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Tuesday, October 11, 2011

Burma’s Balancing Acts with India and China | Opinion | Epoch Times

The leader of Burma's democratic opposition, Aung San Suu Kyi, poses for a photo next to a mapof Myanmar that says: "save our river" as she arrives at the 'The Sketch Of A River' art exhibition at the Gallery 65 in Yangon on Sept. 22. Concerns are growing in Burma about the impact of the Myitsone Dam on the Irrawaddy River, with a group of writers and environmentalists voicing rare public criticism of the government-supported project earlier this month. (Soe Than Win/AFP/Getty Images)
In its continued efforts to strengthen bilateral cooperation with neighboring economic powers, the Burmese government has to balance its diplomatic engagements between India and China, which are traditional economic and political rivals. Why is it important for Burma (also known as Myanmar) to appease these countries? How do these balancing acts help the Burmese government? What does Burma need to do to improve its overall economic and political condition?

Balancing Act with India

With the aim of improving Burma’s bilateral relationship with India, the Burmese President Thein Sein is scheduled to begin a three-day visit from Oct. 12 to 15. Sein, a former military general, visited India in November 2008 as prime minister under the military junta of the State Peace and Development Council.

Thein Sein’s first visit as president of a nominal civilian government is significant for two important reasons. First, the new government, although still dominated by former military generals, is seeking to improve its international image by pursuing democratic reforms.

Second, the Burmese government apparently irked the Chinese government, India’s traditional rival, by halting a $3.6 billion hydroelectric project in Kachin state, a surprise announcement made on Sept. 30.

The two countries are expected to sign bilateral agreements, and discuss a wide range of issues, including insurgency problems in Northeast India. Nay Pyi Taw is also expected to seek New Delhi’s recognition, if not support, ofr its democratic reform process. India has invested in technology and transportation developmental projects, with a target of US$3 billion bilateral trade by 2015.

Whenever a high profile Burmese official visits India, traditionally three major types of events are anticipated: protests by Burmese exiles in New Delhi; a curiosity as to what significant development may emerge from the bilateral talk, and what implication(s) it might have for Burma-China relations.

The visit comes at a time when there are glimmers of hope for democratic change in Burma under the Union Solidarity and Development Party. The visit is considered mutually beneficial and important for the two nations to strengthen their strategic partnership.

Ahead of this high-level visit, the two countries have engaged in a series of low-level official meetings. At the request of the Indian government, the Burmese army, in the first week of September, attacked the camps of Northeast Indian insurgents based in Sagaing Division, Northwest Burma.

The Indian government anticipates a security agreement under which a joint military operation can be launched to dismantle these camps and destroy these insurgents. India hopes to reach a deal with Burma, similar to the agreements reached with Bangladesh and Bhutan, to launch major military operations.

Under the aegis of its look-east policy, India’s policy toward Burma has changed significantly—from support for the pro-democracy movement to engaging a pro-military government. The policy shift began during the Congress government of Prime Minister P.V. Narasimha Rao in 1991, and augmented by the Bhartiya Janata Party government under Prime Minister Atal Bihari Vajpayee (1998-2004).

There are glimmers of hope for democratic change in Burma.

India has been criticized by the Burmese opposition and Western democracies for not speaking up on human rights and democratic reforms.

The salient features of Indian foreign policy vis-à-vis Burma can be summarized under three main subjects: seeking Burma’s help in suppressing insurgency problems in Northeast India, to counter China’s growing influence in the region, and to expand its international market in Southeast Asia via Burma.

By engaging Burma, India plans to maximize its security and national interest. Burma, the only Southeast Asian country to share 1,643 kilometers boundary in four Northeast Indian states and a maritime boundary, serves as India’s gateway to the other 10-member states of the Association of Southeast Asian Nations. Because of Burma’s strategic location and proximity to China, it is crucial for India to befriend Burma.

While the Western democracies see some signs of democratic reforms and begin to cautiously appreciate the Burmese government, it is important for the world’s largest democratic nation to demonstrate its support for human rights and democratic reforms, besides other interests.

Kansong museum to open fall exhibition


“Scenery on Dano Day” by Shin Yun-bok

By Chung Ah-young

In the tranquil neighborhood in Seongbuk-dong, Seoul, every spring and fall, numerous visitors will patiently line up to tour Kansong Art Museum.

The long hours of waiting won’t be minded because it’s the only time that the art museum holds rare antiques exhibitions.
Showcasing the progress of folk paintings, including portraits, during the Joseon Kingdom (1392-1910), this season’s exhibit will run from Oct. 16 to 30.

Some 100 paintings of 52 Joseon master painters such as Ahn Gyeon and Kim Eun-ho will be displayed.

The paintings of the early Joseon period were influenced by Chinese styles — largely that of Zhu Xi’s Neo-Confucianism style that originated from the Song Dynasty (960-1279) — to the extent of imitation.

As time passed, Joseon scholar Yi I (1536-1584) developed Zhu Xi’s Neo-Confucianism into Joseon’s ideology, Joseon’s own colors and flavor were created.

Since then, Jeong Seon (1676-1759) completed the heyday of the Joseon’s landscape paintings featuring its own geographical traits and society.

Using the pseudonym “Gyeomjae,” meaning humble study, Jeong was one of the most influential landscape painters in the 18th century Korea with his realistic style. He was influenced by Chinese paintings in his earlier life, but later developed his own approach. For example, a traditional Korean A-frame carrier, which was usually used for carrying firewood, was first depicted in his painting titled “Oechomundap (Fisherman and Woodcutter in Conversation).”

Cho Young-seok (1686-1761) realistically portrayed the ordinary lives of people such as a low-class woman working in her kitchen in a shanty thatched house in his painting “Travel to Rural House.”

The flourishing growth of the paintings peaked when Kim Hong-do (1745-1806), Kim Deuk-shin (1754-1822) and Shin Yun-bok (1758-) produced prolific folk works reflecting Joseon’s beauty and particular characteristics.

“Jamoyuka (Mother Feeding Her Baby)” drawn by Shin Han-pyeong, Yun-bok’s father, captures a mother feeding her daughter in her arms and a son and another daughter touching a pouch of his mother. The painting is known to be an ordinary scene that could be found at any household at that time. Some critics say the work depicts Shin’s family.

Kim Hong-do’s “Giubusin” portrays an innocent boy carrying firewood and riding on a cow in a rural place while “Masangcheongaeng (Listening to an Oriole from Atop a Horse)” captures a scholar who listens to a bird’s song on the back of a horse.

Shin Yun-bok often described the entertainment culture of young elites through “Portrait of a Beauty,” “Chunsaekmanwon,” “Sonyeonjeonhong” and “Yeonsodapcheong.”

Towards the late Joseon period, the Joseon’s painting styles began waning as the Qing’s portrait styles dominated.

The museum was the first modern private museum opened in Korea in 1938, in the middle of the colonial period. It was named after the penname of its founder Jeon Hyeong-pil, which means a “pine tree standing in the clean streams.”

Standing on a lot of some 13,223 square meters in northern Seoul, the museum and its surrounding area have an extremely quiet and peaceful quality. The main building, “Bohwagak,” is home to the cultural treasures that Jeon collected during his lifetime. The majority of the collection are as precious as national treasures.

It exhibits its collections for two weeks in both May and October and publishes a catalogue entitled Kansong Culture to coincide with the biannual exhibitions.

Admission is free. For more, call (02) 762-0442.

The Hindu : Life & Style / Kids : Taste of Thai

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At a temple. Photo: Special Arrangement
At a temple. Photo: Special Arrangement

Thailand offers you not only fun and adventure, but also a deep sense of history and culture.

If you want to go abroad during holidays, where you can delve into a little history and chill out on the beach, then Thailand could be an answer.

Located in southeast Asia, the Kingdom of Thailand was originally known as Siam. To the south of the country is the Gulf of Thailand and to the west is the Andaman Sea. Thailand is the only southeast Asian country that has never been colonized. This could be because of the wisdom of the rulers and the way they managed their country and its affairs.

Today's ruler

The present monarch, King Rama IX, Bhumibol Adulyadej is the ninth king of the House of Chakri. He is the longest serving head of state and monarch in the history of the country. King Rama IX is a painter, musician, photographer, author and translator.

Between 1985 and 1995, Thailand grew economically. It became a tourist destination with its well-known beach resorts at Pattaya, Phuket, Chiang Mai and Koh Samui becoming popular. Many famous Hollywood stars have found a perfect holiday retreat in Koh Samui and Pattaya.

The sea around these islands is calm and clea

Craft of displaying spirit of India - Times Of India

Craft of displaying spirit of India

TNN Oct 10, 2011, 10.48AM IST

CHANDIGARH: With a rich cultural and traditional backdrop of many South-Indian states presenting a mini-south Indian look, third edition of Chandigarh Crafts Mela at Kalagram witnessed large crowds on Sunday. The 10-day cultural extravaganza had 600 multifaceted folk, classical and traditional artists from all states participating.

For the first time, SAARC nations are participating in the 3rd Chandigarh National Crafts Mela. Renowned artisans from Nepal and Sri Lanka have also come to display the art and heritage of their respective countries.