Buddhism, coming from India, was introduced a few times since its first appearance there about two thousand years ago, bringing its philosophy of detachment, rebirth and compassion. It became deeply rooted in the heart of the Burmese. Throughout the centuries, stupas (reliquaries) and wats (temples) were erected everywhere, testimonies of the will of their builders to gain good karma (merits) for a better next life. Spheres and spikes sumptuously decorated with gold leaf and precious stones shine through the morning mist on a background of green hills, spelling the message that nothing is permanent except the faith of the believer.

Being of Chinese descent in Malaysia, Fee Ming could have been a Buddhist, but his parents had become Christians and the family received lessons on the Bible from Finnish missionaries in their hometown of Dungun. Today, Fee Ming remains reserved in matters of religions. Muslim pahala, Buddhist merits, Christian good deeds…for those who know him, it is obvious that he does ascribe a transcendent value to acts based on moral motives. Tao philosophy, Confucianism, and Zen Buddhism have contributed to build his world vision. However, it is while painting, that Fee Ming finds most of his answers. And although they are not literally religious works, the beautiful Burmese series demonstrate the strong link between the artist and his spiritual quest.

“I respect people’s beliefs, their way of life, their rites,” he says. Such is his empathy, that if it happens that some people were praying in a temple, Fee Ming may silently join them. “Once,” says Fee Ming, “I was in India, in a monastery in Sarnath. The abbot, a Chinese, spoke Mandarin. I asked if I could stay, although I am not a Buddhist. “That is not important,” answered the abbot, “what matters is what you do and what is in your heart.”

In Myanmar, the length of stay was limited. Fee Ming sojourned in guesthouses. Everyday he walked, or as in Pagan, rode on a little horse cart to the monasteries and settled there for hours on end. He sketched, looking at the daily life of the monks, looking when the sun played through the cloth of their robes as they washed and dried them. “The monks did not mind, they liked to see me,” says Fee Ming.