Ba Zaw
Ba Zaw was an early Burmese artist born in Thayet and raised in Mandalay who mastered western painting. He and his student, Saya Saung, are largely responsible for creating the foundations and identity of a Western-style painting circle within the Mandalay School. The Mandalay School, when examined as a whole, included diverse artistspainters who devoted themselves to Western-style painting as well as professional Traditional Burmese painters whose specialty and livelihood came from painting Buddhist works for temples and other religious buildings. Almost all the Traditional painters dabbled in or heavily experimented in Western-style painting from time to time.
Early life and education
Ba Zaw was born to a well-known silversmith by the name of U Kyin who was awarded a gold medal by a British viceroy of Burma. He attended St. Peter's High School in Mandalay and then entered Judson College in Rangoon in about 1911 or 1912. Judson College later merged with University College to become Rangoon University in 1920; thus, Burmese sources often mistakenly or casually claim that Ba Zaw attended Rangoon University although the university had not yet been established when Ba Zaw was a college student.Ba Zaw's skills as an artist were noticed by influential persons by the time he attended Judson College or during that time. Around the year 1912, while working on his B.A. at Judson, two British academics in Rangoon took interest in Ba Zaw's artistic careera Mr. A.R. Morris, headmaster of Insein Engineering School, and Martin Ward, a university physics professor who later became the first chairman of the Burma Art Club. The two drafted a plan to send Ba Zaw to Bombay to study art, but Ba Zaw wanted to complete his B.A. first, and the project was postponed. The start of World War I scuttled these plans entirely. Ba Zaw's health was frail, and he subsequently fell ill, quit his university studies, and took a job as an art instructor at St. Paul's High School in Rangoon.
Early painting influences
The history of Ba Zaw's early training as a painter is a patchwork of contradictory claims. For example, Ludu Daw Amar and Ko Ko Naing describe Ba Zaw as self-taught and maintain that he learned painting by studying from books. Min Naing, on the other hand, mentions that the doyen of Traditional painting in Burma at the turn of the century, Saya Chone, was an instructor of Ba Zaw while Ba Zaw taught at St. Paul's High School and offers convincing details about their interaction. Nyan Shein claims that Ba Ohn was one of Ba Zaw's teachers, and Ko Ko Naing acknowledges the influence that the three early British chairmen and teachers of the Burma Art Club —Martin Ward, Martin Jones, and E.G.N. Kinch—had on Ba Zaw, which is almost certainly true. The BAC was informally organized in 1913 as a venue where amateur British colonial painters in Burma might meet and exchange skills, and became more officially established in 1918. Toward the later date, the BAC began to train Burmese painters. Ba Zaw was one of the earliest Burmese members of the club, and he picked up much from its lectures. Ko Ko Naing and Amar's claim that Ba Zaw was self-taught is accurate in the sense that Ba Zaw was self-taught to a degree. He won scholarships or painting competitions when he was a youngster before he encountered Ba Ohn, Saya Chone or British painters.Daw Amar nudges up to Ba Zaw's connection to both Saya Chone and Ba Ohn. She states that Ba Zaw was very good at painting Traditional Burmese arabesque, one of the skills which Min Naing claims he learned from Saya Chone. She also mentions that Ba Ohn was the first Burmese painter to illustrate school textbooks, and that when Ba Ohn's illustrations became outdated, Ba Zaw was hired by Macmillan to illustrate “Burmese Peacock” readers, but she stoutly emphasizes that Ba Zaw accomplished these illustrations on his own, without instruction. She goes on to say, however, that Ba Ohn learned painting techniques from B.H. Wiles and adds that Ba Zaw was also friendly with Wiles. One must wonder if these three painters sometimes kept company, and if Ba Zaw not only learned something from Ba Ohn but also Wiles.
Despite Ba Zaw's training with Saya Chone, as Min Naing contends, Ba Zaw did not take this training far. On the contrary, he became a somewhat obsessive and dogmatic follower of Western-style British painting, particularly transparent watercolor painting, his specialty. G. Hla Maung quotes Ba Zaw as telling Saya Saung, his student, that good painters “never use many colors” and other writers state, variously, that he was afraid of the colors green and violet, but passionate about orange and red. In Burmese Painting: A Linear and Lateral History, Ranard claims that Ba Zaw's "strict canon" regarding color likely derived from British sources, directly or obliquely, through exposure to the work of J. J. Hilder, from his British teachers at the Burma Art Club, or in England where Ba Zaw studied at the Royal College of Art in the late 1920s. As Ranard puts it, "...his British patrons might well have said such things, the distaste for gaudy over-use of color being so common to the British."
Influence of J J Hilder
Ba Zaw came in contact with the work of the Australian painter Jesee Jewhurst Hilder some time after Hilder's death in 1916. After Hilder's death, two books containing images of his watercolor paintings appeared, J.J. Hilder, Watercolorist, a catalog in 1916, and The Art of J.J. Hilder in 1918. One of these books fell into Ba Zaw's hands, probably the latter, and left a deep impact on him. The book also came into the possession of Saya Saung, Ba Zaw's Mandalay student, and richly influenced Saya Saung as well. There is some uncertainty about which painter actually encountered Hilder's work first and the date at which the encounters occurred. G. Hla Maung, Nyan Shein, and Amar all state or suggest that Ba Zaw first discovered Hilder's work, while Ko Ko Naing is the single detractor, claiming that Saya Saung became a student of Ba Zaw after Saya Saung started using Hilder's paintings for learning exercises.In Burmese Painting: A Linear and Lateral History, Ranard speculates that Hilder's landscapes of Australia, done in subdued color in the British style, may have appealed to Ba Zaw because these works resembled the brownish orange landscapes of Burma. He also draws parallels between the tragic history of both artists, their high-strung temperaments, their lives marked by “asthenia”, and their “aesthetic austerity”. Hilder became tubercular at a young age, suffered greatly as a result, and died young. He was an artist of high standards who was often critical of his own work and touchy and short-tempered with friends. Ba Zaw's life was also troubled. His right hand was emaciated from birth and he was forced to paint with his left hand, and was so sensitive about his physical deformity that he often hid his left hand in his longyi. He loved romantically only once, but on the eve of his marriage to the woman, the lady died. The event severely scarred him and he remained a bachelor the rest of his life. Amar remarked of Ba Zaw that he was “taciturn” and had little sense of humor. G. Hla Maung quotes Ba Zaw as likening the agony of the artist to the experience of man who “sees a heavy saw falling upon his feet... feels pain even before he is actually hurt.”
Trip to London
Ba Zaw is often quoted hand-in-hand in Burma with Ba Nyan because the two painters were the earliest Burmese artists to receive formal, academic education in Western-painting. In the 1920s, both studied at the Royal College of Art in London. However, Ba Nyan's experience preceded Ba Zaw's. Ba Nyan left for London in 1921, but only spent a year or so at the Royal College of Art, partly because he could not follow the lectures in English and partly because the training at the college was tedious and slow. Ba Nyan wanted to graduate to oil painting quickly, but realized it would take years for this to occur at the college. Martin Ward, one of Ba Nyan's sponsors in Burma, came to his rescue. While on a trip to England, Ward managed to have Ba Nyan transferred to the Yellow Door School, the private academy of London artist Frank Spenlove-Spenlove.Ba Zaw's sojourn to England began later, in 1927, while Ba Nyan was on his second trip for studies in London. Ba Zaw, whose English was good, did not have the difficulties that Ba Nyan had had at the Royal College of Art, and, in addition, Ba Zaw's instruction there in watercolor painting and etching apparently suited him. Ba Nyan was a student with more practical aims, whereas Ba Zaw was adept at art history and theory. Ba Zaw graduated easily from the school in three years with an ARCA, apparently not studying oil painting there.
In addition to Hilder, Ba Zaw was also attracted to the watercolor works of Sir William Russell Flint and owned one of Flint's books. Ba Zaw's discovery of Flint's works may have occurred while he was in London, where Flint was a painter of repute, later becoming president of the Royal Society of Painters in Water Colours from
1936 to 1956.