What they say on 'Myanmar: Through the Dragon's Brush' (Part II)

Cai Zhixin First-class national artist and assistant curator of Jiangsu Culture and History Research Institute

I am used to sketching outdoors where there are no proper desks, chairs, and painting tools. Our tour requires painters to make the most of available resources, and to try to capture the prominent features of the scenery. For example, Kandawgyi Lake was not the vantage point to observe the Shwedagon Pagoda. I had to imagine I was sitting at a higher point and picture the pagoda's image in my mind. From there I think the pagoda should show layers of dimensions and that was how I interpreted it in my sketch.