[Translated Text] Txt0055

Bagyi Aung Soe, “Traditional Painting”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 28-38.1

28 In every country, art can be categorised as “Traditional” [English] or “Non-traditional” [English].

Both are of equal interest to me and I thus study them as much as I can.

In non-traditional art, there are free and independent thought, revolutionary ideas, strong personal concepts, and a multitude of styles and techniques. There is too much, so for the moment, I will concentrate on traditional art. If asked the reason, I would answer that it is closer to the people …

29 … since “A traditional art is the creative expression of society” [English]. It is simple; it is sincere; it represents the common man, and it represents a culture. Each country has its own tradition in cultural arts. For example, Japan has its Japanese traditional art, China has its Chinese traditional art and so does Myanmar.

It springs from each country’s geographic, historic and religious heritage.

Traditional art cannot be separated from “Craftsmanship” [English].

It is said that traditional painting is a combination of “Crafts” [English] and “Art” [English].

And concerning the word “Traditional” [English], one must also note the connection between painting, sculpture and architecture.

Long ago, a traditional artist would be skilled in all three.

30 From crafting the smallest bowl to building a palace, the creator needs to be motivated by a sincere love of creation. It depends on their deep religious practice and faith in divine power: the “Spiritual and the power of divine” [English].

It has been said that sincerity of the mind fosters the creative power which in turn produces works of exceptional beauty.

1

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

Bagyi Aung Soe, “Traditional Painting”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 28-38.

1

AungSoeillustrations.org

Traditional art seems to have been handed down through the ages since the cave men.

One can see these concepts in the cave paintings of “Prmitive Men” [English; sic].

They carved in symbolic forms the gods they worshipped, and painted the game they hunted as if to cast spells for increased bounty.

31 Thus, it can be said that “Traditional Art” [English], “Primitive Art” [English] and “Magic” [English] have been derived from the paintings of primitive men.

Traditional art has Iong been based on symbols or “Symbolism” [English] with many laws and taboos.

These concepts are totally at odds with the freedom of the modern artist.

Traditional painting is based on nature but it is not a direct representation of nature. It is an art arising from the artist's feelings in response to nature.

He uses symbols which have been influenced by his race, environment, society, religion and culture.

With more effective communication systems throughout the world, traditional painting has paled in its purest forms.

32 For example, traditional Japanese art has been so influenced by Western ideas that it is now difficult to separate the two.

It is the likewise for all other countries.

Times have changed too, when a race of people once truly represented the country, but now people can hardly say what race they belong to.

Patriotism and selflessness must be the means to preserve traditional arts.

For those of you who are interested, I would like to present a few points to study the traditional arts with the help of modern ideas.

33 There are two things worthy of close study: a) Traditional calligraphy b) Traditional line drawings

Bagyi Aung Soe, “Traditional Painting”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 28-38.

2

AungSoeillustrations.org

Also, one will need to study the choreography of classical dance and the wall paintings of ancient temples.

The traditional proportions of the human figure, the exact hairstyle, garment, utensil, hand and feet movement, architecture, etc. must all be studied.

There are also precise styles for drawing mountains, trees and water.

These typical Burmese designs can be studied from: a) Stone inscriptions b) Palm leaf manuscripts c) Lacquer ware d) Glass-inlay e) Goldsmith, stone-cutting f) Sculpture 34 g) Masonry h) Tapestry The Buddha’s birth stories, history, royal traditions and styles represented on them must all be studied thoroughly. In order to create new art, we have to find out more about the old one. To do so, there are so many traditional works such as the paintings at Bagan, figures in ink and paint from the white parabaik created during the golden age of Mandalay, animals, birds and other characters from the birth stories on lacquer ware, and floral arabesques decorated on the roofs and corridors of religious buildings. Professionals believe that artists can create a new art which preserves the Burmese identity based on the concepts found in the above crafts. We can now see paintings with a new look having national flavour as well as works-in-progress in the new style too. We should be proud of this.

One must take into account the migration of arts in Asia.

35 From India to Tibet, Pakistan and Mongolia in the north, China, Japan, Korea, Myanmar, Thailand, the Indonesian islands to the east, Ceylon to the south and China (Indians again looked up to artworks from China with great respect) are the two great sources from which the arts spread to neighbouring countries.

Bagyi Aung Soe, “Traditional Painting”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 28-38.

3

AungSoeillustrations.org

With colonialism, Western concepts began to dominate Eastern art forms (those of India, Myanmar, Ceylon and the Malay Peninsula). French art dominated Indochina, which was once a part of it, and so did Dutch art in the Indonesian islands; there was the danger of Eastern styles completely disappearing. But then, some European painters started to incorporate Japanese and Chinese art forms into their works.

36 In modem Western art are many traces of Eastern thought and styles.

There is one art form that remains resolutely sovereign, and that is folk art. The paintings by the famous Indian artist “Jaminiroy” [English; sic] are popular as they are in the new look of “folk Art” [English].

Here, one can see it in the papier-mâché toys found at the pagoda stalls. They are loved and played since our great grandparents’ time. There are wooden wizards in red, with beard and moustache. They dance when you draw the ropes.

37 There are also figurines such as dancing horses, roaring tigers and elephants. If you look at the scissors, areca nut cutters, bowls, cups and pincers, you will find beautiful floral patterns.

They are forms of folk art as well. They are all with traditional designs whittled out of softwood and painted in bright traditional colours. Horses have stripes and green, blue or black eyes and do not look like real horse. I wonder why they are not odd in our eyes. The saddles on the cows and horses are in red and blue but they still look friendly to us. In pottery too, there are still age-old designs and forms, as in the traditional clay bird-whistles. You can see them all if you visit the Bahan Market.

38 There is a multitude of folk art to be seen in everyday life made of bamboo, wood, clay, shells, brass; they have been created from the very depths of our culture and are utterly free of foreign influences. They are most people’s favourites and are close to them. The lines are bold and simple with bright primitive colours in organic paints that capture the people’s spirit.

To keep traditional art alive, it is most important to study “Folk Art” [English] as well. It is its true base. If we can create a national identity with strong foundations in folk art, it will flourish and take its place in the international art scene.

Translated by Pann Hmone Wai

Bagyi Aung Soe, “Traditional Painting”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 28-38.

4

AungSoeillustrations.org