Bagyi Aung Soe, “The Little King of Art: Painter Ba Yin Galay” Kyaymon (May 1950), 11-12, 95.
11 In European history, as cameras were not invented before the 19th century, aristocrats and the bourgeoisie paid thousands to commission their portraits. Famous painters [artists] took four or five years to create portraits with such exactitude and detail that they looked like photographs.1 Such painters who could serve the aristocrats and the bourgeoisie were recognised as royal painters. They were hugely rewarded as well. Those who could not serve well and were neglected thus became poor and hungry. Some even died in the pursuit of recognition. Painters mostly became penniless due to such inequality. In the middle of the 19th century, cameras were invented. Being less time-consuming, much cheaper and more accurate than painting with hand, they became popular. Nowadays, cameras can produce not only black-and-white photographs but also colour ones. But European masters “Cezanne, Manet, Sisley” [English]) revolted against the influence of the technical machine with “Impreessionism” [sic]. “Impreessionism” [sic] prefers “Colour” [English] to “Form” [English] and rejects the earlier meticulous style of painting. For example, instead of drawing a leaf, [the impressionists would] draw the whole tree with a single stroke. In these paintings, everything is related, not separated. Although many things can be seen, there is only one subject. Movement is key. Impressionism demands great creativity which is different from using cameras. This is art [painting]. This is the value of art [painting]. Moreover, impressionists made paintings according to their creative impulse. To name but a few, “Van goigh” [sic], “Pavil cezanne” [sic] and “Paulgaugin” [sic], were European masters who promoted their “Individual Style”. 1
Characteristic of usage in the modern period, the Burmese word meaning “painting” is often used to stand for “art”, and likewise “painter” for “artist”. In this article, the original meaning of “painting” and “painter” is favoured. When translated as “art” and “artist”, “[painting]” and “[painter]” in square brackets follows, unless the Burmese word for “art” is used. Bagyi Aung Soe, “The Little King of Art: Painter Ba Yin Galay” Kyaymon (May 1950), 11-12, 95.
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That is why individual style is the most important thing in “Impressionsms” [English; sic]. 12 This is a brief history of impressionism. Some people were quite dazed when they encountered those raw and vibrant illustrations in printed media (the press, paper, journal, magazine). They might not understand. That is the reflection of “Impreesionism” [sic]. Those illustrations were not real “Impreesionism” [sic] paintings. As there was no art [painting] gallery in Myanmar, there was almost no art [painting] exhibition or competition. Well, the painters could not just create their paintings and wait for someone to buy one. So, to express what they want, to create works for published media was the only way. Published media functioned like the art [painting] gallery. But there were already many established painters [artists] in that field, and you had to struggle to find your way. I observed painter Ba Yin Galay’s works which were sometimes featured in published media. There were first the “Illustration” [sic] in Kyipwayay magazine published in Mandalay in 1940 and those in the post-war magazine called Writers' Club. Eventually, I found his works in People's Power and Red Army published by the Burma Communist Party and in many Burmese leftist literature publications. In addition, I found his works on film posters. His works gained momentum and eventually became accepted among fellow painters [artists]. He had his “Individual Style” [English] of “Impressionism” [English]. Another painter of “Impressionism” I knew was U Hla Bau who was the chair of the Burma Artists’ Union. His works are disappearing and he has already left this world. Ba Yin Lay and socialist Ba Swe founded Thukuma Tinkot. They made films and paintings. Ba Yin Lay's works from it were really enjoyable. Being quite poor, Ba Yin Lay, a native of Mandalay, did not have time to study English. But, he had the full spirit of a hardworking and diligent artist [painter].
Bagyi Aung Soe, “The Little King of Art: Painter Ba Yin Galay” Kyaymon (May 1950), 11-12, 95.
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He did not care about anything else. Thanks to his understanding wife, he could do whatever he wanted. She supported him and believed in him. She did not complain whether he made money or not. Whenever I visited him, I found him almost always painting. He even had someone sit as a model to make a painting just for a cover of New Ray magazine. I kept that painting with me as New Ray magazine did not use it unfortunately. This shows that the artist was not a racist. He [however] seemed to believe in social hierarchy. The facial expression of the old man was invigorating and showed his ethnic distinction. With the right contrast of light, it is one of his masterpieces. (See page 95 [missing])
Translated by Kriz Channyein
Bagyi Aung Soe, “The Little King of Art: Painter Ba Yin Galay” Kyaymon (May 1950), 11-12, 95.
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