Still, she did not even glance at my painting. Gradually, she became fluent enough to read classic Burmese novels like Ein-Dar-Won-Tha and Wi-Sa-Ya-Kar-Re written by royal princesses of the late Konbaung Dynasty. The Burmese-Chinese woman of the older generation learnt the Burmese language with the help of a monastic student who paid visits to her house for alms, because she was so eager to be fluent in Burmese. As such, I, as the translator, intentionally left that out although some of the facts and analyses from this part of the book related to the local art scene are translated along with relevant artists' biosketches. 159–234, the writer wrote about theories of painting, perspective and colour by referring solely to Western technique. Hla Maung and (2) not directly related to this translation-one was written by journalist U Thein Maung and the other by writer Za Wa Na.)įor the other part of the original book, from pp. They were intentionally left out from my translation as they were (1) not written by the writer G. 22 and 34 are missing in my English translation.
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