A SPLASH OF BURMA COLOUR
Julien Moe
A SPLASH OF BURMA COLOUR
12.5.97/THE NATION
SMITH LYNN
YEARS OF ISOLATION HAVE PRODUCED A UNIQUE STYLE OF PAINTING THAT
IS MAKING A REGIONAL IMPACT, WRITES SMITH LYNN.
Though Burma is a culturally rich m and fascinating land, little
is known about the country or its people, much less its artists
The art of Burma, much of it religious, goes back more than 1,500
years. In ancient times, art was used primarily as a means to
portray scenes from the life of the Lord Buddha. Such
Indian-influenced art can be seen in the curved lines and
decorations that adorn numerous religious Buildings throughout
the country.
When Burma fell under British rule in 1881, however, its people
were introduced to new ideas from the West, resulting in many
dramatic transformations.
The Burma Art Club was founded in 1914. Western painting
techniques were introduced and modern forms flourished with art
no longer serving exclusively religious purposes.
The first and foremost modern painter was U Ba Nyan (1897-1945).
He is known in Burma as the "Father of Western-Influenced
Painting". Born in 1897 he was sent to England as an art scholar,
becoming the first Burmese to study art overseas.
After finishing his studies at the Royal Academy of Arts in
London, he was subsequently granted a study tour of Europe where
he travelled, painted and exhibited his works.
U Ba Nyan was a pioneer of Western art forms and primarily a
realist although he used touches of impressionism in both his
water colours and oils. He passed his painting methods on to
young apprentices who eventually started their own schools. His
teaching overwhelmed Burma's contemporary art scene and he left a
legacy of fine art teaching and art schools. It was from
Ba Nyan what is broadly known as the "Rangoon School" developed.
U Ba Nyan's successors were an artist from Tavoy, U Ngwe Gaing,
and U Ba Kyi, both of whom were also trained abroad. The former
concentrated on realistic art, whereas the latter tried the
"Jugend Stil" method to modify the traditional Indian-style
curved lines of Burmese art. He did many frescos and murals in
religious buildings using his distinct style, winning
international recognition.
Simultaneously, in Mandalay, a separate school was developing
independently and became known as the "Mandalay School". The
founder was U Ba Thet, a well-known water colourist. Most of the
Mandalay artists were self-taught and influenced by traditional
Burmese forms of art.
With a strong tradition of passing on skills from teacher to
teacher, Burmese art has flourished and endured.
Among the prominent artists from the Rangoon school were U San
Win, U Nyan Shein, U Hla Shein, U Thein Han (a prominent student
of U Ba Nyan), U Myat Kyaw, U Kin Maung, U M Tin Aye, U Harry
Aung, U Lun Gywe, U Thein Nyunt, U Shein Tun, U Thu Kha and U
Kyaw Hlaing. And from the Mandalay sector, the best known were
Saya Saung ("The prince of water colour"), U Chit Mye, U Chit
Maung, U Hla Maung Gyi, U Saw Maung, U Thant, U Tun Nyunt and U
Thet Win.
Proteges of the Rangoon school who also became popular included U
Thaung Han, U Star Mya Than, U Maung Kyaw, U Bagyi Aung Soe, U
Than Aung, U Hla Kyi and U Kyaw Thaung.
At the same time, the Mandalay School began to develop its own
tradition of teaching modernism and abstract art, when U Win Pe
(a modernist) was appointed principal of the school.
Among the modern artists in Mandalay, U Aung Khin, U Win Pe, U
Shwe Aung Thein, U Khin Maung Yin, U Aye Myint and U Paw Oo Thet
were exceptional. U Paw Oo Thet won the International Competition
of Stamps prize sponsored by Unicef.
Although Burma was almost completely isolated from the rest of
the world during the socialist years (1962 to 1988) its artists
still managed to obtain needed art materials through foreign
patronage and via the fluid black market from Thailand.
Still, the cultural isolation did have an effect in forcing Burma
to evolve on its own. Unintentionally, this separate evolution
has made Burmese art distinct, and yet many of its images also
have a universal appeal, from the bright and light-hearted images
to the dark brooding ones.
Some works from impressionists like U Aung Kin and his group may
seem Western, but on thorough examination one can see that the
subjects are usually indigenous.
During these years, many famous artists such as U Harry Aung
migrated to the United States in search of international
recognition. Other young talented artists like U Maung Maung Taik
and U San Myint also left for the US while Noel Singer (a
successful traditional artist) moved to England.
However, support was also provided by the government to promote
art and cultural programmes. Through the patronage of art and
cultural exchange programmes, the government granted further
studies to promising artists such as IT Thant Zin to France, U
Sein Linn (Smith Lynn) and U Soe Tint (Sculpture) to Germany, and
U Mya Aye to the People's Republic of China.
The government also sponsored several arts and culture study
tours and delegations abroad. The National Art and Crafts
Exhibition took place annually with the sponsorship of the state.
Exhibitions under the patronage of foreign community in Rangoon
were also held occasionally. More than 30 years after it closed
its doors to the world, Burma reopened them in the '90s to the
outside world with a new name as Myanmar. One would have thought
that nothing could possibly survive in Burma after being
separated from the real world for so long. But it is not so.
Remarkably, the long tradition of Burmese visual art has
continued to flourish despite these difficult conditions.
Understandably, art materials have been hard to come by and some
artists were forced to live hand to mouth. Yet, their indomitable
spirit remain unchanged.
When Burma reopened her doors to the world, some good things came
along. Enthusiastic art dealers stepped in and tried to introduce
and promote Burmese artists in foreign markets. One of the
pioneers is Andrew Ranard (son of a former American consular to
Burma).
In October 1994, Ranard exhibited the works of a group of young
talents from Burma at Tresors 94, the world's leading Fine Art
and Art Dealers' Fair in Singapore. The group of artists
consisted of U Min Wae Aung, U Tin Maung Oo, U Zaw Zaw Aung, U MT
Aung, U Hla Han, U Zaw Min and U Bo Kyi.
In an interview that year, Ranard said, "On trips there in the
early part of this year, I was gradually introduced to their
modern art and contemporary painters. A few of them stunned me
some with their talent and imagination.
"The young artists have technical mastery, but they also paint
from their heart. Their works has an undiminished, universal
impact which conveys what art should survey: the mystery of a
soul."
In September 1996, a group of Burma's leading realistic artists
led by U Kyaw Thaung, held an exhibition in Penang. It was the
first international tour for the group which included U Kyi Win,
U Maung Maung Hla Myint, U Maung Maung Theik, U Min Wae Aung, U
Pe Thein, U Pyay Soe Myint. After Penang, they proceeded to
Singapore and Thailand where they held similar exhibitions. After
many years of difficulties in Burma much of the recent troubles
are finally passing. Lessons have been learnt and there is now
the scope for better understanding, both among the people of
Burma and between Burma and the rest of the world.
Visitors to the country have a good opportunity to discover the
full richness of a uniquely fascinating land..At the same time,
one can discover the unspoilt traditional and Western influenced
art of Burma which still flourishes.
Akaleidoscope of "isms" can be found in the current Burmese art
scene. In the same sense, some artists are seeking international
recognition abroad whereas some are trying to open their own
galleries or art studios.
It is worthwhile visiting Burma to witness the evolution of art
in a once-mysterious country.
SMITH LYNN is a Burmese artist who has held several solo art
exhibitions in Thailand and Singapore. His latest watercolour
exhibition, "Glimpses of Thailand", took place at the Rounda
Gallery, Neilson Hays Library in Bangkok in March.