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OLD MYANMAR PAINTINGS IN THE COLLECTION OF U WIN HLA TIN HTUN OLD MYANMAR PAINTINGS IN THE COLLECTION OF U WIN by HLA TIN HTUN In Loving Memory of My Father, U Win U Win Aung Thu Published by Thavibu Gallery Co. Ltd. Silom Galleria, Suite 308 919/1 Silom Road, Bangkok 10500, Thailand Tel. (662) 266 5454, Fax. (662) 266 5455 Email. [email protected], www.thavibu.com Translated by U Hla Htut Oo Language Editor, James Pruess Photography by U Than Aung, Photocity, Myanmar Layout by Wanee Tipchindachaikul, Copydesk, Thailand Printed by Amarin Printing and Publishing Public Company Limited, Thailand Copyright Thavibu Gallery 2006 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, without prior permission in writing from the publisher. ISBN 974-9931-82-3 ContentsTABLE OF Page Titel Page Titel 04 FOREWORD 60 (U) Bogalay Kyaw Hlaing 05 PREFACE 61 U Kham Lun 07 INTRODUCTION - 63 U Ba Yin Kalay Evolution of Myanmar Painting 65 U Kan Nyunt 09 ARTISTS’ PROFILES 66 U Myat Kyaw 10 U Tun Hla (M T Hla) 67 U Ohn Maung 1 11 Sayar Myit 68 U San Pe 12 U Ba Ohn 70 U Khin Maung 13 U Maung Maung Gyi 73 U San Lwin 14 U Ba Nyan 74 U Ko Lay 18 Sayar Saung 76 U Aung Khin 20 U Thar Dun 77 U Ba Lone Lay 21 U Saw Maung 78 U Thein Nyunt 23 (U) Yadanarbon Maung Su 83 U Tin Hla 24 U Ngwe Gaing 84 U M Tin Aye 30 U Ba Thet 87 U Ba Lwin 32 U Chit Myae 88 U Han Tin 34 U Hla Shein 89 U Nyan Shein 37 U San Win 90 U Aung Htwe 42 U Ohn Lwin 91 U Min Naing 44 U Chit Maung 92 U Shwe Oung Thein 45 U Ba Yin Gyi 93 U Ohn Thwin Gyi 47 U Thein Han 94 U Kyaw 48 U Khin Maung (“BANK”) 96 (U) Maung Ngwe Htun 50 U Tun Nyunt 98 U Toe Nwe 53 U Ba Kyi 99 U Paw Oo Thet 56 U Ba Moe 100 U Than Aung 57 U Hla Maung Gyi 102 U Kyaw Lay 58 U Kyi 59 U San Shein 1 U = Mr; Saya(r) = Teacher; Sayagyi = Master or Specialist; Daw = Mrs; Ko = Brother; Maung = Young Brother FOREWORD Jørn Middelborg Thavibu Gallery Thavibu Gallery is pleased to present this Buddhist interpretations.” ..and.. “The book of old Myanmar paintings. Myanmar emergence of Myanmar modern art at the (formerly known as Burma) has a long turn of the 20th century can be sighted artistic tradition. Early works include through the works of U Ba Nyan (1897- frescos and mural paintings in temples and 1945). He played an important role in articu- pagodas, and in the 18th and 19th centuries, lating new artistic thoughts, which later both Myanmar and foreign artists were became the basis of Myanmar modern art. appointed to serve at the court, and the Originally apprenticed under a traditional arts flourished. painter, U Ba Nyan was the first Myanmar artist to have a formal art education that led As the art scholar Shireen Naziree2 notes: him to graduate from England’s prestigious “By the 19th century, evidence of change Royal College of Art in 1924 and consequently was signaled by the Western influences of exhibiting his art in Europe as well as in British colonial rule. The continuing tradi- Myanmar.” tional painting with its carefully crafted lyrical and poetic symbolisms remained a This book highlights works from the large vital aesthetic within the cultural psyche of collection of paintings accumulated by Myanmar. But with the increasing number U Win. He was an avid collector for over of foreigners who visited the country and forty years who recognized the importance the numerous architects and civil servants of preserving part of the country’s heritage. with artistic interests who settled in the The paintings shown in this book are part of larger cities of Mandalay and Yangon, probably the best and most comprehensive the disciplines of Western art became of collection of paintings in Myanmar. interest. The representative techniques of classic European art were studied and The fifty-three artists are presented in a adapted to enhance the illusion of reality chronological sequence according to year by the traditional Myanmar artists in their of birth. Most works are not dated. 2 In U Lun Gywe - A Master Painter from Myanmar, Thavibu Gallery, 2005 4 HLA TIN HTUN OLD MYANMAR PAINTINGS IN THE COLLECTION OF U WIN PREFACE Thoung Han Hla Tin Htun Artist & Chairman Artist & Secretary Myanmar Traditional Artists and Myanmar Traditional Artists and Artisans Artisans Association (Centre), Yangon Association (Centre), Yangon To maintain our Myanmar traditional art There is a saying to the effect that “One Myanmar artists, some fifty-three i num- heritage and to improve it continuously is good picture is worth a thousand words.” ber, have been warmly honoured and an important task. It is remarkable to see This would seem to refer especially to recorded in this book, titled (in the Myanmar that just as some persons are taking the painted pictures. In such works of art are language) An Introduction to the Artistic responsibility to perform cultural duties, many hidden and missing points that are Variety of Art. In addition to viewing the others are pursuing them admirably as vital for Myanmar history and culture, and paintings, art lovers are introduced to the a hobby. Thus people all over Myanmar, that need to be revealed. I believe that this lives of the Myanmar artists themselves. especially the younger generation, will book is an introduction to a type of art that We have made a special effort to publish study and acquire the heritage of the art will reveal some of these points. A survey this book. of painting. of Myanmar painting can be divided into six periods: 1) the prehistoric age and the You may hear in one painting more words This book, containing numerous reproduc- Pyu period, 2) the Bagan period, 3) the than merely a thousand. We hope that you tions of paintings, will be a documentary Inwa period, 4) the Konbaung period, 5) will hear cheerful and joyous remarks. In record of history for the future. The works of the Yatanabon (Mandalay) period, and 6) the small space between art journeys, we art produced by our great Myanmar painters the twentieth century. will make you smell the sweet fragrance of is a pride for our nation. We should cherish these works of art. It is our greatest desire and honour their accomplishment. With the flow of the Myanmar current of to present this book to the people. painting through the ages, in the twentieth The most valuable and priceless works will century it has become necessary to keep last throughout history. Thus all art lovers abreast with developments in the world. will be able to love, cherish and treasure The great Myanmar artists U Ba Nyan and these works of art. U Ba Zaw (both returnees from England) paved the way for the adoption of European academic painting methods. These methods eventually flourished and became influen- tial, as we can see in many great paintings. Some of these paintings from selected HLA TIN HTUN OLD MYANMAR PAINTINGS IN THE COLLECTION OF U WIN 5 INTRODUCTION: EVOLUTION OF MYANMAR PAINTING Minn Tin Aung Artist If you study the evolution of the art of typical Myanmar period, court artists were Myanmar court artists. These included Myanmar painting, you will notice that appointed to draw or paint royal ceremonies Sayar Chone, U Kyar Nyunt, Nandi Meitta the earliest works of art on the walls of and Jataka tales on palm leaf. Sayar Chone, Sayar Ni, the portrait painter Bawdigon Pyadarlin Cave express the social life of Sayar Saw, Sayar Kha and Nandi Meitta Sayar Aye, Kwan Chan Gon Sayar Saw, prehistoric cavemen. Before medicine, art Sayar Ni were preeminent artists of the time. “Chinatown” Sayar Kyauk, Shwe Pyi Sayar and technology were fully developed, Mya Gyi, Sayar Kha, Sayar Ni, U Saw Maung these individuals did their best to express In the later Konbaung period, the British and U Chit Myae, all of whom painted their way of life visually. colonial forces invaded Myanmar. Artists Jataka paintings. The story of the Buddha’s following the British army recorded the many lives based on the Jataka tales In the period of Srikshetra (the Pyu period), foundation plans, side plans, cross-sections expressed in great detail royal customs, decorative art could be more often seen and perspectives of the ancient pagodas costumes, buildings, elephants, horses and in the ornaments, dress and utensils of in Bagan. They also painted the tropical the way of wearing clothes down through the people, especially Pyu coins, beads environment of Myanmar in a natural the ages. Each one of the great Jataka and pottery. In the eleventh century, the way. This marked the introduction of the artists was skilled in his own way. Theravada or “Southern” Hinayana Buddh- Western art style into the Myanmar tradi- ism received from Thaton and Thuwunna tional art style. The British occupied the whole of Myanmar. Bonmu flourished in the kingdom of Bagan. The artists Sir Gerald Kelly, Talbot Kelly and The king of Bagan and his followers built During the reign of King Mindon, as a J. R. Middleton completed portraits in oil countless pagodas and stupas. On the walls sign of the mutual goodwill between the and reproductions of Myanmar scenery of the pagodas the lives of the Buddha British and Myanmar, a group of foreign in watercolour.