Hla Pa. “Psychological Painting and Shumawa,” Shumawa, February 1953, 30-31. 1
30 I had first decided to write an article about the Prado Museum in Madrid in Spain for Shumawa magazine this week. Instead, by chance on a business trip to Yangon, I have the opportunity to write about psychological painting [modern art; Burmese: စိတၱေဗဒ ပန္္းခ်ီ]. I reached Shumawa’s office on 9 January. As I entered the editor’s room, a painting placed on the table caught my eye. It bore the signature of by Bagyi Aung Soe. I later found out that Ko Aung Soe painted it for Kyi Aye’s short story, “Viewpoint”.2 He also presented it at an art exhibition held at the west of the Shwedagon. While we were talking about the title of the painting, A Man, A Violin, A Monkey, presented at the exhibition, artist Hla Soe arrived. He had in his hand the cover illustration for Maung Htin’s Dream, translated from a Japanese novel. I asked him to show me his Dream. Again, it was mesmeric. In the Burmese art scene, Ko Aung Soe’s and Ko Hla Soe’s pictures attest to how bold they are. They inspired me to write this article, instead of the intended text about the Prado Museum. You will find the short story “Viewpoint” by Kyi Aye somewhere in Shumawa magazine. Then look at the illustration for it. “What is this?” will be the first question that pops up in your mind. Unable to figure out what it might be about, you are likely to feel somewhat disappointed. However, psychological painting [modern art] does not seek to upset anyone. A painter creates it the way he feels about the subject matter or something, and one can next slowly get a sense of how the creator felt about the subject matter from the title of that painting and the movements of the brushstrokes. It is enjoyable for the viewers to trace the artist’s thoughts through the progressive stages of creation. In this way, how are we to appreciate the painting by Ko Aung Soe? 31 1
The term “psychological painting” is understood as “modern painting” and “modern art” in Myanmar. Characteristic of usage in the modern period, the Burmese word meaning “painting” is often used to stand for “art”, and likewise “painter” for “artist”. In this article, the original meaning of “painting” and “painter” is favoured. When translated as “art” and “artist”, “[painting]” and “[painter]” in square brackets follows, unless the Burmese word for “art” is used. 2 Kyi Aye (1929–2016) is a renowned writer. Many of her publications were illustrated by Bagyi Aung Soe. “Ko” meaning “brother” is used before the name of a male peer or junior. Hla Pa. “Psychological Painting and Shumawa,” Shumawa, February 1953, 30–31. Translated by Pann Hmone Wai; edited by Yin Ker.
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AungSoeillustrations.org
It can convey different aesthetic flavours to different people. A painting might be disgusting for one, but could present a broader and deeper meaning for another person each time he or she observes it. This is how I experience modern painting in my own way. Its given title is A Man, A Violin, A Monkey. “A Man” here means “a human being”, a compound word used to indicate a general being, so it stands for both man and woman. The second word in the title is “A Violin”. Normally, a violin is an object made of Alpine spruce. But thinking strategically, is it an apparent symbol of art [Burmese: အႏုပညာ]? The title of “A Monkey” can be interpreted in terms of this animal’s agility. All the above-mentioned views are exclusively mine. You have the right to understand it as you please; no one can stop you. With psychological painting [modern art], you are free to think. You can think of things in the way you like and interpret them as you please. What is most important here is whether your thoughts are identical to the creator’s. In other words, it is as if the painters were playing hide-and-seek with the viewers. The one who hides makes sure that he or she is safe, then makes the sound “tu” as a clue for others to find him or her. The rest track “tu” to find the hidden person. In psychological painting [modern art], the painter offers his or her painting a name as the clue or the call. As such, we have to listen to that call in order to read his or her thoughts. Knowing what the painter thought is no different from finding the hidden person [in hide-and-seek]. Let’s get back to Ko Aung Soe’s painting. He indicated “A Man, A Violin, A Monkey” as the clue. Where is the man? Looking carefully, you see a figure-like twisted band in the middle of the painting. Looking more closely, you will see the breast, back and thigh of a woman. Try to see the shoulders extending from her back. The head is always above the shoulders. Then where is it in the painting? You will find a white space in the shape of “ta-won-pu” there.3 Imagine that white space as black and you will see the head and hair tied in a loose knot. Then what is the black curve above the head? I think it is her hand. In all, I see the figure of a woman with her forehead on the knees and her hand around her head, as if disconsolate. Try it once, again and again, until you see it. That is one of the delights of psychological painting [modern art]. When you look at a conventional painting, you immediately know what is in it. To sense it, you look at the movements of the brush, the hues and the tones. But in psychological painting [modern art], you cannot know what is featured at a glance; you have to take the time to discern the figure. This process of discovery is enjoyable. It is akin to experiencing joy and excitement during courtship. After marriage, all excitement gradually fades. Now that I see “A Man”, where is “A Violin”? I see nothing like that. The painting has a red space looking like a bat and a blue wavy line. Which is the violin? Psychological painting [modern art] …
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“Ta-won-pu” is the sixteenth letter of the Burmese alphabet. Hla Pa. “Psychological Painting and Shumawa,” Shumawa, February 1953, 30–31. Translated by Pann Hmone Wai; edited by Yin Ker.
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AungSoeillustrations.org
Translated by Pann Hmone Wai Edited by Yin Ker
Hla Pa. “Psychological Painting and Shumawa,” Shumawa, February 1953, 30–31. Translated by Pann Hmone Wai; edited by Yin Ker.
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AungSoeillustrations.org