U Lun Gywe - A Master Painter From Myanmar (Burma)

U LUN GYWEA MASTER PAINTER FROM MYANMAR

U L U N G Y W E A M A S T E R P A I N T E R F R O M M Y A N M A R 1

U LUN GYWEA MASTER PAINTER FROM MYANMAR

Edited by JØrn Middelborg

2 U L U N G Y W E A M A S T E R PA I N T E R F R O M M YA N M A R

Published byThavibu Gallery Co. Ltd.Silom Galleria, Suite 308919/1 Silom Road, Bangkok 10500, ThailandTel. (662) 266 5454, Fax. (662) 266 5455Email. [email protected], www.thavibu.com

Editor in Charge, Jørn MiddelborgLanguage Editor, James PruessPhotography by Camera Collection, Thailand, and Moe Min, Myanmar

Layout by Wanee Tipchindachaikul, Copydesk, ThailandPrinted by Amarin Printing and Publishing Public Company Limited, Thailand

Copyright Thavibu Gallery 2005All rights reserved. No part of this publication may be reproduced ortransmitted in any form or by any means, electronic or mechanical, withoutprior permission in writing from the publisher.

ISBN 976-92905-6-9


U LUN GYWE - A MASTER PAINTER FROM MYANMAR

Acknowledgements 4

Foreword 5

A Short Century: Myanmar Contemporary Art 7

Spirit and Colour: The Art of U Lun Gywe 10

Myanmar Visual Art: An Overview 15

Plates 19

Chronology 83

Table of Contents


U Lun Gywe

ACKNOWLEDGEMENTS

I would like to express my words of thanks to those who have contributed to and assisted in the

preparation of this book.

As a Myanmar Buddhist, I would like to pay observance to Lord Buddha, the Dhamma, the Sangha, my

parents and the art masters. In addition, I express my heartfelt thanks to my friends and family.

In particular, I want to extend my sincere gratitude to my parents U Ba Khaing and Daw Ohn Thwin; to

my art masters U Thet Win, U Chit Maung, U Ba Nyan, U Thein Han, U Ngwe Gaing and U San Win; and to

Jørn Middelborg of Thavibu Gallery and Shireen Naziree, art historian and independent curator from

Malaysia, for their support.

I also want to thank U Win Pe (Mya Zin) of the Myanmar Language Commission, Daw Nu Mya Zan,

Director of the National Museum, artist U Nay Myo Say, art critic U Sein Myo Myint, Daw Myint Myint Tin,

and U Moe Min and his Cosmic Rays group of photographers.

My thanks also go to the institutions and collectors who have put their collections of my paintings at

disposal for inclusion in this book: The National Museum, Myanmar, and the National Art Gallery, Malaysia,

U Nay Myo Say, the Saya Mg family, U Chit Tin/Daw Sann Sann, Lun Thit, Maung Han Htut, Andrew

Ranard, and Jørn Middelborg.


Thavibu Gallery is pleased to present this book which covers more than four decades of the life and work by

the artist U Lun Gywe from Myanmar. He is often considered a living master of Myanmar paintings and is

one of the most well known and respected artists in the country. He has been the teacher and mentor of

numerous younger artists who have later gained recognition on their own terms.

U Lun Gywe masters many techniques: charcoal and pastel drawings, watercolours and oil paintings on

canvas. He received his formal training in Myanmar (called Burma at that time) and later in China and East

Germany. His art teachers played important and instrumental roles in the young painter’s life, and he has

often expressed admiration for and gratitude towards them.

U Lun Gywe calls his style of painting impressionist. He carefully observes his environment and

surroundings and records them in his mind. He says: “When I was walking on the beach, I could sense a

beautiful and rhythmic composition and a sense of colours. After absorbing these impressions and

returning to my studio, I reminded myself of what the feeling was like on the beach. As soon as I recalled

the mood and inspiration, I painted rapidly with swift brush strokes to record what I could remember from

my visit to the beautiful beach.”

Although he mostly painted in a restrained, realistic and classical style during his early years, from the

1990s his colours have become brighter and the brush strokes more fluid and powerful. After retirement

from his instruction and teaching work at the State School of Fine Arts in Yangon, he had more time to

pursue his own paintings, and this is when his own, personal style developed. The swift brush strokes and

the importance of creating paintings from your mind probably stems from his stay in China in 1964.

He says: ”I learned that the Chinese had a completely different approach to art. We had gone out with

sketchbooks to draw what we saw. The Chinese students did not take sketchbooks out with them to

Jørn MiddelborgThavibu Gallery

FOREWORD


copy nature. They would store the image in their mind before returning to the studio and then they

would paint what they had seen without any visual references. I found this a very useful exercise, for it

developed the power of memory.”1

U Lun Gywe is especially apt at capturing the dynamics of a subject. It can be persons, often women,

caught in an act of dancing or taking a bath. As few others, he is able to seize the moment and paint a

gust of wind, rapidly flowing water in a river, waves pounding on the shore of a beach, or impressions of

rain filling the canvas. The combination of movement, colours and emotions in his canvases reveal the

work of a master painter.

1 Jay, Sian E. (2001): In the Footsteps of the Masters, in Asian Art News Magazine, Hong Kong.


Early evidence of Myanmar’s artistic history can be traced back to cave paintings of the Stone Age.

But it is the introduction of Buddhism to Myanmar in the 5th century BC during the lifetime of Lord

Buddha that has been most significant in the cultural landscape of Myanmar. Initially the function of art

was mainly ethical and functional. Traditional painting and sculpture resplendent with religious

overtones had important roles in the shaping of Myanmar society. Temple murals enlightened people on

the teachings of Lord Buddha and stories of life. Sculptural forms and carvings that adorned temples and

later palaces were naturally associated with Buddhist themes and spirituality. Although this traditional

statuary was enhanced and stylized during the course of the various dynasties that ruled Myanmar, painters

and sculptors were not recognized for their artistic creations. With no formal art training they were

commonly referred to as artisans who generally worked under a “master” in a relationship that was more

spiritual than tutorial. In essence, the early development of Myanmar art was more a matter of perfecting

skills than of artistic expression.

By the 19th century, evidence of change was signaled by the Western influences of British colonial rule.

The continuing traditional painting with its carefully crafted lyrical and poetic symbolisms remained a vital

aesthetic within the cultural psyche of Myanmar. But with the increasing number of foreigners who visited

the country and the numerous architects and civil servants with artistic interests who settled in the larger

cities of Mandalay and Yangon, the disciplines of Western art became of interest. The representative

techniques of classic European art were studied and adapted to enhance the illusion of reality by the

traditional Myanmar artists in their Buddhist interpretations. Expatriate artists added to the cult of the

picturesque with detailed engravings that documented historical events and less formally with water-

colours that portrayed the natural beauty of Myanmar and her people. While the influences of the

conservative colonial perceptions in art continued, the representative art of Myanmar developed into a

kind of craftsmanship where the aesthetic was often the result of a transcendental experience related to

the lyrical sensibilities of Buddhism.

Shireen NazireeArt Historian and Independent Curator

A SHORT CENTURY: MYANMAR CONTEMPORARY ART


The emergence of Myanmar modern art at the turn of the 20th

century can be sighted through the works of U Ba Nyan (1897-1945).

He played an important role in articulating new artistic thoughts,

which later became the basis of Myanmar modern art. Originally

apprenticed under a traditional painter, U Ba Nyan was the first

Myanmar artist to have a formal art education that led him to

graduate from England’s prestigious Royal College of Art in 1924

and consequently exhibiting his art in Europe as well as in Myanmar.

With Yangon an important and thriving commercial capital under

British rule, a vibrant patronage of art followed. Much of U Ba Nyan’s

art provided the generic images for his students who studied under

him at the University College of Yangon. The next generation of

artists to continue the tradition included U Ba Zaw (1891-1943),

U San Win (1904-1981) and U Khin Maung (1919-1999) who studied

and exhibited abroad, as well as numerous noted artists like U Thein

Han who studied exclusively under U Ba Nyan.

Myanmar announced its independence in January 1948 after more

than 120 years of British colonial rule. The National Museum of

Myanmar was established in Yangon in 1952 to profile the nation’s

culture and showcase both traditional and contemporary art. In the

meantime the domestic situation of newly independent Myanmar

was plunged into disorder resulting from internal conflicts within the

government and rebellion from ethnic minorities. This ultimately led

to the establishment of a military government in April 1962.

With Myanmar’s unique socialist cocktail of Marxism and Buddhism

in place and its back turned to the global village, its artists were facing

the new reality of an increasingly isolated society under economic and

political pressure. Out of this contradiction, surprisingly art survived.

Ironically, the Burma Art and Sculpture Council, subsequently

renamed as the Artists and Artisans Organization in 1970, established

U Ba NyanStairways to the Pagoda28 x 38 cmOpaque watercoloursCourtesy of Nay Myo Say

U Thein HanMonsoon SeasonOil on canvas31 x 36 cmCourtesy of Maung Han Htut


Myanmar’s first private art gallery – the Lokanat Gallery in Yangon – in 1962 under the then military regime.

It appeared that art was not framed by doctrinaire boundaries. Art institutions in Mandalay and Yangon

flourished, as did the continuing master-student tradition.

Myanmar’s contemporary artists are a small and tightly knit group. Despite the absence of affluent

collectors and the benevolence of the public sector, artists continue to train and exhibit their works largely

in the cluster of private galleries in Yangon and Mandalay. While it may commonly be assumed that

Myanmar’s art is insular, the art itself relates a different story. In Myanmar the realization of the traditional

pictorial tradition clearly indicates that beauty in art need not necessarily relate to idealization — beauty

can be found in social realities. This reality has become the central issue in the discourse of Myanmar

modernism. It is contained in its conservative societal values and moral connotations with honesty as more

important than intellectualism in its formulation. This basis of art expression with its unique representation

of “Eastern-ness” has been recognized in international art circles since the late 1980s when Myanmar

artists started exhibiting abroad and, due to the economic boom of the decade that followed, flourished.

In 1997, Myanmar became a member of ASEAN. With this association emerged promises of a stronger

economy and a new awakening for Myanmar contemporary art. The following year artists were accorded

guest status at the prestigious Phillip Morris competition that showcases the best of mid-career ASEAN

artists. When Myanmar won the award in 2001, the judges’ report commended the morality and lyricism

of the winning work of art.

Myanmar contemporary art is enlightening and fresh. And the enthusiasm and tenacity of the artists

are admirable. Although art has opened new directions for Myanmar, artists continue to be dedicated to

traditional Buddhist principles — to seek visible pleasure in the most common everyday situations while

representing their beauty with Western sophistication.

1 0 U L U N G Y W E A M A S T E R PA I N T E R F R O M M YA N M A R

Art echoes the connection an artist feels for his country and his people. Spiritually, art is the consciousness

that becomes the artist’s most primary tool. It is consciousness that defines the proper place and origin of

art – the contact and vision, which have the power to touch our deepest nature. As art remains in the

museum of our minds, it engages us into a relationship of stillness and contemplation that sometimes stirs

the emotion sufficiently to acknowledge the spiritual and physical dimensions of inspiration that become

an artist’s realization. Within this sense of reverence and academic value of truth lies the artistic mantra

that U Lun Gywe interprets on his canvases and that exemplifies his deep commitment to art.

U Lun Gywe is one of Myanmar’s most accomplished senior artists whose artistic career has benefited

from first-hand exposure to the artistic practices of some of Myanmar’s most important early masters.

In turn, he has upheld that same legacy in a creative span of more than fifty years both as an artist and

teacher. Although his accomplishments are vast, his entire body of work is unified by his sacred devotion

to the principles of order, harmony, stability and grace — the spirituality that results from U Lun Gywe’s

strong Buddhist beliefs. Buddhism also molded how U Lun Gywe viewed his life and artistic career. In his

quest for self-awareness, he learnt about mindfulness and the need to be mentally in control of his

emotions, especially in relation to his art. “I find inspiration in calmness. I cannot create a good painting

when in an unsettled frame of mind. I often meditate before I start a painting.” This devotion continues

to distil his unflagging imperative, evident in his canvases that spill with an ethereal armature of colours

and brim with radiance in praise of life itself.

Born in Yangon, Myanmar, on 24 October 1930, U Lun Gywe developed a strong interest in art on his own

at a very young age. As an only child he was raised by his mother after his father died when he was five

months old. Growing up, U Lun Gywe was very engaged in the observation of the world around him and

spent much of his time drawing. Any spare pages and space in his schoolbooks were filled with visual

narratives of the world around him. Through these drawings, he not only expressed his fascination with

Shireen NazireeArt Historian and Independent Curator

SPIRIT AND COLOUR: THE ART OF U LUN GYWE

U L U N G Y W E A M A S T E R P A I N T E R F R O M M Y A N M A R 1 1

the visual beauty and serenity of his surroundings, but an appreciation of the spiritual environment — a

reflection of the Buddhist faith, so important to the people of Myanmar. And throughout his formative

years, his mother supported her son’s endeavours to become a creative person.

U Lun Gywe graduated in 1954 from the Art Institute of Specialist Teachers’ Training in Yangon.

He deems himself privileged to have studied under some of Myanmar’s most noted pioneer artists such

as U Thet Win, U San Win, U Ngwe Gaing and U Chit Maung. While he mentions these names with pride,

he attributes the late U Thein Han as being his greatest teacher and ultimately the most important

influence in U Lun Gywe’s life and career. At art school U Lun Gywe learnt to paint by copying and

mastering correct form that was encompassed in the conservative academic values typically taught

during his era. Even at this early stage he was searching for his own visual vocabulary, although his

ambition to become a full-time artist was still lingering on a distant horizon.

However, an illustrious career as an art educator followed, one that would be instrumental for U Lun Gywe

to realize his oeuvre. In 1956 he was appointed as an art instructor in the Art Department of the State

School of Education. In 1958 he was transferred to the Ministry of Culture and became an instructor

at the State School of Fine Arts in Yangon. He taught there until his retirement as principal of the school in

1979. Teaching was demanding: “I was required to teach everything from oils, watercolours as well as

commercial art — my ambition to be an artist remained a dream.” In addition, he often had to do commercial

painting to make ends meet, which left him little time to pursue his aspiration of becoming a painter.

As a teacher U Lun Gywe discovered that not much had changed since his own student days. He was

obliged to teach under the same banner of formalistic measurements of learning that he encountered as

an art student. Nevertheless, his commitment to share his knowledge and impart his passion for art to his

students was unrelenting. Despite the limitations of teaching, his career opened up opportunities that

would introduce him to international art practices. He recognized the importance of gaining greater

knowledge and exposure, which would contribute to the development of his own style of painting.

In 1964 U Lun Gywe traveled to China on a yearlong cultural exchange programme at the Institute of

Fine Art in Beijing. His residency in Beijing was a pivotal experience for him. And at the heart of this new

experience, he immersed himself in the study of the Chinese aesthetic, which was endowed with an ancient

yet practical wisdom. Through Chinese brush painting, he learnt new techniques in articulating his visual


narrative. He related well to the Chinese philosophy of tapping on the subconscious “inner images.”

U Lun Gywe remarked that “the way in which the Chinese approached art was completely different to the

Western art disciplines that I had learnt. Unlike the occidental tradition of saving images in sketchbooks,

they would instead absorb the nuances and details of subjects. They would then paint from memory.

” This discipline of using the mind’s eye, rather than a sketchbook, raised a new consciousness in him —

one that would renew his communion with nature as an overwhelming ancient force. In effect, this

educational experience was most valuable to him on his return to Myanmar. Although he never further

pursued the Chinese art of brush and ink, he incorporated the techniques into his oils and watercolours.

In 1971, U Lun Gywe received a scholarship to study conservation in East Germany. He traveled to East

Berlin, Dresden and Potsdam, where for the first time he could study the works of the European masters –

subjects that mirrored familiar aesthetic standards of the art he had studied and taught in Myanmar. “I felt

such great joy to be able to study the technical applications of these original paintings. My deepest desire

was to be able to create such works though I also knew that I wanted my paintings to reflect more movement.

However, I related best to the paintings of the renowned European Impressionists. Though I found the

Expressionist paintings interesting, Impressionism was fluid and fresh – it was a reflection of the inner self.”

The year in East Germany was one of the most significant for U Lun Gywe. He found a correlation

between the European art styles and his own artistic explorations. As an artist, he persisted for years in

trying to capture the serenity of Impressionism. It had remained a lovely texture in his imagination until

he could give it his own meaningful expression. Embracing the techniques and tones of Impressionism,

he created his own distinct style, closely linked to his own Myanmar identity. “I consider Impressionism to

be the most refined form of artistic expression – it allows me to represent my subject with my very own

perception and emotion and encourages the viewer to indulge in it with his own meanings.” In effect,

he started producing images that shaped his artistic identity – images that still resonate today.

U Lun Gywe had come into his own. Revitalized, he once again turned towards his lifelong mentor,

U Thein Han, in order to understand his changing perspective. Over the years the two artists had spent

much time together, painting and discussing art as well as Buddhism. It was through this relationship

with U Thein Han that U Lun Gywe started to examine the vital connection between abstract ideas and

the essence of realism. Furthermore, it was through his magnetic and influential teacher that he first learnt

about Impressionism. U Thein Han, himself a student of the great Myanmar master artist U Ban Nyan, was a


man of deep conviction and creative talent. A highly acclaimed artist, U Thein Han had devoted himself to

the belief that art can serve as a powerful tool in reinforcing the classical principles of order, stability, harmony

and grace. As a teacher, U Thein Han encouraged his students to be diligent about the fundamentals of

art, the nature of art, and to develop their own artistic feeling in order to succeed as artists. The subtle

influence of U Thein Han became an ever-present factor in the life and work of U Lun Gywe. Even after his

death in 1986, U Thein Han still remains the most important guidepost for U Lun Gywe.

Today U Lun Gywe’s signature impressionist style paintings with their distinct Asian overtones reflect his

ongoing participation in the vital currents of Myanmar’s art scene. U Lun Gywe’s early genre paintings of

the 1960s illustrate the influence of the traditional style of painting that was typically taught in art school.

However, a stylistic shift from the rigid interpretation of traditional themes in the artist’s work, depicting

his interest in Impressionism, was already emerging. And as his art developed, the pastoral serenity of

idyllic scenery endowed with Myanmar’s ancient history found full flower with his stronger and more

fluid brushstrokes that infused a greater sense of movement and emotion. Since committing himself

to painting full-time in 1979, U Lung Gywe, as an artist, has further refined his already fluid process during

the ensuing years as he has become more prolific. His style continued to grow looser as his colours

became richer, expressing a new energy.

To know U Lun Gywe is to see him work. He is highly disciplined and reverent with urgency about his need

to paint. He approaches each canvas with assurance and paints with confidence. The abundance of his

intimate knowledge of art and his ability to humanize the dignity of his subjects fill his paintings. His work

is not merely a representation of the physical forms of an idyllic past, but is rather an embodiment of that

past and of his own personal history. Observing him paint, one can sense the rapid movement of the

brush, which appears to have hardly left the canvas, on a rhythmic journey of shapes, shades and textures.

The play of light is exquisite and creates a surface that is filled with motion – extending the painting beyond

the boundaries of the canvas. One cannot help but be mesmerized by U Lun Gywe’s dexterity as a painter.

He is highly respected as a portrait artist. Inspired by the moment, his images are tightly rendered with

fidelity. His primacy as a painter is evident throughout his work, regardless of subject or manner of

expression, which ranges from the formal academic style to a more modernized presentation.

U Lun Gywe is a dominating presence in Myanmar art circles, the significance of which is no surprise.

He continues to uphold the Myanmar tradition of the teacher-student relationship. His name is mentioned


with respect in Myanmar, and he maintains close friendships with many of his former students, some of

whom have become successful artists and art academics. Even though his influence is everywhere, U Lun

Gywe remains a humble man. He continues to be mindful of the cultural backdrop of his past as well as

the Buddhist spiritual values that have guided him to success and have contributed to an artistic legacy

important to the Myanmar tradition.


The history of Myanmar’s visual art goes back to the Stone Age. One can see some works of art at

Pyadarlinn Village, near Iwarngan in the southern part of the Shan State. These are the first Myanmar

paintings we know of. The Pyu, Rakkhine and Mon cultures all flourished in the middle and southern

parts of Myanmar at the beginning of the Christian era. There are traces showing that the people lived in

large towns and villages. Ancient cities existed at Beikthano, Han Linn, Ta Gating, Tharay Khitara,

Danyawaddy and Thuwanna Bommi. At the sites of shrines and places of habitation, archaeologists have

excavated numerous cultural heritage objects, including utensils, pots, urns in graveyards, silver coins,

sculptures, weapons, tablets, scriptures, gold plates and bronze plates, among other items. There were no

paintings, perhaps because they are not easily preserved.

In the era of Bagan, from the 10th to the late 11th centuries AD, mural paintings and frescos were produced

in temples. During the same period, wooden plates, lacquer and fabrics were used as materials to paint on.

Later on, during the Pinya, Innwa and Konebaung periods, Myanmar paintings appeared not only on the

walls of temples and cave monasteries but also on written folded tablets in the late Konebaung era as

well as in the lacquer arts of Bagan and on palm leaves. Paper came into use during the Amarapura and

Yadanarbon periods. As Myanmar became involved in trade with foreign countries, Myanmar artists met

foreign artists and exchanged methods and techniques. In the 18th and 19th centuries, both Myanmar and

foreign artists were appointed to serve at the court, and the arts flourished.

Kyaw Htin Nawyahtar, U Kyaw Nyunt,2 Saya Sar and Saya Chone were court artists. When Myanmar was

occupied in 1885 by the British, Saya Cho, Saya Pon, Saya Mating Gyi, Saya Maung Hlaing, Saya The, Saya

Thaung. Saya Ni, Saya Mya Gyi, Saya Myo and Saya Myint were all well-known artists. At a later stage,

Sein Myo MyintArt Critic

MYANMAR VISUAL ART: AN OVERVIEW

2 Common Myanmar titles include U = Mr, Saya = Teacher, Sayagyi = Master or Specialist, Daw = Mrs, Ko = Brother, Maung = Young Brother


more artists emerged and gained recognition, such as U Tun Hla, U Ba Ohn, Saya Saung, U Ba Lon, U Ba

Sein, Saya Hla, Saya Myint, U San Lwin, U Lun Kywai, U Tun Min, U Pho Ba, U Pho Leik and U Saw Maung.

After 1885, Saya U Ba Zaw (b. 1891), Saya U Ba Lon (b. 1894), Saya U Ba Nyan (b. 1897) and Saya Saung

(b. 1898) came into prominence. In 1920 those artists were in their early twenties. U Ba Lon was known

for his illustrations in periodicals. Saya U Ba Nyan and Saya U Ba Zaw went abroad to study the visual arts

and European-style painting. Saya Saung studied on his own by reading books and periodicals; he was

also a student under the supervision of Saya U Maung Mating Gyi and Saya U Ba Zaw and later became

a well-known artist.

Saya U Ba Nyan imparted the methods of Western art in Myanmar for a considerable number of years.

In the 1920s he paid two visits to Europe and lived there for eight years. He studied at England’s Royal

College of Art and at the British artist Stephen Lat’s private Yellow Door Fine Arts School. He proceeded to

France, Italy, Spain, Switzerland, Holland and Denmark, painting, conducting exhibitions and even selling

paintings to European museums. Although he could stand on his own as a “European” artist, he returned

to Myanmar in 1930 and taught European-style painting to the new generation until his death in 1945.

The second generation of painters who studied under Sayagyi U Ba Nyan were U Nywe Gaing, U Ba Kyi,

U La Baw, U Thein Han, U San Win, U Myat Kyaw, U Ohn Lwin, U Aung Khin, U Thu Ka, U Aung Soe and

U Kyaw Hlaing. In the 1930s, Myanmar’s art scene was active and dynamic. The followers of Saya

U Ba Nyan became famous during the postwar period. The style and techniques of Western painting

became more familiar to Myanmar artists, who developed more advanced painting skills.

In the year 1930, when Sayagyi U Ba Nyan returned to Myanmar after living in various parts of Europe,

a boy by the name of Maung Nyi Nyi alias Maung Lun Gywe was born in the lower part of Myanmar.

His parents were U Ba Khaing and Daw Ohn Thwin. Young Maung Lun Gywe was not able to pursue an

academic education. But while the war raged between 1942 and 1945, he attended a Buddhist monastic

school and passed the 7th standard. While studying, he used to draw pictures on the backs of the

schoolbooks. Later on, in 1945, he studied watercolour painting under Sayagyi U Chit Maung in Yangon.

It was partly by chance that he came to pursue his interest in art and in becoming a professional artist.

After passing the 7th standard, having a keen urge to work in the arts, Maung Lun Gywe earned a living by

painting signboards, posters and advertisements. Although he was engaged in producing commercial art,


he dreamed of making a career in the fine arts. In 1954-55 he had a chance to attend special arts teachers’

courses at the Teachers’ Training College in Kanbe, Yangon. There he met Saya U Thet Win, a lecturer and

the head of the Art Department, who became a close associate.

While studying at the Teachers’ Training College, he came to understand the principles of visual art under

the instruction of Saya U Thet Win. In 1958, U Lun Gywe reached a turning point in his life. He got an

opportunity to work as an arts instructor at the Yangon Arts and Sculpture School under the Ministry of

Culture. He received advice and encouragement from Saya U Thet Win and filled the post in spite of keen

competition. This transfer had a profound impact on him because he now had the opportunity to pursue

further studies in fine art under Sayagyi U Ngwe Gaing and Sayagyi U Ohn Lwin. The most valuable

opportunity was to meet Sayagyi U Thein Han (1910-1986), who was the acting director of the Yangon

School of Fine Arts from 1958 to 1979. Sayagyi U Thein Han, once a student of Sayagyi U Ba Nyan, was an

expert at colour. He had mastered painting techniques using oil, watercolours, poster colours and crayon.

In addition to his duties at the State School of Fine Arts, Sayagyi U Thein Han put up many students

at his home, providing them with meals and training. Among these students was U Lun Gywe. Although

U Lun Gywe had experienced several other teachers such as U Chit Mating, U Thet Win, U Ngwe Gaing,

and U San Win, U Thein Han was closest to him and provided his longest relationship. From Sayagyi

U Thein Han, U Lun Gywe learned that art is not only about vision, but also about consciousness, emotion,

technique, skill and aesthetics.

U Lun Gywe was fortunate to receive an opportunity to go to China in 1964-65 and stayed for one year

under a cultural exchange programme. He studied traditional Chinese brush painting as well as oil

painting at the Beijing Central Fine Arts Academy. He also got a chance to study in East Germany in 1971

and carried out studies at art museums in Berlin, Dresden and Potsdam. He learnt restoration techniques

and at the same time had the chance to admire works by European masters.

In the field of commercial art, U Lun Gywe has created many posters, mural paintings in temples and

pagodas, and illustrations for magazines and periodicals. These were produced when he served as an

instructor at the State School of Fine Arts. During his time as an art instructor he participated in the

Sarpaybeikhman Jubilee Hall arts exhibition and later various other exhibitions, even though teaching

responsibilities took up most of his time.


U Lun Gywe served as an art instructor and civil servant for twenty-three years until his retirement from

the State School of Fine Arts in 1979. After retirement, he has had more time to engage in exploring and

creating his own original and individual style of art and in being a full-time artist. At his first show at

Sarpaybeikhman, most of his works were realistic in a classical style. But in 1987 I noticed that U Lun

Gywe’s works had developed and moved towards his own vision of Impressionism. And in 1998 his style

tended towards a form of dynamic Impressionism. The rapid brush strokes, choice of colours, and thoughts

and ideas changed, developed and matured in accordance with his experience in life and art. In terms of

quantity as well as quality, I was flabbergasted to find his works prolific and flawless. In 1999, U Lun Gywe

established the Artist Life Art Gallery, where he paints in tranquil surroundings with his family around him.

The development of visual art in Myanmar has included many artists, from the beginning led by

Saya Chon, Saya U Ba Nyan, Saya U Ba Zaw and Saya Saung. The second period included Saya U Ngwe

Gaing, U San Win, Saya U Thein Han and Saya U Ba Kyi. Up to the present, there have been just a few

serious, full-time artists in Myanmar. U Lun Gywe is one of them and belongs to the third generation of

artists. He is now 75 years old, but is still active and creating new and beautiful paintings.


Chinese Still Life, 1964, 72 x 100 cm Oil on canvas Collection of the Artist


Chinese Pots, 1964, 53 x 65 cm Oil on canvas Private Collection


River Boat, 1968, 51 x 61 cm Oil on board Private Collection


Temple at the Seashore, 1968, 76 x 91 cm Oil on canvas Private Collection


Shwezigon Pagoda, Bagan 1969, 39 x 50 cm Oil on board Collection of the Artist


Returning Home, 1970, 34 x 125 cm Oil on canvas Collection of the National Museum, Myanmar


Dhammayangyi Temple, Bagan 1973, 35 x 38 cm Watercolours on paper Collection of the Artist


On the Bank of Ayeyawaddy River, 1973, 35 x 38 cm Watercolours on paper Collection of the Artist


Thanaka for Beauty, 1978, 29 x 39 cm Watercolours on paper Private Collection


A Pilgrim Camp, 1979, 60 x 80 cm Oil on canvas Collection of the National Museum, Myanmar


Strength of an Elephant, 1982, 59 x 89 cm Oil on canvas Private Collection


Festival at the Ananda Temple, Bagan, 1996, 76 x 106 cm Oil on canvas Private Collection


Portrait of Saya Maung, 1986, 85 x 154 cm Oil on canvas Private Collection


Working the Fields, 1987, 81 x 101 cm Oil on canvas Collection of the Artist


Peaceful Mind, 1991, 56 x 61 cm Oil on canvas Collection of the Artist


Portrait of U Ngwe Gaing, 1992, 41 x 46 cm Oil on canvas Collection of the Artist


Potter, 1994, 30 x 45 cm Oil on canvas Private Collection


Lisu Girl, 1994, 36 x 46 cm Oil on canvas Collection of the Artist


Myanmar Marionettes, 1995, 39 x 52 cm Oil on canvas Thavibu Gallery


Resting Horse Carts, 1995, 56 x 61 cm Oil on canvas Private Collection


Solo Dancer, 1996, 68 x 68 cm Oil on canvas Private Collection


Two Dancers, 1996, 76 x 91 cm Oil on canvas Private Collection


Kindness to Birds at the Shwedagon Pagoda, 1996, 76 x 91 cm Oil on canvas Private Collection


Artist and his Model, 1997, 56 x 76 cm Watercolours on paper Collection of the National Art Gallery, Malaysia


My Benefactor (U Thein Han), 1998, 76 x 91 cm Oil on canvas Collection of the artist


Life Begins, 1998, 75 x 92 cm Oil on canvas Collection of the National Museum, Myanmar


Shepherds and Goats, 1998, 76 x 106 cm Oil on canvas Private Collection


Gossip, 1998, 45 x 60 cm Oil on canvas Thavibu Gallery


Dancing Trees Under the Moonlight, 1998, 68 x 68 cm Oil on canvas Thavibu Gallery


Pagoda Entrance, 1998, 38 x 38 cm Oil on canvas Collection of the Artist


Shwedagon Pagoda by Night, 1999, 95 x 120 cm Oil on canvas Collection of the National Museum, Myanmar


At the Platform of Shwedagon Pagoda, 1999, 91 x 105 cm Oil on canvasCollection of the National Art Gallery, Malaysia


The Beauty of a Dancer, 1999, 91 x 121 cm Oil on canvas Private Collection


Self Portrait, 1999, 68 x 68 cm Oil on canvas Collection of the Artist


Rough Waves, 2000, 33 x 49 cm Oil on canvas Private Collection


The Walls of Mandalay Palace, 2000, 36 x 46 cm Oil on canvas Private Collection


Blue Rain, 2000, 58 x 61 cm Oil on canvas Thavibu Gallery


Blooming Flame Trees, 2000, 68 x 68 cm Oil on canvas Thavibu Gallery


Myanmar Beauty, 2000, 29 x 35 cm Oil on canvas Thavibu Gallery


Myanmar Beauty, 2000, 36 x 57 cm Pastel on paper Thavibu Gallery


Ferry Boats, 2000, 38 x 56 cm Charcoal on paper Collection of the National Art Gallery, Malaysia


Rainy Season, 2000, 37 x 50 cm Watercolours on paper Collection of the National Museum, Myanmar


Two Ladies Fetching Water, 2001, 68 x 68 cm Oil on canvas Thavibu Gallery


Fetching Water, 2001, 76 x 105 cm Oil on canvas Collection of the National Art Gallery, Malaysia


The Poetry of Music, 2001, 68 x 68 cm Oil on canvas Private Collection


A Resting Beauty, 2002, 68 x 69 cm Oil on canvas Thavibu Gallery


Nude, 2002, 30 x 61 cm Oil on canvas Collection of the Artist


Yellow Roses, 2002, 36 x 46 cm Oil on canvas Thavibu Gallery


Flame Trees in Rain, 2003, 36 x 56 cm Watercolours on paper Thavibu Gallery


Temple Festival, 2003, 52 x 74 cm Oil on canvas Thavibu Gallery


Two Ladies in Green, 2003, 52 x 62 cm Oil on canvas Thavibu Gallery


Lotus Ladies, 2003, 68 x 68 cm Oil on canvas Thavibu Gallery


Beauty on the Beach, 2003, 30 x 60 cm Oil on canvas Thavibu Gallery


Bathing Beauty, 2003, 45 x 60 cm Oil on canvas Thavibu Gallery


Shan Market, 2003, 68 x 68 cm Oil on canvas Thavibu Gallery


The Flower Vendor, 2004, 68 x 68 cm Oil on canvas Thavibu Gallery


Boats at Night, 2004, 90 x 120 cm Oil on canvas Thavibu Gallery


Bathing at the Well, 2004, 68 x 68 cm Oil on canvas Thavibu Gallery


Playing on the Beach, 2004, 60 x 75 cm Oil on canvas Thavibu Gallery


Horse Carts on a Rainy Evening, 2004, 68 x 68 cm Oil on canvas Thavibu Gallery


Beach Beauties, 2004, 68 x 68 cm Oil on canvas Thavibu Gallery


The Seven Angels, 2004, 120 x 180 cm Oil on canvas Thavibu Gallery



CHRONOLOGY

U Lun Gywe

Born 1930

Education and Training

Graduated from the Art Institute of Specialist Teachers’ Training, Myanmar, 1954

Graduated with distinction in Eastern Art from the Institute of Fine Art, Beijing, China, 1964

Studied art restoration in East Germany, 1971

Studied under art masters U Thet Win, U Chit Maung, U San Win, U Thein Han and U Ngwe Gaing

Teaching and Administrative Positions

Art Instructor at the State School of Education, Yangon, 1956 - 1958


Instructor at the State School of Fine Arts, Yangon, 1958 - 1979

Acting Principal at the State School of Fine Arts, Yangon, 1977

Founder of the Golden Valley Art Centre jointly with U Myint Lwin (Peter), 1987 - 1999

Founder of the Artist Life Art Gallery, 1999 - present

Selected Art Exhibitions

(Due to the isolation of the country, it has generally been difficult for artists to show their works abroad.)

Myanmar [Burma]: several group and solo exhibitions, including a solo show at the National Museum, 2000

China: 1964

Japan: 1985

Korea: 1989

USA: 1990

Australia: 1990, 1991, 1992

Singapore: 1995, 2000; solo show at Emerald Hill Studio, 2004

Thailand: Burmese Master Paintings, jointly with Aung Kyaw Htet at Thavibu Gallery, 2004

U Lun Gywe - A Retrospective, solo show at Thavibu Gallery, 2005

Museum Collections

National Museum, Myanmar

National Art Gallery, Malaysia


www.thavibu.comThe Silom Galleria, 3rd FloorSuite 308, 919/1 Silom rd.,Bangkok 10500, Thailand

Tel. (662) 266 5454, Fax. (662) 266 5455E-mail. [email protected]

U Lun Gywe - A Master Painter From Myanmar (Burma)

Documents

daw ohn thwin

swift brush strokes

teachers training college

british colonial rule

specialist teachers training

maung han htut

myanmars art scene

national art gallery