[Translated Text] Txt0049

Bagyi Aung Soe, “Foreword by Dr. Lwin Aung”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 2-10.1

2 “This little book is dedicated to the great artist, U Hla Bau.” Bagyi Aung Soe

3 International artworks are modern [of the new era]. An international artwork here means a work of art that is of a style bringing together different countries from all around the world.

Modern artworks are defined by their time. This is due to the different philosophies of art assimilated by the artists over the course of their lives.

Art must contribute to the good of society from which it comes, whether it is Eastern or Western, nationalistic or individualistic. No art will last long without society.

4 The economic system, social system, knowledge and skills are all fundamental for a society.

On these, philosophy and art thrive, burgeon and bloom. Even then, they wither in time.

They enrich Mother Earth and serve the next generation. The fruits and flowers of art will contribute to the good of society in return.

An artist may live in a narrow world with the belief of “art for art’s sake” at the very first stage. At the second stage, he may try to uplift the prestige of the nation and the people’s spirit. Such an artist proclaims “art for the nation’s people”. The artist, who puts his ego and pride in the profession behind the benefit of mankind, presents love, kindness and joy. An artist as such prefers to pursue duties to mankind’s trials. They see fellow human beings as workers, farmers, women and men, not yellow, white, black and red men. Artists who truly care about their troubles, griefs, hopes and pains are international artists proclaiming “art for the people”.

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

Bagyi Aung Soe, “Foreword by Dr. Lwin Aung”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 2-10.

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All these three kinds of artists serve society by educating, entertaining and sharing knowledge. The difference is the size of the society in question.

Bagyi Aung Soe does not intend “traditional art” to mean “national art”. When he talks about traditional and modern art, he refers to the beginning and end in the process of art changing within a specific period of time. Traditional artworks are what our ancestors have left us.

Japan has its own Japanese traditional art and Myanmar has our own Burmese traditional art. France has its own traditional sculptures and Myanmar has our own Burmese traditional sculptures. Egypt has its traditional architecture and Myanmar has our own Burmese traditional architecture.

Every traditional artwork embodies a certain period’s convictions. They were formed within society with a specific religion and economic system based on agriculture. In the 20th century, developed countries turned their economies into industrial ones.

6 Their social lives developed due to accelerated international relations. Concepts on art rely on the results of scientific studies and industrial developments. Thus, art’s “Expression” [English] changed. This form of art has been generally named “Modern Art” [English]. It actually means the form of art that appeared towards the end of the timeline. But some call it “Contemporrary [sic] Art” [English].

Modern art is based on science. True socialism is defined as scientific socialism. Science means the absence of discrimination based on race, country and colour; nor does it has any regional bias such as the East versus the West. It always has the nature of the indivisible. Art also develops original expressions through form, figure, light, colour, space and mass.

Although the fundamentals of artistic creation are the same as in science, the results are not.

7 Because men who create art are not scientific things or robots. Men have different interests and they see the rays reflected from objects differently. Their interests arise from individual knowledge, experience and belief. As such, an artist’s sensations and feelings differ from one to another. Similarly, they create differently.

When we recreate works from the time of our ancestors through the use of similar concepts, we surely inherit their style. Clinging to existing forms suggests apprehension with respect to the creation of new ones of unidentified potential. The new makes us excited. But to make new forms depends on the amount of trust put into it. To take up the external and internal forms of something new, we must first investigate it thoroughly. The knowledge gained thereafter will be immensely useful for the creation of modern artworks.

Developed countries have schools, institutes and universities of art. Even in high schools, they teach art in a systematic manner.

Bagyi Aung Soe, “Foreword by Dr. Lwin Aung”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 2-10.

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8 Students there have to study history, critique philosophies and practice techniques. With more students with such good foundation in knowledge on art, the possibility of disorder in the future is reduced.

Movements of modern art date to the late 19th century in Europe. It coincided with King Thibaw’s reign in Myanmar. In the years that Myanmar was colonised, Europe reached its zenith with a new art form. Although many Burmese scholars went to Europe during that long colonial period, it seemed that they did not have the chance to develop interest in strong modern art. The royal and academic styles of art which they brought back were popular during the colonial period. Until today, some still consider the past ideal and think that “a real artist works well with oil”.

U Thar Tun, a famous architect as well, was one of the artists studying at an international university during the colonial period. He was good with watercolor. His watercolor paintings can be seen at the gallery at the Ministry of Culture at Pansodan Street.

9 Aung Soe’s systematic way of thinking about art can be traced back to him. He was later chosen to study art in Śāntiniketan founded by the famous Indian poet, Rabindranath Tagore.

Bagyi Aung Soe is one of the artists who started practising modern painting in Myanmar.

This book is his conviction. He tries to revitalise the outdated traditional style; he wants to transform the Burmese art scene into an up-to-date one. His aspiration and good will are evident in this book.

Throughout his life as an artist, he experimented on different techniques but never faltered in his belief, i.e. from tradition to modernity. We have been fond of his illustrations for poems since student days – not because we understand them, but only to imitate them. However, in want of system and philosophy, how are we to compete with him?

Opportunely, I came to know that painting, sculpture and architecture are all arts based on a single principle founded on vision when I became a university student.

10 I knew Saya Bagyi Aung Soe in person only when I became an architect. I knew about traditional painting, modern painting, traditional sculpture and works of modern architecture only when I had the chance to visit an international art museum on my own. I next visited a number of museums several times and saw original modern paintings. Later, when we became colleagues at the same department at the Yangon Institute of Technology, I came to understand his philosophy thoroughly.

Bagyi Aung Soe, “Foreword by Dr. Lwin Aung”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 2-10.

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I am now a very close friend of the artist who believes in “from tradition to modernity”. As this book evidencing his good intention marks a milestone, I write these words with all my heart in response to his request for me to pen the foreword as an architect.

Dr. Lwin Aung Department of Architecture Yangon Institute of Technology

Translated by Pann Hmone Wai

Bagyi Aung Soe, “Foreword by Dr. Lwin Aung”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 2-10.

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