Bagyi Aung Soe, “Non-‐Objective Painting”, Hkyeyi (August 1986), 72-73.1
72 It has been two years since I have been illustrating for Hkyeyi magazine with young painters of the new era such as Maung Di, Moat Thone, Ko Myoe, Kyaw Phyu San and others.2 To mark its second anniversary, I have to write a special article for Hkyeyi. All readers understand what those who illustrate in the style of “Realism” [English] draw. There is nothing more to say and their works are perfect. But I would like to explain a bit on behalf of the painters of the new era to readers who are truly interested in painting of the new era (“Modern Art” [English]). Hkyeyi’s chief editor also paints and he is therefore a man who likes painting very much. He gives these above-mentioned young illustrators of the new era the opportunity to freely create works. Since he gives me (the old one) the same chance, I find that it is for me to provide the explanation on painting of the modern era instead of the young painters. It is like the Burmese proverb: to herd auntie’s cow for free while taking a meal. It is difficult to explain what non-objective painting is. It is what I want to write; this is just an introduction. Most painters of the new era appear seem interested in non-objective painting. I see their interest. They are interested through Saya Maung Di (painter Myo Nyunt). This artist should explain non-objective painting, but since he is an artist, he only paints. He does not want to explain. In fact, Maung Di said that he did not want to paint as before. It bored him. Therefore, he did not want to explain everything to others. 1
This translation only conveys the gist of the article, not all the nuances. 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. “Non-‐Objective Painting” here can be understood as “Abstract Art” or “Abstract Painting”. 2 The Burmese term meaning “painting of the new era” [art; Burmese: eခတ$သစ$ ပန္းခ်ီ] is generally understood as “modern painting” and “modern art” in Myanmar. Bagyi Aung Soe, “Non-Objective Painting”, Hkyeyi (August 1986), 72-73.
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AungSoeillustrations.org
It is not easy to explain painting of the new era. If you want to better understand it, it is necessary to begin with the history of painting. Even to know how to contemplate a realist painting, we need to have some knowledge of painting. It is really difficult to comment [on this] in the middle of history. Busy with daily affairs, people have difficulty knowing painting’s vocabulary. Therefore, to facilitate the understanding of vocabulary, let’s say it is an object – that is to say anything with length, width and depth. It is necessary that an object has these three things. Otherwise, what does one call it? 73 If the painter paints an object that exists in nature, he or she has to include in the painting perspective, light, shadow and colour (length, width, depth). His or her painting will be natural and beautiful if he or she can make the colours harmonious […] “Gray” [English] […]. For an object, it is necessary to have three dimensions (“3 Dimension)” [English; sic]): length, width and depth. According to the vocabulary of painting, an object possessing length and breadth is called a “Shape” [English]. [Image of a shape] This is a “Shape” [English]. [Image of an object] A “Shape” [English] has only length and width. It is not an object. This is an object. It has “3 Dimension” [English; sic]: length, width and depth. It is a “Mass Solid” [English; sic]. If the painter makes something that is non-objective, he or she does not need to add depth. He or she uses a “Shape” [English] made up of length and width. The “Shape” [English] made up of these two things is drawn on a “Plain” [English] paper so that everything is naturally full of “Harmony” [English]. As such, there is no restriction in painting of the new era and it is easy to create works in a playful manner. That is why non-objective painting is attractive to young painters of the new era. It is because of Saya Maung Di who began to present it in current times that it is now likable to all. If we observe traditional Burmese painting or Egypt’s mural painting, the drawings only have length and width, but no depth. Painters in the past did not know theories yet, but painters these days know theories and methods well. As such, they appear to create in a simple and easy way.
Bagyi Aung Soe, “Non-Objective Painting”, Hkyeyi (August 1986), 72-73.
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AungSoeillustrations.org
Although the older generation does not accept works by Moat Thone or Myay Zar, the young accept and like them very much. These young painters are “Clever in Hand” [English]. They deliberately draw in a simple and free way. In reality, they know how to make very good “Drawing” [English]. I know their competence well. For example, Moat Thone was a good student at the State School of Fine Arts. I was told that his classmates were very impressed by his work. Yet, he does not follow convention. This is “Clever in Mind” [English]. Young people today think a lot instead of being sentimental. It is about communicating with the heart. They also do not want to follow the footsteps of others. They want to create on their own. For the moment, people accept non-objective painting from time to time. An old man like me is contented with that because, with age, I am no longer strong enough to paint. I [already] had the chance to create non-objective paintings at ease. It is like being honoured at the festival of offerings. The significance of non-objective painting is very wide. For me, for example, if I am no longer able to paint, I can stop painting and send this article to the printer’s zinc block. Or I can burn it. If the paper burns, there is no object left. That would truly be non-objective painting since the object no longer exists. The ashes of the paper on which I painted scatter like smoke from the apparatus at the crematorium. At the crematorium, it takes a very short time for the very thin smoke to rise from the chimney. I hence welcome with enthusiasm non-objective painting of which I am fully supportive. That is all. Bagyi Aung Soe (It is the same meaning as Zen art. There is nothing to think about. Looking at an artist’s work, we have a choice: to like it or to not like it. It does not depend on the body but the mind. It is a free choice.)
Translated by Khin Swe Win & Yin Ker
Bagyi Aung Soe, “Non-Objective Painting”, Hkyeyi (August 1986), 72-73.
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AungSoeillustrations.org