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Street painters in malaysia

  In the vicinity of many city center squares in Malaysia, one can often see some street artists setting up easels here, rain or shine. Their sketches are well done. The sweetness of a girl, the stubbornness of a boy, the vicissitudes of an old woman, and the stubbornness of an old man… all come to life in their hands with just a few strokes.
  The utensils of street painters are very simple, just one or two pencils, a box of color raw materials, a drawing board, a few charcoals and a few portraits of stars for advertising. These painters sit on the toilet from early morning until dusk, and are leisurely. , is also substantial.
  This kind of street art reminds me of Paris, Bonn, Rome and some Nordic cities where there are many street painters and singers. , has become a part of urban culture and civilization.
  Painters usually sit on a simple wooden bench by themselves, and prepare a beach chair for customers, and put some paintings on the ground that may be better painted by themselves or others as advertisements to attract customers. A painting is generally charged 20 MYR, plus 10 yuan for color, and 5 yuan for frame. Some of them graduated from domestic art academies and have been engaged in professional work for many years; some have just learned painting for a short time. Most people have some skills.
  Most of the street painters are local Malaysians, but there are also foreign painters.
  Because I often come to the square to see the paintings of these painters, I know one of the female painters. Her name is Roz, a Malay-Chinese, more than 40 years old. I have been painting here for several years.
  She has 2 daughters, one is studying in college and the other is studying in the United States. Husband is Indian.
  Rhodes told me that she was born in Malaysia, raised and educated in Malaysia and Japan. Like many second- and third-generation overseas Chinese, for a long time, the meaning of China to her was vague and difficult to grasp. She clearly remembers the pain of wandering between “Chinese” and “Malays” when she was a teenager – the dilemma and isolation when one’s national identity and national identity do not identify with each other. She said that this gave the Chinese living there a tenacious sense of self-improvement-no one could rely on, only self-reliance.
  Although her earlier paintings paid more attention to the individual-people’s mental state, and had achieved considerable success, Rhodes did not hesitate to abandon her previous creative methods when she was old. She believed that the application of Western artistic concepts in the Orientals always appear unnatural and disharmonious. Her subsequent art was devoted to a serene, sensual life. The subject matter also shifted from Sarawakian indigenous women to urban figures and landscapes. This may stem from the oriental complex deep in Rhodes’ spirit. She said it gave her a deep taste of the beautiful feelings between people. Incorporating these into her painting philosophy is to focus on the character of people and paintings, and never despair of human nature.
  Malaysians are very friendly to street performers, passers-by and tourists do not look down on them at all, only envy and admiration in their eyes. Artists are also generous, without any sense of inferiority, and they don’t seem to care whether or not they give money or how much they give. Sometimes they even doubt whether they use it as a means of making a living or just to promote art? Who can guarantee how much? How many famous people such as Van Gogh, Monet, Da Vinci and the like will not appear among these people after 2000?

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