[Translated Text] Txt0048

Bagyi Aung Soe, “Foreword by Bagyi Aung Soe”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 11-17.1

11 At the art show organised by the Committee of Preservation/Renovation of Traditional Art on 12 May 1951, the President of the Committee made a speech about the show’s aims. It gave me the chance to study traditional art from the East as well as the renovation of Indian national art at Viśva-Bharati University, Śāntiniketan, Bengal in India. The university was founded by the world-famous poet Dr. Rabindranath Tagore. I tried hard to find his speech and it reads as below: “Let me explain our objective. Although everyone has heard of ‘art [painting]’, few knows its profundity. In reality, no one can live without it. Because each of us needs to be educated as a human being.”

12 And it never happens in the absence of art or fine art. Only that can allow us to have different ‘Emotions’ [English] such as joy, merriness, delight, sadness, anger and pleasure. As such, if we really want to have high educational standards, we must upgrade fine art. It is the nature of art that can attract and make us excited. It is why the arts of painting, such as ‘Fine Arts’ [English], ‘Commercial Arts’ [English] and ‘Industrial Arts’ [English], are used widely and effectively in the relevant places. I know there should be no more explanation to this. But I feel there should be more examples to demonstrate how everyone is interested in art. Because it is a sort of beauty and there is no one who does not want to be beautiful. Being beautiful here refers to all aspects of life: dressing, eating and living. All these things are related to art. The further you think, the more you will understand it.

Such an important subject is now lost in obscurity. It needs to be rediscovered. We have to do it very carefully and systematically. For these reasons, three goals are set.

13 First, now that paintings done are mostly in Western style, it is important a) to reestablish as an art form the style, techniques and concepts of traditional art.

Techniques today have greatly improved. However, as with buildings, independently of the technique, it is easier to be destroyed without a good foundation. So, the second goal is b) to rediscover our ancient art in the stone

1

This translation only conveys the gist of the article, not all the nuances.

Bagyi Aung Soe, “Foreword by Bagyi Aung Soe”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 11-17.

1

AungSoeillustrations.org

inscriptions, carvings, wall paintings etc. of ancient times, and to create a new form of Burmese art based on them. Some believe that creating artworks on today’s issues with traditional technique guarantees a high standard in Burmese painting.

This is not totally true. What I believe is that it is not adequate because of limited traditional colours.

Thus, to be an up-dated version of real Burmese painting …

14 … it is important to use the best technique in the traditional way and be in sync with the times. What I mean here is to create a ‘Synthesis Old and Modern Art’ [English].

The subject matter is very important too. This can widen the public’s scope of knowledge and lead to achieve the second goal.

The third goal is c) to not narrow the field as Eastern and Western styles, so that our art concerns only us, but to make it speak to the world and be on a par with world standards. Our technique and subject matter must be understood by any nation. Our artists must practise a lot, especially on human anatomy and nature. Success will come with constant practice.

To be on a par with world standards, the works must make us more excited; the brushstrokes must be alive, and the colours must be …

15 … rich and expressive. These works of art must be in the right tone, colour and hue, and work as an ensemble throughout. Only then will the art’s ‘Form’ [English] be complete. The subject matter is just as crucial.”

His speech made me pursue the dream of “from traditional to modernity”. I have also heard and learned from Saya Zawgyi, Saya Min Thu Wun and Saya Nwe Soe: 1) In our culture in Myanmar, the arts of writing and drawing not only share the same word, but they also entail the same practice and nature. For instance, the tools we use to write such as the stylus, steatite, brush and fountain pen are also used in drawing and painting. Paints such as ink and vermilion gold are used in painting as well.

Although the art of painting does not employ the same technique or practice as the art of masonry, woodcarving, casting, glass mosaic and gold or silver embroidery, they share the same nature. For example, the respective professionals’ preferred subject matter …

16

Bagyi Aung Soe, “Foreword by Bagyi Aung Soe”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 11-17.

2

AungSoeillustrations.org

… are also the artists’.

Again, artists and sculptors often like to feature dancers in various styles.

Moreover, we have observed that traditional artists mostly express themselves using lines. The paintings that can still be seen at pagodas in Bagan and other sites, and those in printed publications prove this.

Thus, to re-establish Burmese traditional art, artists should focus on studying a) the art of writing, b) the techniques of masonry or woodcarving, c) the styles and postures of traditional dancers, d) the line drawings and painting techniques of traditional artists and e) Burmese architecture.”

As my desire to develop the new style of Burmese traditional art intensifies, …

17 I believe from this address stemmed the chance for me to study at the prestigious ViśvaBharati University founded by the poet Rabindranath Tagore, as well as the opportunity to travel all over Myanmar to study under traditional artists and craftsmen after my studies in India.

As such, this little book is not an in-depth treatise on art [painting] but is written with an aim for young people interested in traditional art to study and to consult. I sincerely invite comments and criticisms from all interested parties.

With respect, Bagyi Aung Soe

Translated by Pann Hmone Wai

Bagyi Aung Soe, “Foreword by Bagyi Aung Soe”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 11-17.

3

AungSoeillustrations.org