Bagyi Aung Soe, “Traditional Burmese Textile Printing”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 39-47.1
39 It can surely be said that Burmese traditional art is admired by the whole world: lacquer wares, sculpture, goldsmith or silversmith and clothes with gold or silver embroidery. Burmese crafts have always inspired admiration wherever they are exhibited in both the East and the West. Every Burmese citizen who has been outside the country experienced how much others respect the country because of the traditional crafts. 40 One of the lesser known crafts is textile printing with traditional designs. It is one of the crafts that utilises designs to the best advantage, and the result is thus typically Burmese. Moreover, foreign visitors who have great admiration for our traditional clothes and objects come to Myanmar to buy them. Expanding work on this will not only be economically beneficial, but also help to preserve a strong national identity. There are museums in other countries that display Burmese crafts, such as Kolkata, London and Russia. When I was in India, I often visited the Kolkata Museum. 41 It was because I wanted to see a room full of traditional crafts, which I did not get to see in Myanmar. Sadly, they are in other countries for the time being and their priceless value has been forgotten in Myanmar. Museums in London also collect and display Burmese art and crafts too. The artworks, crafts and publications given to Russia as presents on the diplomatic cultural exchange were all exhibited in the museums. Myanmar is seen as the country whose people love and respect tradition. Art, together with dance, drama and music, … 42
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This translation only conveys the gist of the article, not all the nuances. Bagyi Aung Soe, “Traditional Burmese Textile Printing”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 39-47.
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… will teach the people to be proud of their heritage. To be precise, if each of us love our traditions and cultures deeply, they will be in love with our nation. In addition, when people are proud of their heritage, they are blessed with opportunities. Artists should bear in mind that it is then impossible for foreign ideas to influence our culture. It is up to the artist to see that his works are closely aligned with true Burmese nature and traditions. To be honest, when I was chosen to go to India on a scholarship, I was not as excited as I would have been to go to Europe, to England and to France. 43 But I just took the chance. The colonial era had instilled in us a deeper interest in the West than the East. However, Śāntiniketan changed me by making me aware of my own art, crafts and cultures. It made me realise the good intention of Saya Zawgyi and U Wun. Tagore established his university with the aim of fostering national pride, and that in turn helped the people to become patriotic enough to overthrow the British. In Myanmar, in those days, the people took to wearing homespun cloths as a sign of nationalistic pride. 44 If you remember those times, you know how successful it was. What other ways are there in preserving and presenting traditions by means of art, a form of national culture, I wondered. Everyday utensils with traditional motifs and designs (for example, lacquer ware) will be a good start. Even in commercial enterprises, to use true Burmese motifs will help establish national identity. I hence joined the Department of Home Industry as an instructor of design for textile printing. I now want to make people know the value of true tradition and tell the difference from the fake. In our country, non-traditional items used since the Japanese colonisation are now popular. 45
Bagyi Aung Soe, “Traditional Burmese Textile Printing”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 39-47.
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People are not willing to use traditional items and cookware such as pots, or wear traditional clothes. Again, I now see that people in Myanmar do not really want to wear clothing with traditional patterns. However, I believe that the people will turn to wear traditional clothing and that there will be greater development in textile printing. I do not mean to blame the people. I also want to admit that our endeavours are only in the nascent stage. I later realised that the scope of my studies of Burmese designs was too narrow. It is natural to seek the authentic. For instance, no matter how much topaz may look like the real diamond, it cannot be of the same value. This is the same with Saya U Ba Kyi. He is a master of illustrating cultures and can convey them clearly to the viewers. His artworks are successfully accepted and admired by the citizens. I really love that point. 46 I was relying too much on the works of artist U Ba Kyi in copying his designs in textile printing. Some even thought that they were his works. Those who had no idea that they were copies of his original works came to praise me. Right, I was embarrassed. I would like to explain that they were mistaken. Other artists might have been in the same situation as I was; the difference is that they might not admit to it. For me, I can be Bagyi Aung Soe only when I develop my own art after regretting earlier mistakes. I later came to realise that living in Yangon could not allow me to know more about traditional cultures, styles and crafts. As such, I decided to travel across the country, to villages and towns far and near in Central and Upper Myanmar such as Mandalay, Nyaung Oo, Bagan and Pakokku where the authentic sense of tradition can be found. I immersed myself in the lives of the country folks, in their enjoyment of festivals, puppet shows through the nights, and even cock fights. 47 I met the great craftsmen; they are unforgettable. They are poor, very poor living in huts, wearing worn-out sarongs and drinking warm tea but with a fierce pride and joy in their work. They willingly teach anyone interested. I learnt from them the strict forms and proportions in traditional designs and the fact that they must be carefully studied over time. It cannot be done by bluffing. I came to know that it is no different with other forms of art. Then I was sent on a scholarship to study at the lacquer ware school in Bagan.
Translated by Pann Hmone Wai Bagyi Aung Soe, “Traditional Burmese Textile Printing”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 39-47.
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