Bagyi Aung Soe, “A Letter on Discussions About Art to Dear Brother: Reflections by Myay Chit Thu (Writer/Poet)”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 18-27.1
18 Remember, elder brother, the night with the sweet smell of rain when we sat under the dark sky? We discussed the interaction and integration of the two truths: 19 that of “Nature” [English] and that of art. In the earlier days of the impressionist movement, there was some confusion. Some even thought that rules of “Optic” [English] must be present. It was only later that people came to accept that nature in its natural state exists, and there was hence no confusion about it, but only in art. Much later, both nature and art were taken into equal account. You told us that the dependency on light for the impressionists … 20 … and the dependency on the “Sculptural” [English] for others were totally disregarded for the first time in “Cubism” [English]. Cubism transformed the three-dimensional into the beauty of the two-dimensional without paying much attention to the rules of optic and “Light” [English] that were the impressionist’s preoccupation. Still, cubism perfected the sculptural aspect. What is more important is that the cubists saw matter in layers and “Skin” [English] which cannot be seen with our eyes and placed them flattened on the painted surface. In this way, art gained profundity. Concerning the “Tactile” [English], it subsumed the influence of sculptures of almost five hundred years. 21 In short, cubism leaves behind the ill-defined imaginary figures which elude our “Retina” [English]. Our discussion continued in an atmosphere of freedom under the rain that night. In fact, we could not even hear the sound of the falling rain.
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This translation only conveys the gist of the article, not all the nuances. Bagyi Aung Soe, “A Letter on Discussions About Art to Dear Brother: Reflections by Myay Chit Thu (Writer/Poet)”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 18-27.
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AungSoeillustrations.org
With the advent of “Abstract Art” [English], some say that there is no longer time and space in connection with a fixed “Model” [English]; only relativity remains. Regardless of the diversity of opinion, creation continues. “Braque” [English] and “Picasso” [English] played the rules of nature in the “Horizontal” [English] rather than the “Vertical” [English] manner, ... 22 … then made “Analogy” [English] in their works, i.e. they did not copy the glass of wine as it was in the traditional way. They accepted absolute nature in artistic creation as conforming with “Sensibility” [English] from the other side – that of science. Actually, there must be an acceptable reason as to why previous artists kept the “Sulptural” [English; sic] style in their paintings. Anyway, it must be assumed that sculpture is a good vehicle for “Realism” [English]. What they believed in mediaeval times was that “Space” [English] was a broad emptiness and “Object” [English] was reality in that emptiness.” Then, the underlying concept was different from that of modern art. Modern painting understands space as a ”Continuum” [English] in which an object changes, warps, twists, but cannot interrupt. It became accepted that objects transform according to changes in space – space which was taken to be where objects merely exist. 23 Isn't it right then, that space and objects co-exist in interaction in modern art? Then, a young sculptor you used to speak to on friendly terms added that continuum connects “Thiugs” [English; sic]. He said that although we could not touch it easily, it could be seen. He was right; we agreed. In other words, that continuum connecting things becomes a “Total object” [English] and that is what we try to achieve in “Abstract Painting” [English], right? We definitely cannot say that the impressionists did not have the same concept or view because this concept can be seen in their paintings’ colour scheme; objects on the surface are unified in harmony. This allows the viewer to see through or beyond the coloured space. 24 That space, however, in the works of earlier days placed the viewer far from objects on the painted surface. In “Analytical Cubism” [English], the objects’ positions are more specific. They seem to be placed apart in space but come together in our vision. At last, the whole “Surface” [English] becomes solid and steadily enters the viewer’s “Visual Field” [English]. Although we see the surface as a “Pictorial Space” [English] at first, we come to see it more as a “V.sual Continum” [English; sic]. As for me, I came to know that the whole pictorial space reflects our vision: to see it as a total object and to regard it as space at the same time. In this way, art and nature maintain a harmonious relation. I see it as the [?] of modern art and nature. 25
Bagyi Aung Soe, “A Letter on Discussions About Art to Dear Brother: Reflections by Myay Chit Thu (Writer/Poet)”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 18-27.
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This is the concept that cubism handed down to “Abstract Art” [English]. But if non-objective art cannot create connections between nature and art, then it will merely be a “decoration” [English]. As you said, it would not be serious without nature, but become tasteless instead. We concluded that if it stopped at this stage, it would be discarded as valueless art. That was our last heartbeat that night. We sat talking about art in that teashop that night. From the black sky with neither moon nor stars, the raindrops fell swiftly on us. We sat happily, smiling and refreshed; did we not? Wishing you peace, Your brother, Myay Chit Thu 26 A Book for you and other brothers Dear Myay Chit Thu, I don’t think that one letter on art which you wrote me is enough to allow others to understand our discussion that night. Thus, as I want to explain and elaborate on it, my “Bagyi Press” has published this From Tradition to Modernity. This is not about techniques; it is a brief history of ideas. This publication also includes my articles from magazines. I am open to any arguments from you and others … 27 … to correct any mistakes or to add to the facts … to the 21st century! Let’s march on on the path of art into the 21st century unifying science, art and skill. With great respect to our young artists, Your brother, Bagyi Aung Soe
Translated by Pann Hmone Wai
Bagyi Aung Soe, “A Letter on Discussions About Art to Dear Brother: Reflections by Myay Chit Thu (Writer/Poet)”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 18-27.
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AungSoeillustrations.org