迎錢蘇 | 風景七號

null
我們很高興為您提供上述拍品狀況報告。由於敝公司非專業修復人員，在此敦促您徵詢其他專業修復人員，以獲得更詳盡、專業之報告。

準買家應該檢查每件拍品以確認其狀況，蘇富比所作的任何陳述均為主觀看法而非事實陳述。雖然本狀況報告或有針對某拍品之討論，但所有拍賣品均根據印於圖錄內之業務規則以拍賣時狀況出售。

The Art of Burma

While the roots of Burmese painting can be traced back to 12th century Buddhist mural paintings of Pagan, the most significant shift in style took place after the fall of the Konbaung Dynasty, subsequent to the Third Anglo-Burmese War in 1885. Western influences started to penetrate the country’s artistic consciousness as Western-schooled artists like James Raeburn Middleton and Gerald Kelly were sent to Burma to produce landscapes and ethnographic portraits. Consequently an entire generation of Burmese painters such as M.T. Hla (1874-1946) and Saya Chone (1866-1917) studied Western painting philosophies and transformed the local visual idioms.

The early 20th century brought about a larger shift in Burmese painting that was characterized by the emergence of two main schools –the Northern Mandalay and Southern Rangoon School. In the Irrawaddy Delta, south of Myanmar, the Burma Art Club was established and soon played a pivotal role in the development of the Rangoon style. A prominent artist who emerged from the school was U Ba Nyan (1897-1945) who was famed for his opaque watercolor paintings and oils, with a distinct focus on chiaroscuro. He served as a teacher for many other notable modernist artists. This included U Ngwe Gaing (1901-67) who is widely recognized as Burma’s leading artist during the post-World War II period and U San Win (1905-81) who was considered the first Burmese painter to embrace Impressionism.

A number of artists also started to resist the influence of U Ba Nyan’s dominant aesthetic. U Ba Kyi (1912-200) eventually diverged from the typical Rangoon aesthetic and instead embraced more animated forms of representation.  In the North, a group of modern artists known collectively as the Mandalay School started to gain prominence in what was once the capital of Burma. Artists like U Ba Zaw (1891-1941) and Saya Saung (1898-1952), and more traditional painters, such as U Ba Thet (1903-72) and U Saw Maung (1900-69) formed a movement that incorporated Chinese aesthetic styles in their works.

A concessionary measure in 1988 opened Burma’s economy and soon allowed tourists and entrepreneurs to engage with the Burmese art market. Artists such as Min Wae Aung’s (b. 1960) and U Lun Gywe (b. 1930) became especially popular, known for their quotidian subject matters and charming compositions. Following these senior artists are a wave of younger voices who are developing fresh idioms and strong individual styles.