s famed Inlay Lake in Shan State, Aung Kyaw Htet exchanged the somber and
Recent artistic scholarship in Myanmar has found
subtle intensity of his palette for a brighter one.
popular subject matter in the representation of
Though he continued to retain his love for the
monkhood especially by the time Aung Kyaw Htet
elemental qualities of the daily rhythms - his early
actively adapted the subject to his own artistic
experience as a poster artist is clearly evident in
vocabulary by the late 1990’s when he discovered
his careful observations among the crowd of
a new level of freedom in his art. Since the start
market vendors. The small drama of activity and
of his career, he engaged his art with ordinary
the act of viewing becomes the unwritten impera-
people going about their everyday lives. For the
tive of Aung Kyaw Htet’s landscape by inviting the
same reason he was drawn to painting monks as
viewer to see along with his figures.
part of the elements of his own being and culture.
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19
Aung Kyaw Htet had always been well aware of
Aung Kyaw Htet’s world is that of the private and
the sameness of subject amongst Myanmar artists
emotionally intimate made public by such a cultur-
whose interpretations are often defined from an
ally personalized imagery that issues of sentiment
academic training that did not allow for much self-
are submerged. Traditionally in the oriental context,
expression, resulting often in visual appealing but
sentiment is an area of nostalgia that is often
very literal translations.
regarded as retarding towards creativity. In this respect, Aung Kyaw Htet could be considered as a
Aung Kyaw Htet has held the point of view that
traditionalist and though his art does not possess
his art was to be rendered directly from the source
the decorative luxuriance of traditional Buddhist
and never as a fabrication of design - thus needing
art - but in the same vein, he has created a move-
a direct connection with the monks and their
ment to himself. In his work, his poverty, labor,
surroundings. He often recalls his own period
traditions, and religion are words that can be used
of monkhood when as a young boy he willingly
to grasp his world vision .
followed the rigorous rituals. Aung Kyaw Htet savored the experience, for though he was given a glimpse of monastic living, he was most appreciative of the comfort of and warmth that was espoused by the camaraderie of the monks despite the conformity of rituals. Over time as he gained a greater emotional independent spirit, he was able to infuse his work with this same emotional content that would become the foundation of his own standing. More than ever, he painted young monks and novice nuns employed in the simplicity of ongoing daily routine with a depth and authenticity that poignantly captures the abundant joy of childhood. In these messages that are impregnated with colour and rhythm reflect the artist’s own happy reunion with his youth - reflections of his inner self with the colour and lines containing his character and message.
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Novices, Bagan, 2007
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With this objective as his motivation, his earlier
(p.47) is detailed with icons of Myanmar’s cultural
paintings of monks were aptly portrayed as part
architecture. However, his emotional spirit was
of a cultural landscape through which he relives
starting to chafe at the academic restrictions of his
a world of apparent innocence regardless of the
art training: he started to pour out his emotions in
whirlwind of complex frictions of the present. It
his work as in Three Monks, 2003 (p.49) where the
inspired him to create a body of work such as
camaraderie amongst the young monks are vividly
Offering Rice I, 2000 (p.31), and Shwe Inn Bin
expressed. Novice with Puppy, 2003 (p.51) is filled
Monastery, 2000 (p.30) wherein the common
with tenderness that highlights simple childhood
grammar is defined by rituals and objects such
playfulness. For Aung Kyaw Htet this period was
as the lacquer alms bowls and umbrellas and
one rich in experimentation.
homage is paid to the everyday rituals. By their presence, these figures that orchestrate the can-
He discovered a new freedom in his art, especially
vasses are most often viewed literally but do initiate
in his ability to explore a variety of styles and
a dialogue with the spectator.
approaches. Certainly his rapport with his subjects remained ever present - which he started to magnify
Red and maroon are the traditional colors of
with a glowing palette as in Shaving, 2001 (p.33).
monks’ robes in Myanmar - hues that he often
Familiar with luminosity of strong light, he would
uses to reinforce the symbolic significance of the
at times illuminate his canvasses with an incandes-
works. This is because, despite the originality of
cence of color that worked with direct mark
the plastic organization of his art, which form part
making as in Offering Rice II (p.32) was still not
of the personality and history of the Buddhist
deprived of transparency for at the same time he
culture, their effect is universally easily accessible
could capture the brutal radiance of the tropical light
and their meaning readily understood.
and the extreme softness of his subjects - a depiction of his mother, Daw Kyi offering alms to a novice
In much of his earlier paintings, Aung Kyaw Htet
monk - revealing the duality of love and hope.
willingly followed the rigorous training guidelines of the academic system of realist composition -
Parallel to this chromatic harmony were the new
a predominantly European tradition of painting
dimensions of his creativity. Within all his works there
introduced into Myanmar during the early twenti-
are undoubtedly iconographic links to his Myanmar
eth century when talented artists studied abroad
Buddhist roots, but Aung Kyaw Htet’s work was
and introduced the academy into the Myanmar
taking on a universality and humanism that would
modern art tradition. At The Monastery, 2002
be identifiable by most cultures. Under The Sun,
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2002 (p.40) and The Little Helper, 2007 (p.92) are
of his culture. The symbolic narrative that he has
typical examples of his ability to capture and render
created through the ethereal pictorial of paintings
the elements of his culture in its reality. The symbolic
such as in Draping The Robes, 2007 (p.89) as well
narrative of the young helper that would reappear
as in Monk In Yellow Robes, 2006 (p.88) though
in later paintings is in keeping with everyday reality
it has become part of a poetic repertoire which
of life in Myanmar’s Buddhist tradition.
is in keeping with a world past and present, it is in no way a flight from reality. Instead its unique
Aung Kyaw Htet’s more recent scholarship has
translucent qualities it represents his very inde-
focused on the robes of the monks. In ancient
pendence from a conformist genre of art for in
Indian Buddhist fables, when autumn leaves were
this visual poetry is the manifestation of an
shed from trees - their colors changing from yellow
ancient custom tinged with the mystic and divine
and orange to brown - the season symbolized the
experience - calm and assured of itself.
ending of physical existence. Thus yellow symbolized the color of renunciation and as such remains
Although it is evident that there has been definite
symbolic to the Sangha or monkhood, with the
influences in Aung Kyaw Htet’s artistic journey - he
elder senior monks most often draped in darker
has remained independent and too elusive to be
maroon or ochre robes and the younger monks
categorized. Painting is a religion, a rite of passage
donned in brighter hues. A monk’s robe consists
and a ritual to be followed everyday for Aung
of three garments as is depicted in the painting
Kyaw Htet. Each day brings to him a new lesson
Two Novices In Red, 2006 (p.85): an inner waist-
and a new challenge to his palette and canvas.
coat, an upper robe and an outer robe that is a
While many might struggle to find beauty in mun-
two by three meter length of cotton fabric stitched
dane things, he finds in them a spiritual connec-
in a patchwork of a hundred pieces resembling
tion because he does not allow himself to forget
the layout of a rice field.
the hardships of his earlier years.
The monks robes - the history of which dates back
Pursuing the life of a fine artist had been Aung
to the lifetime of Buddha Gautama himself has
Kyaw Htet’s constant dream since he was a
nourished Aung Kyaw Htet’s creativity. The subject
young boy in Kan Ywa. The transition from a life
has inspired him to create a new body of work
of poverty in rural Myanmar to an internationally
that has been reinforced through the narrative
recognized artist has been a journey that was full
function of the intense use of color that despite its
of uncertainty. He has achieved his goal through
originality of composition remains an integral part
his devotion and dedication to his beliefs and
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Young Novice Draping the Robes, Bagan, 2007
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Young Monk, Pencil on paper, 28 x 33 cm, 2007
dreams and remains humble and grounded in the face of this success.
Drawing Though drawing was his primary form of expression early in his career, the medium still holds a fascination for Aung Kyaw Htet for it allows him to view his expressions with renewed vigor that reminds him of the medium’s special relationship to the human psyche. And though the immediacy of drawing is an essential part of his creative process, he continues to find immense pleasure in its informality. Aung Kyaw Htet developed an aptitude for drawing very early on in his practice, which may account for his precise rendering of his subjects.
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Portraiture Aung Kyaw Htet’s portraits of ordinary people are filled with an emotional content that has become the foundation of his standing. “Unless I have some emotional connection to the subject, the painting becomes empty for me - for the purpose of picturing extends beyond the realistic rendering of the outer form.”
Landscape “I feel a very strong connection with Myanmar’s past. And in its landscape I feel the influence of the hands of men, women and the generations of labor that identify my own presence.” From this path, Aung Kyaw Htet has been able to develop a union that he expresses through a sparkling palette where color and composition becomes the actual essence of his paintings.
Monks “The innocence and joy of childhood is a magic spectacle that has been established in my visions. The novice monks and nuns who are ever present in my art represent indelible images of childhood they speak of life though the joy in their eyes and the quiet voices in their hearts.”
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PLATES
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My Father, 1998, 75 x 89 cm
28
50-08-131_28-37_new7_W
Oil on canvas
Private Collection
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Mauyaw Lake, 1999, 60 x 90 cm
Oil on canvas
Private Collection
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Shwe Inn Bin Monastery, 2000, 76 x 91 cm
30
50-08-131_28-37_new7_W
Oil on canvas
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
30
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Private Collection
Offering Rice I, 2000, 61 x 81 cm
Oil on canvas
Private Collection
AUNG KYAW HTET MYANMAR INSPIRATIONS
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31
Offering Rice II, 2001, 60 x 80 cm
32
50-08-131_28-37_new7_W
Oil on canvas
Private Collection
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
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Shaving, 2001, 60 x 80 cm
Oil on canvas
Private Collection
AUNG KYAW HTET MYANMAR INSPIRATIONS
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33
Monk with a Joyous Smile, 2001, 75 x 59 cm
34
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Oil on canvas
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
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Private Collection
Monk and Dove, 2001, 75 x 60 cm
Oil on canvas
Private Collection
AUNG KYAW HTET MYANMAR INSPIRATIONS
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Grandmother, 2001, 45 x 50 cm
36
50-08-131_28-37_new7_W
Oil on canvas
Thavibu Gallery
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
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Ethnic Minority Girls, 2001, 60 x 80 cm
Oil on canvas
Thavibu Gallery
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Floating Market, 2001, 75 x 90 cm
38
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Thavibu Gallery
In the Village, 2002, 60 x 90 cm
Oil on canvas
Thavibu Gallery
AUNG KYAW HTET MYANMAR INSPIRATIONS
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Under the Sun, 2002, 90 x 120 cm
40
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Private Collection
Ascending, 2002, 60 x 80 cm
Oil on canvas
Private Collection
AUNG KYAW HTET MYANMAR INSPIRATIONS
41
Praying Novices, 2002, 90 x 120 cm
42
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Private Collection
Afternoon Prayer, 2002, 90 x 120 cm
Oil on canvas
Private Collection
AUNG KYAW HTET MYANMAR INSPIRATIONS
43
Morning Walk, 2002, 90 x 120 cm
44
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Private Collection
Monk with Offering Bowl, 2002, 90 x 120 cm
Oil on canvas
Private Collection
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Burmese Beauty, 2002, 90 x 120 cm
46
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Thavibu Gallery
At the Monastery, 2002, 90 x 120 cm
Oil on canvas
Private collection
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Praying Novices, 2003, 90 x 120 cm
48
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Private Collection
Three Monks, 2003, 85 x 115 cm
Oil on canvas
Private collection
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Mother, 2003, 45 x 50 cm
50
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Thavibu Gallery
Novice with Puppy, 2003, 86 x 112 cm
Oil on canvas
Private Collection
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Four Novices, 2003, 90 x 120 cm
52
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Private Collection
Young Novices II, 2003, 60 x 80 cm
Oil on canvas
Private collection
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Young Nuns Studying, 2003, 90 x 117 cm
54
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Private Collection
Young Nuns, 2003, 91 x 121 cm
Oil on canvas
Private Collection
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Two Young Nuns Praying, 2003, 89 x 116 cm
56
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Collection of the National Art Gallery, Malaysia
Monks on Side Car, 2003, 86 x 114 cm
Oil on canvas
Collection of the National Art Gallery, Malaysia
AUNG KYAW HTET MYANMAR INSPIRATIONS
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Young Nun with Bowl, 2004, 58 x 73 cm
58
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Private Collection
Young Nuns at Shwe Inn Bin Monastery, 2004, 115 x 149 cm
Oil on canvas
Private Collection
AUNG KYAW HTET MYANMAR INSPIRATIONS
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Nuns under the Sun, 2004, 85 x 113 cm
60
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Private Collection
Two Novices, 2004, 86 x 114 cm
Oil on canvas
Private Collection
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61
Monks under the Sun, 2005, 114 x 150 cm
62
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Thavibu Gallery
Praying Nuns, 2005, 115 x 149 cm
Oil on canvas
Private Collection
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Five Nuns on a Morning Walk, 2005, 86 x 114 cm
64
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Private Collection
A Young Nun Under the Sun, 2005, 87 x 114 cm
Oil on canvas
Private Collection
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Young Nuns in Pink Robes, 2005, 115 x 149 cm
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A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Thavibu Gallery
Praying Under the Sweltering Sun, 2005, 86 x 113 cm
Oil on canvas
Private Collection
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Two Young Nuns, 2005, 85 x 113 cm
68
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Thavibu Gallery
Praying Nuns, 2005, 115 x 149 cm
Oil on canvas
Private Collection
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Praying Monks, 2005, 115 x 149 cm
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A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Private Collection
Early Morning, 2005, 80 x 110 cm
Oil on canvas
Private Collection
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Young Novices Reading, 2005, 86 x 113 cm
72
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Private Collection
Early Breakfast, 2005, 86 x 113 cm
Oil on canvas
Private Collection
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73
Late Afternoon, 2005, 115 x 149 cm
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A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Thavibu Gallery
Three Young Monks, 2006, 86 x 113 cm
Oil on canvas
Private Collection
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Young Boy Hitting the Gong, 2006, 86 x 113 cm
76
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Private Collection
White Robes, 2006, 86 x 113 cm
Oil on canvas
Private Collection
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Monks with Fans, 2006, 115 x 149 cm
78
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Private Collection
Hitting the Gong, 2006, 86 x 113 cm
Oil on canvas
Private Collection
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Enjoying A Break, 2006, 86 x 113 cm
80
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Private Collection
My Old Neighbour, 2006, 61 x 81 cm
Oil on canvas
Private Collection
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Three Young Nuns, 2006, 75 x 90 cm
82
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Private Collection
Two Young Monks in Red, 2006, 86 x 113 cm
Oil on canvas
Private Collection
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Novice in Red, 2006, 86 x 113 cm
84
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Private Collection
Two Novices in Red, 2006, 115 x 149 cm
Oil on canvas
Private Collection
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Monks in Yellow Robes, 2006, 115 x 149 cm
86
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Private Collection
A Hot Day, 2006, 86 x 113 cm
Oil on canvas
Private Collection
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Monk in Yellow Robes, 2006, 86 x 113 cm
88
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Thavibu Gallery
Draping the Robes, 2007, 84 x 113 cm
Oil on canvas
Thavibu Gallery
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Yellow Series (1), 2007, 75 x 122 cm
90
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Private Collection
Yellow Series (3), 2007, 86 x 113 cm
Oil on canvas
Thavibu Gallery
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The Little Helper, 2007, 86 x 113 cm
92
A U N G K YA W H T E T M YA N M A R I N S P I R AT I O N S
Oil on canvas
Thavibu Gallery
Monk’s Portrait, 2007, 28 x 30 cm
Charcoal on paper
Thavibu Gallery
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