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

Zhang Yaoming First-class national artist and executive vice-president of Beijing Xiangshan Painting Academy

I'm seeking an interpretation of the Shwedagon Pagoda from the perspective of traditional Chinese aesthetics. I find strong Western influences in Myanmar's humanities, probably because of its long colonial history. While Western painting celebrates bold emotional expression, Chinese painting is more of a rational practice. I tried to strike a balance while painting in Myanmar, by looking at the exotic architecture and scenery through the Chinese aesthetic lens. Painting is not only about depicting the object itself, but also conveying the painter's feelings about it. It is about how you understand the subject matter. The feeling does not come naturally. It is brewed and built up over time, which requires the painter to experiment with their techniques until they find a proper way of expression.

As I stay longer in the country and explore extensively, I realize the pagodas are not only a structure in Myanmar. It is the essence of the whole country, as the spirit of Buddhism infiltrates every corner of the cities and every aspect of life.