(Unedited article)

Myanmar, previously known as Burma, is the rising star in the skies of Asia. Its history is embellished with heroic and dynamic Kings and Queens who were fully devoted to Buddhism and built up millions of Pagodas, stupas, shrines, monasteries, nunneries and Lord Buddha's Images in the length and breadth of Myanmar. Myanmar is well known for its political, martial and legendary development throughout its immemorable history. Its boundary marches along the neighbouring countries and its people is renowned for their cultivation, education, simplicity, integrity and piety.

Myanmar, the leading Buddhist country, having millions of Pagodas and shrines, having the Shwedagon Pagoda, Mahamyatmuni, Bagan, Mandalay, Amarapura, Shwebo, Taungoo, Bago, the most powerful Army and the most educated people, should of proud of herself. Though Myanmars valuable treasure, gems, idols, images, antique objects were smuggled out for more than 128 years, it still has countless, priceless and colourful things at present well.

If someone raises a question, why Myanmars are so proud and dynamic? I'd like to answer that Myanmar are proud of their priceless intelligentsia, shrines, stupas and its long and respectable history Bagan, Mandalay, Inlay, Khakaborasi Mount, Rakhine stupas and shrines, Mahamyatmuni in Mandalay, Art and crafts, artists, artistes, the Shwedagon Pagoda, Ngapali Beach, Yangon are the beauty, spots and international places of interest. Art and crafts are the main attraction for the incoming tourists and businessmen. Art dealers collectors, tycoons, magnates and ‘beau monde' do pay their visits to Myanmar and never flew back without fetching and buying a souvenir of Myanmar, which pays well and Myanmar art and crafts become " paintiquegem " for the collectors. Myanmar is the abundant with brassware, earthernware, glassware, lacquer, mural paintings, antiques paintings de ancient masters of Myanmar, modern classics, masterpieces of the early 40s, 50s, 60s,70s, 80s, 90s and today's era artists. When we talk about the contemporary artists in Myanmar, If I am not mistaken, I have to cite people belonging to or living in the same period of time, of the same age. They are the very persons who belong to the same period of time.

A retired lecturer from the Institute of Economics said that the contemporary art has a special definition in Myanmar. It is an art, in a modern sense and new drive, defying the previous conventional arts and composed of exciting and creating artistic black belts. Some neo-dynamic dominating artists have an urge to define it as non-profiting, risky and self-sacrificing controversial move. To put it in a nutshell, it is a presentation which is not centered on money-making. In Myanmar there are some outstanding rising stars and established stars who won't say no, if an art writer enlisted in the contemporary artists' list. They are, if I am not mistaken, in addition, by your leave may I state that it is off the record, so to speak:

In addition, there are many budding, established, matured and best-selling painters in Mandalay, Pyinmana, Bagan and in district towns as well. Some, as a law of fame and riches, they are under the shadow for years and some cannot show their talent for the rest of their lives. Sans Promoters, sans Largent, sans Lespair, sans Cheries, etc. There lies a big and grand Myanmar Arts and contemporary art gallery which is running by an Ex-officer cum a writer. But nevertheless, nobody knows whether the real rising contemporary artists can get into that particular Mansion- Gallery. At this point, for my own part, I could not regard, Nyein Chan Su, Linn Wunna, Soe Naing, San Naing and Mille Nan Nan, only as to the facts that they dare to present queer, weird and complicated and knotty solo shows and shows which cost loads and loads of money.

Money answers all things but not in this particular venture or juncture. A strange presentation without sense and profound artless comprehension should not be allowed to get the summit or acme of a line of trade " Some so-called " artists are boasting of their works and are proud of strangeness which is beyond layman's understanding. They are tarring the painting field with the same brush for years. Whoever and whatever the claims are, one concrete fact is that, the present era, particularly in painting field, Myanmars owe a lot to Ba Yln Lay, Ko Lay, Thaung Han, San Toe, Maung Ngwe Tun, Paw Oo Thet, Pe Nyunt Way, U Lun Gywe, Paw Thane, Sann Myint, Kyi Twe, U Ba Kyi, Maung Maung Thaike, U Ngwe Gaing, U Kyi and Win Pe. Why! What's the cause of it? They paved the 4 lane way for present day new-comers to make money and build up a mint to earn a lot and educate them to ask for Asian prices and to think in cosmopolitan outlook. They, Myanmar artists should act, behave and try at an international speed.

Myanmar stars, at present, are Pagyi Maung Nwe Tun, Paw (30 Thet, Maung Di (a) Myo Nyunt, U Lun Gywe, Win Pe Myint, Soe Moe, Kyee Myint Saw, Myint Swe, Po Po, Khin Maung Myint, Soe Naing, Mote Thone, Aung Myint, MPP Ye Myint, Min Wai Aung, Kyaw Phu San, San Min, Soe Moe Naing, Tin Maung Oo, Mya Thaung, Chan Aye, San Toe, Maung Sein, Thaung Han, Linn Wunna, Wa Thone, Tin Maung Myint, Maung Maung Thaike, Kyaw Thaung, Maung Maung Hla Myint, Zaw Min, Zaw Zaw Aung, Ko Awe, Hlaing Bwa, Thet Aung, Khin Mg Yln, Nyein Chan Su, Thein Myint Thein, Myint Soe, U Hla Han, S Tin Shwe, U Shain Tun, Bagan Maung Thi Ha and Pe Nyunt Way etc. They are the burning constellation in the vast dark night.

The aces in the modern art schools are Maung Di, Khin One, Khin Maung Yln, Kyi Twe, Nyunt Myat, San Myint, Paw Oo Thet, Win Pe (Mandalay), Po Po, Mote Thone, Soe Naing, San Min, MPP Ye Myint, San Naing, Paw Thame, and the supernovas in realism are U Lune Kywei, Win Pe Myint, Min Wai Aung, Zaw Min and Bo Kyi. As stated they are stars in their own way. But, as Karma is the Maker, some are brilliant but broke, some are poor as usual though their names some are up in the sky.

Some, famous but poor due to their principles and ways and means of making money. A few, by a stroke of luck or by the virtue of foreign art dealers like Andrew, Madame Kyame, French, German, Singaporean, Taiwanese dealers got rich suddenly and R.I.P in their tombs up to-now. Most of the Myanmar talented artists are overexploited and misused in a sense. As a result, they are down at heel. 'Money talks, Money answer the all things', 'Money is an Alladin lamp', as the sayings go. How can the rising, promising, talented artists study was research without the blessings of Almighty Dollar. Some people wish to degrade and undermine hand-to-mouth artists for ever and a day. Being so, they led them to a pauperized state and underpaid their paintings at flea market prices. An Indonesian artist gets U$ 5000- 15000 for his water and most of the Asian artists get their reasonable and business like price and as a result their lives are ameliorated in a sense.

Which way to go? Realism, expressionism, modern ultramodern, conventional drives, " symbolism " ' polytechnism' 'random-moodism' and 'so-called' abstract touches in a poetic display. Of course, they are, Myanmar artists influenced by Myanmar grand masters and international masters like P. GAUGIN, EDOUARO MANET, C.PISSARRO, PAUL SIGNAC, STANISLAS LEPINE, CLAUDE MONET, V. VAN GOGH and PAUL SIGNAC etc. As art is the imitation of mother nature, REALISM paintings are very easy to appreciate and dispose of well. It is too easy that you or one will never be bothered to ponder yonder. For artists it is as easy as kissing their own hands and falling from the teak logs in the deep forests. Expressionism is swaying and as light as down so to speak. Too skimming and too shamming for the serious thinkers. Is it worthwhile to buy paintings drawn under the mood and mode of expressionism.

For my own part, modern and abstract are too complicated and weird. Too easy to be comprehended for rank and file. Well, waifs and strays, lower-middle class and ill-bred are about 99% and 1% might be the stiff-necked elite. In the name of Lord Buddha, I am retarded to give my outspoken comments on these ‘isms’. The most important are the maturity, mastery, colour mingling, taste for the best, loving-kindness and cultivation. This is the fabric and web for an international artist. Po Po and some artists are invited to some countries to the end of cultural exchange. When you fly over to Myanmar judge by your our eyes. Galleries are to be found at every turning of a locality but pay a visit to the artists. Beauty and quality are in the eye of the beholders. The best artists are to be sought by yourself. They are too sky to come to you and present by themselves. Paintings speak all languages and sing beautifully and it shows your social, family, and educational standard.

Myanmar artists as a rule, have certain train of experiences and a web of skills, tasted the bitterness of poverty, and are looking for the amicable access and exit to the global paintings market. Being so, know Myanmar, know Myanmar artists, know the real value of the local, native, indwelling artists.

"Should an artist could say I was not there, when he couldn't portray the real true moving picture of Myanmar. It says, "Memento mori." After their death, I mean, present living artists, their paintings might be hiked to 100 fold. It is a law, so to speak."