You may say I’m a dreamer
But I’m not the only one
I hope someday you’ll join us
And the world will live as one
– John Lennon, 1971

Ecological Art is a movement prompted by the manifold challenges of climate change. It was pioneered in the 1960s by artists such as Herbert Bayer, Joseph Beuys, Hans Haacke, Agnes Denes, Alan Sonfist, Helen and Newton Harrison, just to name a few. Eco Art emphasizes the interconnectedness between living species and their habitats. The artworks can directly contribute to the conservation and restoration of ecosystems, as well as raising awareness of cultural, economic, and political issues related to climate change.¹

One of the major dilemmas in resolving the climate crisis is the linear “take–make–consume–dispose” approach to natural resources.² For this reason, countries have begun to recognize the fundamental rights of nature as part of their constitutions. Initiated by Ecuador in 2008, this principle accepts that humans are part and parcel of nature, and not its independent proprietors.³ The rights of nature can endorse a new model of circular economy where each economic sector receives from and provides for another. The resulting networks eliminate waste by continuing the use of resources and develop like ecosystems do.

Still, modes of operation adopted from the advent of industrialization are proving difficult to change. Rapid urbanization increases the sense of human detachment from the price it costs to make the energy, transport, food, and goods we consume. Eco artists are agents of transformation in attitudes toward the use of natural resources.

Climate Change and Eco Art in Mongolia

Reverence for Mother Earth is deeply ingrained in Mongolian nomadic culture. However, following the growth in urban populations, these ecologically friendly traditions are gradually becoming forgotten. Mongolian artists have been reflecting the subjects of development, unregulated urbanization, and the loss of traditional culture in their artworks.

In mid-May, destructive sandstorms in southeastern aimags and heavy snow blizzards in northwestern regions of Mongolia swept over the country. “Mongolia is geographically located in an area where climate change is happening rapidly,” said Dr. D. Dagvadorj, founder of the Climate Change and Development Academy.⁴ According to the Paris agreement, countries must work to ensure global warming does not exceed an increase of 1.5°C relative to the temperature prior to the industrial revolution. However, Mongolia’s temperature increased on average by 2.3°C in 80 years since 1930, he says. Ecosystems are extremely sensitive to changes in temperature. The evaporation of moisture from melting ice glaciers in Mongolia will lead to drought, further depletion of groundwater, and the degradation of flora and fauna in the long term, he explained.

Eco Art is an influential agent of education, civic mobilization, and community activism. This spring, twelve graphic design students from the Mongolian Academy of Fine Arts and 111 children participated in the “Nogoonbaatar” (Green Hero) Eco Art Festival. Their art is a sobering reminder of the destructive impacts of greenhouse gas emissions. Below are just a few examples of their work:

Alongside children’s art, the “Nogoonbaatar” Eco Art Festival presented artworks by sixteen artists who turned the streets of a northern Ulaanbaatar ger district into a vibrant outdoor exhibition. The main site was once a wasteyard. Mr. S. Ulziitogtokh turned it into “Uulyn Park” in 2012 (Google maps mistakes it for Nogoon Nuuryn Park). The key attraction is a reservoir where neighborhood children can ice-skate in the winter and row boats in the summer.

When I met Mr. Ulziitogtokh, he had just been presented with two cherry blossom trees by a kind elderly gentleman. “Did you know that there are 1,000 different types of Sakuras and that two of them grow in Mongolia?” he asked me with enthusiasm. He has planted trees all around the reservoir and waters them regularly – that is how the lake stays clean. This year, he is working to turn the boathouse into a small community center for children, where they can read books and learn to play musical instruments.

The newly created artworks render the neighborhood a place full of color and character. The street is livened up with decorative murals by Ts.Tuvshinjargal and S.Batsaikhan, graffiti art by B.Ider (Ren) and O.Tuguldur, a mongol zurag mural by R.Chinzorig, mixed media prints on wood by J.Shijirbaatar, and printed illustrations by students A.Undramsan, B.Narankhuu and others. The messages in some of them are neutral and more decorative. Others depict scenes from nomadic traditions, children with happy faces and writings in Mongolian Cyrillic reminding viewers to “spread love.”

Still, messages in others are more cautionary and sardonic, showing images of childhood innocence set against pictures of smoke from powerplants, or the question, “What color is the sky?” written in a font that suggests a children’s book but placed in the foreground of a suburban scene with a black sky. The eclectic collection of artworks turns the street into an unconventional gallery that tickles the minds of passers-by in spite of themselves.

Inside the park, artworks enhance the fun and friendly atmosphere for children and invite visitors to enjoy the views of the lake from various vantage points. Paintings by Ts.Ariuntugs and M.Batzorig, ceramic sculptures by D.Otgonbayar, sculptures from recycled metal, wood, and other materials such as mirrors, bicycles by T.Enkhbold and plastic by R.Luvsandorj enrich the imagination and channel creative inspiration. There are unique sculptures that pay heartfelt homage to childhood in Sunny Rain by E.Tsagaantsooj and B.Bat-Erdene, and endangered wildlife in Spirit by M-Munkh-Erdene.

One can play basketball at fun-size hoops in the shape of trees created by E.Jantsankhorol. They will chime when you score, as the ball collides with tiny bells attached to the net. Everyone is happy when you score your green goals. On top of the hill, overlooking the lake, N.Amarsaikhan’s gregarious bench with an impressive mane of windfallen trees will embrace visitors. If they’re nice and gentle, it might show them green visions through its eye.

The Impact of Eco Art

Witnessing new life be given to discarded fruits of human genius – from bottle caps to bicycle wheels – felt a bit phantasmagorical. A time-travelling ceremony where artists saluted scientists seemed to have taken place. Staggering images emerged. The bottle caps and plastic are over 100 years old. The wheel is about 1,000 years younger than civilization, which is 6,000 years old. All of this is similar to blink of an eye in the 4,499,994,000 years it took for our planet to produce civilization. We are like a speck in nature’s timeline. Yet our collective sense of entitlement to natural resources has grown larger than nature itself.

Although the climate crisis presents a colossal challenge, thanks to scientists and ethical leaders, we can accomplish what children and artists instinctively know. We need to leverage the collective wisdom and reform our approach to progress by going with, not against, nature.

Education in Mongolia needs to be regarded not only as a discipline but also as an emotional and physical outlet for kids to learn, play, experiment, and share. Such a culture can smooth the path for interdisciplinary cooperation between scientists and artists, R&D and business clusters.

At the festival, artists, teachers, and environmental experts Jitka Kopejtková and David Strauss from the Czech Republic, Julien Malland (Seth Globepainter) from France, and Julia Neuhaus and Christian Escher from Germany, shared their valuable know-how. Christian Escher’s insight stood out as an important warning in Mongolia’s road to prosperity:

“Economic development usually means more environmental impact, at least in the way that economic development works at the moment. It simply means more consumption and with that, more use of plastic, more emission of greenhouse gases, more intensive agriculture and loss of biodiversity. I am aware that it is unfair to ask less developed countries to go a different route of development. The point is, this development is a trap!”⁵

Mongolia, as a developing country, is learning from the experiences of industrialized nations. Challenges of climate change present an opportunity for Mongolia to develop wisely. We need to embed the concept of a circular economy into future strategic sectors from the beginning. Waste and water recycling plants could be built with these ideas in mind. To accomplish this, we need to rehabilitate our culture from corruption and support private sectors in innovative businesses by providing startup investment.

Prosperous countries allocate a major portion of their funds into providing the legal framework for developing and deploying new technologies.⁶ Economist Hakan Gergils in Dynamic Innovation Systems in the Nordic Countries? wrote, “In 1999, the USA was more than three times as good as the EU at exploiting scientific advances for commercial ends.” This suggests that innovation is one important key to development by way of solving problems.

Within a half a year after the global outbreak of COVID-19, Mongolian scientists invented a pain-free test for the virus infection. Due to general disbelief and absence of solid frameworks for exporting scientific innovations to international markets, Mongolia lost a fantastic opportunity to alleviate suffering and make profit from its discovery. This oversight reveals that innovators and creators in Mongolia need to be valued and integrated into the economy.

There is no denying that system reforms and investments into development of new technologies are initially expensive, but cost-effective in the long term. That is why Mongolia must begin to allocate the revenues from the extractive sector into research and development of a circular economy to develop and help relieve climate change at the same time.

Eco Art is changing our attitude toward consumption of natural resources and creating a new culture of harmony with nature. If artists and scientists collaborate in future Eco Art Festivals, we can come up with more ideas to help save our home – the planet Earth. Our survival depends on it.

References:

1. Weintraub, L. To Life!: Eco Art in Pursuit of a Sustainable Planet. University of California Press, 2012. Internet Archive, archive.org/details/tolifeecoartinpu0000wein.
2. Complexity Labs. “The Rise of Sustainability.” YouTube, uploaded by Systems Innovation, 20 August 2019, https://youtu.be/bjrPiIem30g .
3. Crimmel, H. “The Rights of Nature: A Global Movement.” YouTube, uploaded by Issac Goeckeritz, 31 May 2020, https://youtu.be/kuFNmH7lVTA .
4. Dagvadorj, D. “Нэгж бүтээгдэхүүн үйлдвэрлэхэд ялгаруулж байгаа хүлэмжийн хийгээрээ манайх дэлхийд эхний аравт ордог.” Interview by B.Yanjmaa. Өдрийн сонин, no. 098 (6720), 18 May 2021, Pg. 11.
5. Escher, C. “I believe that all fundamental change starts with cultural change.” Interview by E.Erdenejargal. MONTSAME, 28 April 2021. https://montsame.mn/en/read/262036?fbclid=IwAR0CMHsHKR7Nywpr4ExsLsg750kbUqrjDF674l-9dlMnni7JO929vwtzAHo.
6. Gergils, H. Dynamic Innovation Systems in the Nordic Countries?. SNS Förlag, 2006.
7. Khantushig, B. “Degraded Pasture Leads to Poor Quality Meat.” UB Post, no. 055 (2307), 17 May 2021.
8. Enkhnaranjav, T. “Improper Battery Disposal Poses Serious Environmental Hazards.” UB Post, no. 055 (2307), 17 May 2021.
9. Bazarsad, L. “Дугуйгаас дөрвөлжин рүү.” YouTube, uploaded by Bazarsad Lhagva, 4 June 2021, https://youtu.be/ign_ih_0zgs .
10. Neuhaus, J. “Art needs an audience. A picture on the wall is just acrylic paint, unless nobody is realizing that there was somebody who put an idea into form.” Interview by E.Erdenejargal. MONTSAME, 30 April 2021. https://www.montsame.mn/en/read/262369?fbclid=IwAR2w3PX30B-vIdalFuaDN3rUlrIN6Y3LGZtGR8Ievw9IkT5sFbuxs2iHMLk.
11. Malland, J. “I always thought that the best qualities of an urban artist are observation, understanding and adaptation.” Interview by E.Erdenejargal. MOTSAME, 30 April 2021. https://montsame.mn/en/read/262355?fbclid=IwAR25YYsRZLUaNny0vQtI_9C6dZWrVeMq87BHajtrU3zc8xwptnu1SmXx5fw.
12. Jargalsaikhan, D. “Sanhattan.” Jargal Defacto, 28 April 2010. https://jargaldefacto.com/article/sanhattan.
13. Jargalsaikhan, D. “Heading Towards Chile.” Jargal Defacto, 20 March 2020. https://jargaldefacto.com/article/heading-towards-chile.
14. Jargalsaikhan, D. “Free Up Prices and Dismantle Monopolies.” Jargal Defacto, 15 February 2017. https://jargaldefacto.com/article/free-up-prices-and-dismantle-monopolies.
15. Jargalsaikhan, D. “Commons.” Jargal Defacto, 4 April 2020. https://jargaldefacto.com/article/commons.
16. Jargalsaikhan, D. “Batteries and Toxic Hazards.” Jargal Defacto, 6 August 2019. https://jargaldefacto.com/article/batteries-and-toxic-hazards.
17. Jargalsaikhan, D. “Агаарын чанар.” Jargal Defacto, 24 February 2010. https://jargaldefacto.com/article/agaariin-chanar.
18. Jargalsaikhan, D. “Модон жорлон ба Монголын ирээдүй.” Jargal Defacto, 28 October 2015. https://jargaldefacto.com/article/modon-jorlon-ba-mongoliin-ireedui.
19. Hasegawa, K. “Art for SDGs: Kitakyushu Art Festival – Imagining Our Future.” Studio International, 4 May 2021. https://www.studiointernational.com/index.php/art-for-sdgs-review-kitakyushu-art-festival-imagining-our-future-japan-sustainable-development-goals.
20. Leopold, A. A Sand County Almanac. Oxford University Press, 1949.

By Ariunaa Jargalsaikhan
Published in UB Post on June 11, 2021
Ulaanbaatar

Part 1 of 3

Much of East Asian art history is undeniably linked to Buddhism, and Mongolia is no exception. The gilt-bronze sculptures of Gombodorjiin Ishdorj (1635–1723), better known as Undur Gegeen Zanabazar, a 17^th-century Mongolian Head of State and Faith, are an integral part of Buddhist art history.

His sculptures express the human and divine qualities of the Buddha in exquisite harmony. They constitute valuable evidence of the culmination of diverse artistic traditions, styles, and techniques that were refined since the Yuan dynasty¹ and concentrated in an extraordinary union of visionary talent and craftsmanship.

In general, Zanabazar’s Buddha sculptures are approximately 70 to 90 centimeters tall. They are usually seated, except for a few (e.g., Manzushri and Maitreya). The gilt-bronze sculptures are hollow² and were possibly created through the lost-wax casting process. Their proportions adhere to the traditional Buddhist principles of ancient Indian iconometry. The Mongolian stylistic innovation is perhaps most prominent in the facial features, which are accentuated by their perfect symmetry.

One could describe Zanabazar’s Buddhas as having almond-shaped eyes with a beautifully serene, contemplative gaze; a youthful, rounded face with full cheeks; thin, curved eyebrows that gradually meld into the bridge of a slightly curved nose; a barely perceptible smile on the lips, which are not too much wider than the base of the nose; and elongated earlobes, stretched down by heavy earrings – characteristic of the Buddha’s good fortune.

Most sculptures have long hair, the top portion of which is usually swept up to form part of the sumptuous headdress with a magnificent crown. The long hair denotes the earthly roots and human beginnings of the Buddha. The hair is painted with a blue mineral pigment, which symbolizes eternity in Mongolian artistic traditions.³

The idealized, full-dimensional body has a fit physique with a straight posture. The figures are dressed in fine silk on the bottom; a delicate ribbon-like sash drapes over one or both shoulders. The sculptures are adorned with stunning jewelry on the neck, arms, ankles, and waist. The Buddhas are commonly seated on a lotus throne, symbolizing the purity of an enlightened mind arising from suffering.

Meditation is one of the central practices of Buddhism. Focusing on the body trains the mind to respond – rather than to react – to emotional stimuli. The five Dhyani Buddhas of Wisdom help guide the mind toward awareness of emotions to transform them into more helpful ways of thinking. For example, ignorance can be redirected toward the discovery of greater wisdom, anger to clarity, pride to inclusiveness, lust or greed to discernment, and jealousy or envy to betterment.

Zanabazar’s outstanding sculptures of the Buddha’s famous five forms render the practice of visualization in meditation more approachable. Their lifelike portrayal calls to mind that Buddha himself was an ordinary human being. In Zanabazar’s sculptures, the Buddha’s contemplative gaze and gentle, inviting smile seems to say, “I have these thoughts too, sometimes. Let’s have a look together.”

Each of the five Buddhas of Wisdom are distinguished by their hand gestures or mudras, and are associated with different colors, symbols, senses, elements, universal directions, and organs.⁴ The mudras of Zanabazar’s Dhyani Buddhas seem to be more distinct than their other aspects. Ratnasambhava, who converts pride and miserliness into Wisdom of Equality, makes a gesture of giving. Vairochana, who transforms ignorance and delusion into All-Encompassing Dharmadatu Wisdom, makes the gesture of turning the Dharma wheel. Akshobhya, who illuminates anger and hatred to reveal Mirror-Like Wisdom, is touching the Earth with his right hand. Amitabha, who transmutes lust and greed into Discriminating Awareness Wisdom, rests his hands in a gesture of meditation. And Amoghasiddhi, who turns jealousy and fear into All-Accomplishing Wisdom, holds his right hand up in a gesture of fearlessness.

Zanabazar’s sculptures are like a visual symphony that soothes the restless soul. His five Dhyani Buddhas help us understand the power of meditation. The artworks suggest that stillness and reflection are as vital to success in life as action and movement. In this sense, Zanabazar’s art seems to revisit the meaning of liberation, reimagine beauty, and redefine strength.

Research remains to be done to determine the total number and locations of Zanabazar’s artworks and to organize them by date. Information on how the artworks survived the turbulence of history since the 17^th century has yet to be documented. A multitude of Buddhist gilt-bronze sculptures, equally valuable in their own merit, were created since Zanabazar. They are collectively known as the artworks of the School of Zanabazar.

In his lifetime of 88 years, Zanabazar created some of the most iconic and enduring works of Buddhist art ever seen. His ingenious talent and ability to express the human and divine qualities of the Buddha later defined him as one of the founders of the Mongolian Buddhist cultural renaissance.⁵ Zanabazar was undoubtedly the most significant artist and intellectual leader of 17^th-century Mongolian culture and beyond. His timeless creations continue to exert a powerful hold on viewers to this day.

Undur Gegeen Zanabazar’s Five Dhyani Buddhas of Wisdom can be viewed in the Zanabazar Museum of Fine Arts, except for Ratnasambhava, the Buddha of the South. Ratnasambhava’s sculpture is located in the Choijin Lama Museum.

References

Syrtypova, S.-K., D. Zanabazar’s Style of Buddhist Art (Using Examples from the Collection of A. Altangerel). Ulaanbaatar: Admon Print, 2019. Pg 13.
Sarantuya, U., et al. Г. Занабазарын Нэрэмжит Дүрслэх Урлагийн Музейн Дэлгэрэнгүй Тайлбар. Ulaanbaatar: Askpoint, 2012.
Battulga, B. “Монгол Зураг.” Institute of Teacher’s Professional Development in Mongolia. Bagsh.itpd.mn. http://bagsh.itpd.mn/fayluud/mungolZuragUrlal.pdf. Accessed 02 April 2021.
Lee, M. “Symbolism of the Five Wisdom Buddhas.” Lotus Happiness, August 11, 2019. https://www.lotus-happiness.com/symbolism-five-wisdom-buddhas/. Accessed 18 April 2021.
Tsultem, N. The Eminent Mongolian Sculptor – G. Zanabazar. Ulaanbaatar: State Publishing House, 1982.
Mongolian National Commission for UNESCO. In Commemoration of the 360^th Anniversary of Undur Geghen Zanabazar, the First Bogdo Zhivzundamba Hutugtu, the Mongolian Great Enlightener, Outstanding Spiritual Leader and Statesman. Ulaanbaatar, 1995.
Saruul, N., Sarantuya, U., Munkhzul, J., and Tsedmaa, D. The Fine Arts Zanabazar Museum–Unique Masterpieces. Ulaanbaatar: Admon Print, 2013.
Bartholomew, T. T. “Introduction to the Art of Mongolia.” Asiantart.com, September 7, 1995. https://www.asianart.com/mongolia/introduct.html. Accessed 02 April 2021.
Uranchimeg, Ts. “Хоc ёсны сургаалаар бүтсэн Хүрээ хийдийн урлаг.” YouTube, uploaded by American Center for Mongolian Studies, 22 January 2021, https://youtu.be/iZq-d802av0 .
Otgonbaatar, R., and Soninbayar, Sh. “Өндөр Гэгээн Занабазар.” YouTube, uploaded by TheAaraa, 07 April 2020, https://youtu.be/3bT5UGdeqHI
Ward, W. E. “The Lotus Symbol: Its Meaning in Buddhist Art and Philosophy.” The Journal of Aesthetics and Art Criticism, vol. 11, no. 2, 1952, pp. 135–146. www.jstor.org/stable/426039. Accessed 9 Apr. 2021.

By Ariunaa Jargalsaikhan
Published in UB Post on May 7, 2021
Ulaanbaatar

Part 2 of 3

Undur Gegeen Zanabazar is one of the most influential figures in Mongolia’s Buddhist history. He was the first Bogd Gegeen, a 17^th-century Head of State and Faith. For a long time, Zanabazar was blamed for Mongolia’s submission to the Manchurian Empire. However, as an intellectual leader, he is renowned for having ushered the nation into a cultural renaissance. A closer look at the historical background of Buddhism in Mongolia and Undur Gegeen’s life could provide a deeper understanding of why Zanabazar’s work is an integral part of Mongolian art history.

During the Yuan period (1271–1368), free trade and extensive cultural exchange influenced the fusion of artistic styles throughout Asia, and the undercurrent of Central Asian nomadic aesthetics could be felt in Asian sacred art.¹ By the 1260s, Khubilai Khaan had chosen to consolidate power over the vast Mongol state through the acceptance of an organized and sophisticated religion.²Tibetan Buddhism had been acclimatized to its shamanic roots since the 8^th century. It had a powerful intellectual and cultural appeal to the Mongol emperor, who became a Tibetan Buddhist himself. Abundant cultural exchange enabled the talent and mastery of Nepalese and Pali artists to become influential to the practice of Buddhist art in this period.³

After the fall of the Yuan dynasty, Mongol princes of various khanates continued to uphold their spiritual alliance with Tibet.⁴ In 1578, Altan Khan of the Tumed Mongol nation, a 17^th-generation descendant of Chinggis Khaan, bestowed a reverent title on the third leader of the Gelug school of Tibetan Buddhism.⁵ The leader’s name was Sodnomjamts, or Sonam Gyatso in Tibetan – Gyatso meaning “ocean.” He was thus named “Dalai Lama,” by which the lineage later became known throughout the world, and the title was applied to the first two incarnations retrospectively.⁶ Such bestowing of reverent titles upon important figures was one of the mutually friendly gestures that have been, for a long time, a traditional strategy of upholding a cultural and political alliance between Tibet and Mongolia.

Seeing the formidable effects that Buddhism had on the intellectual and spiritual development of Altan Khan’s people, his distant relative, Abtai Sain Khaan of the Khalkha Mongols, visited in 1585 to meet the third Dalai Lama.⁷ A year later, on the foundations of the first capital of the Mongol Empire, Abtai Sain Khaan inaugurated Erdene Zuu, a Buddhist monastery with 62 temples and about 500 buildings for approximately 300 monks.⁸ It became the center of Buddhist religion for the Khalkha Mongol nation.

The Mongols’ conversion to Tibetan Buddhism brought immense benefits for the ruling classes, helping them to maintain social order and hierarchy through moral guidance, medicine, and education. However, the mass formation of a new stratum of Mongol monks was too drastic a change for the warrior spirit of the descendants of Chinggis Khaan. In the wake of the Manchurian Empire (1644–1912), this lingering cultural identity crisis would become one of the root causes of Mongolia’s subjugation to the Qing dynasty.

In 1635, Abtai Sain Khaan’s great grandson Ishdorj was born about 80 kilometers southeast of Erdene Zuu.⁹ He was a gifted boy who liked to read and recite Tibetan prayers from memory. He also liked to play by building temples with stones and pretending to conduct religious teachings. In 1639, at a convocation of Khalkha nobles, this four-year-old boy was proclaimed Undur Gegeen (High Saint) and initiated into the first order of monkhood by the Lama Jambal Bilig Nomun-khan. From that day, he was named Zanabazar, or Jnanavajra in Sanskrit, meaning “he who holds the thunderbolt scepter of wisdom.”¹⁰

When Zanabazar was fifteen years old, he journeyed to Lhasa to pursue his studies in Buddhism. In Lhasa, the fifth Dalai Lama recognized him as the reincarnation of Taranatha Gunga Ningbo (1575–1634), a famous Tibetan scholar and writer.¹¹ Zanabazar thus became the first Mongolian, and the 16^th in lineage, of Venerable and Excellent incarnate lamas, titled Javzan Damba Khutagt. This was a major historical event for the seven Khalkha nations. Consequently, Mongols celebrated the inauguration of their first Head of State and Faith, Bogd Gegeen, at a glorious Danshig Naadam festival.

When Zanabazar completed his studies at the age of 19, he returned home with a handsome suite of 40 skilled artists and learned lamas from Tibet. With the power of religion and state vested in him, the first Bogd Gegeen devoted his life to the peace and enlightenment of his nation. With his followers, he worked tirelessly to establish monasteries, build temples, create sacred art and a new alphabet – Soyombo Useg – and translate and write scriptures.¹² Amidst tension and rivalry with neighboring khanates, Zanabazar sought to strengthen diplomatic relations with Tibet, Manchuria, and Russia.

The Undur Gegeen’s investment in soft power made him a much-loved leader among people who had been weary of repeated sudden attacks by warring princes over the years. Although Zanabazar’s vision of enlightenment and peace brought intangible value to Mongols, this seeming passivity did not sit well with warrior-rulers who aimed to restore the Mongol supremacy of the past.

One of them was Zanabazar’s older brother, Chakhundorj. He wanted to fulfill Abtai Sain Khaan’s mission of assimilating the Mongol Oirad nation into his own. In 1688, Chakhundorj and his only son died in a battle against the army of the Oirads.¹³ The Oirad Mongols had a fiercely resolute commander named Galdan Boshgot who had also studied Buddhism when he was young, under the tutelage of the fifth Dalai Lama, alongside Zanabazar. However, Galdan Boshgot had legitimate reasons¹⁴to regard the Khalkhas’ alliance with the Manchus as an unforgivable betrayal of the Mongol moral code of autonomy.

As Galdan Boshgot’s army advanced eastward, it destroyed Erdene Zuu and many more monasteries along the way. Zanabazar and his people were forced to flee from their homeland and seek protection from the Manchurian emperor, Enkh-Amgalan. After 35 years in exile, Undur Gegeen Zanabazar passed away in Beijing in 1723, at the age of 88. As for Galdan Boshgot, during his third round of warfare in 1696, the Manchus sent an army of 200,000 men against Galdan Boshgot’s 30,000 brave fighters and his beloved warrior-queen.¹⁵ After Galdan Boshgot’s death, the Oirad Mongols heroically held out for over 60 years until the Manchurian Empire finally engulfed the whole of Mongolia under its hegemony in 1759.

Zanabazar was a talented scholar and an influential leader. Envisioning Mongolia as the northern center of Buddhist culture, he promoted peace and enlightenment in an era of extreme political instability in Central Asia. Today, Zanabazar’s masterpieces are a valuable demonstration of his efforts. A vital part of Buddhist art and history, they represent the culmination of diverse artistic traditions, styles, and techniques that were refined since the Yuan dynasty and concentrated in an extraordinary union of talent and craftsmanship. By expressing the human and divine qualities of the Buddha in exquisite harmony through his sculptures, Zanabazar revolutionized the outdated beliefs and ideologies of 17^th-century Mongolian nomadic culture. For over two centuries after his death, Zanabazar’s work continued to inspire artists to create in the likeness of his masterpieces. His legacy lives on through the artists of the School of Zanabazar to this day.

References

Syrtypova, S.-K. D. Zanabazar’s Style of Buddhist Art (Using Examples from the Collection of A. Altangerel). Ulaanbaatar: Admon Print, 2019. Pg. 13.
Baabar, B. Монголчууд: Нүүдэл Суудал. Vol. 1. Ulaanbaatar: Admon, 2006. Pg. 123.
Syrtypova, S.-K. D. Zanabazar’s Style of Buddhist Art (Using Examples from the Collection of A. Altangerel). Ulaanbaatar: Admon Print, 2019. Pg. 13.
Kuzmin, S. L. “The Tibeto-Mongolian Civilization.” The Tibet Journal, vol. 37, no. 3, 2012, pp. 35–46. www.jstor.org/stable/tibetjournal.37.3.35. Accessed 9 Apr. 2021. Pg. 37.
Tserendorj, Ts. “Алтан Хаан.” Монголын түүхийн тайлбар толь. https://mongoltoli.mn/history/. Accessed 11 Apr. 2021.
Richardson, H. E. Tibet and Its History (2nd ed., rev. and updated. ed.). Boston: Shambhala, 1984. Pg. 40., as referenced in wikipedia.org/Dalai_Lama.
Tsolmon, S. “Абтай Сайн Хаан.” Монголын түүхийн тайлбар толь. https://mongoltoli.mn/history/. Accessed 11 Apr. 2021.
Chuluun, S. and Maralmaa, N. “Эрдэнэ Зуу.” Монголын түүхийн тайлбар толь. https://mongoltoli.mn/history/. Accessed 11 Apr. 2021.
Chuluun, S. “Занабазар.” Монголын түүхийн тайлбар толь. https://mongoltoli.mn/history/. Accessed 11 Apr. 2021.
Syrtypova, S.-K. D. Zanabazar’s Style of Buddhist Art (Using Examples from the Collection of A. Altangerel). Ulaanbaatar: Admon Print, 2019. Pg. 325.
Kuzmin, S. L. “The Tibeto-Mongolian Civilization.” The Tibet Journal, vol. 37, no. 3, 2012, pp. 35–46. www.jstor.org/stable/tibetjournal.37.3.35. Accessed 9 Apr. 2021. Pg. 37.
Ibid.
The character and quality of the relations between Zanabazar, his family, and his people are effectively conveyed with nuance in the biographical novel by Erdene, S. Занабазар (3^rd ed.). Ulaanbaatar: Admon, 2012.
In August of 1640, the Heads of Khalkha and Oirad States signed “The Forty and Four Code of Law.” The parties, in essence, agreed to support each other in standing firm against any foreign assault on the autonomy of Mongol states. However, neither the Khalkhas nor the Oirads fully trusted each other to honor this Code. The unresolved contention between Mongol khanates was a convenient shortcoming for neighboring states to exploit. The history of Oirad and Khalkha relations remains a subject of debate among historians to this day. The Oirad nation’s history is analyzed in depth by Dalai Ch. in Ойрад Монголын Түүх. Ulaanbaatar: 2002. As referenced by Tsogt, N. Personal interview. 04 April 2021.
Dalai Ch. Ойрад Монголын Түүх. Ulaanbaatar: 2002. As referenced by Tsogt, N. Personal interview. 04 April 2021.
Yelikhina, Yu. I. Сокровища Монгольской Буддийской Религии в Эрмитаже. Ulaanbaatar–St. Petersburg: Международная ассоциация монголоведения, 2020.
Mongolian National Commission for UNESCO. In Commemoration of the 360^th Anniversary of Undur Geghen Zanabazar, the First Bogdo Zhivzundamba Hutugtu, the Mongolian Great Enlightener, Outstanding Spiritual Leader and Statesman. Ulaanbaatar, 1995.
Baasanjav, Z., Batbayar D., and Boldbaatar, Z. Монгол Улсын Түүх. Ulaanbaatar: МУИС, 1999.

By Ariunaa Jargalsaikhan
Published in UB Post on May 10, 2021
Ulaanbaatar

Part 1 of 3

References

Syrtypova, S.-K., D. Zanabazar’s Style of Buddhist Art (Using Examples from the Collection of A. Altangerel). Ulaanbaatar: Admon Print, 2019. Pg 13.
Sarantuya, U., et al. Г. Занабазарын Нэрэмжит Дүрслэх Урлагийн Музейн Дэлгэрэнгүй Тайлбар. Ulaanbaatar: Askpoint, 2012.
Battulga, B. “Монгол Зураг.” Institute of Teacher’s Professional Development in Mongolia. Bagsh.itpd.mn. http://bagsh.itpd.mn/fayluud/mungolZuragUrlal.pdf. Accessed 02 April 2021.
Lee, M. “Symbolism of the Five Wisdom Buddhas.” Lotus Happiness, August 11, 2019. https://www.lotus-happiness.com/symbolism-five-wisdom-buddhas/. Accessed 18 April 2021.
Tsultem, N. The Eminent Mongolian Sculptor – G. Zanabazar. Ulaanbaatar: State Publishing House, 1982.
Mongolian National Commission for UNESCO. In Commemoration of the 360^th Anniversary of Undur Geghen Zanabazar, the First Bogdo Zhivzundamba Hutugtu, the Mongolian Great Enlightener, Outstanding Spiritual Leader and Statesman. Ulaanbaatar, 1995.
Saruul, N., Sarantuya, U., Munkhzul, J., and Tsedmaa, D. The Fine Arts Zanabazar Museum–Unique Masterpieces. Ulaanbaatar: Admon Print, 2013.
Bartholomew, T. T. “Introduction to the Art of Mongolia.” Asiantart.com, September 7, 1995. https://www.asianart.com/mongolia/introduct.html. Accessed 02 April 2021.
Uranchimeg, Ts. “Хоc ёсны сургаалаар бүтсэн Хүрээ хийдийн урлаг.” YouTube, uploaded by American Center for Mongolian Studies, 22 January 2021, https://youtu.be/iZq-d802av0 .
Otgonbaatar, R., and Soninbayar, Sh. “Өндөр Гэгээн Занабазар.” YouTube, uploaded by TheAaraa, 07 April 2020, https://youtu.be/3bT5UGdeqHI
Ward, W. E. “The Lotus Symbol: Its Meaning in Buddhist Art and Philosophy.” The Journal of Aesthetics and Art Criticism, vol. 11, no. 2, 1952, pp. 135–146. www.jstor.org/stable/426039. Accessed 9 Apr. 2021.

By Ariunaa Jargalsaikhan
Published in UB Post on May 7, 2021
Ulaanbaatar

“If I have seen further, it is by standing on the shoulders of giants.”
– Sir Isaac Newton, 1675

There is a Mongolian myth about why the mouse came to symbolize the first sign of the Eastern zodiac. Long ago, a great competition amongst animals took place. Those who first saw the sunrise were to earn a prestigious title in the Zodiac. The little mouse wanted to participate too. But his competitors were large and strong. And there was no way he could win the race without some help. So, he asked the giant camel for support. The kind-hearted camel took pity on the tiny mouse and let him climb up on his hump. Together, they stood still in the dark, waiting patiently for the sun to rise. Gradually, the dawn brought a new day, and with it, a glimmering golden light that steadily began to hem the horizon. The quick little mouse sprang up on his hind legs, and then, perched on top of the camel’s hump, he saw the rays of the rising sun first. That is how, through the generosity of the noble camel, the mouse came to symbolize the first sign of the Eastern zodiac.

Many ancient cultures throughout the world have invented systems to organize the days and the cycles and rhythms of nature. Most of them have their own myths and traditions related to their timekeepers’ schedules. Some countries celebrate the New Year according to the solar (today predominantly the Gregorian) calendar. Other countries, many of which are also in Asia and the Middle East, celebrate the New Year according to the lunar calendar. Still others welcome the celebration of both.

Origin and the Event

As for the origin of the Mongolian traditional calendar, experts hold differing opinions. Upon brief examination, the Tibetan lunar calendar seems to be the closest source. But the question of exactly when, how or if the current lunar calendar was adopted, and what system was used prior to its acceptance, remains a subject of lively debate amongst historians, astronomers and religious leaders. Nevertheless, Friday, February 12, 2021 will be the beginning of the 35^th year of the 17^thsixty-year-cycle in Mongolia. And Mongolians would have celebrated this new year of the Ox during a nationwide holiday called “Tsagaan Sar,” or White Moon.

Due to the global pandemic, however, official celebrations have been restricted to small circles since last year. This limitation is particularly hard on the elderly that live far away from their children because it is the one holiday when family members from near and far gather to pay respects to them. Contrarily, those of us who belong to the younger category might admit, with a bit of reluctance, that the restriction comes as a relief. The plethora of rules, the elaborate etiquette, the chaos of preparations, and the intricate dance around ego-shells with a diversity of relatives in various phases of life can all sometimes have the tendency to create more stress rather than invigoration.

Reflection on the Meaning

Whether advantageous or unfavorable, Mongolia’s current quarantine restrictions around national holiday celebrations present an opportunity to reflect on the meaning of Tsagaan Sar. A unique lithograph from the permanent collection of the Mongolian National Modern Art Gallery in Ulaanbaatar titled, “The National Holiday Tsagaan Sar” (1977) by Ts. Dagvanyam can be helpful.

In an eventful scene, the artist presents a Tsagaan Sar morning in a countryside cooperative. Brown, white, and red colors prevail. They accentuate the hustle and bustle of the morning for herders, industriously putting out their cattle and sheep to graze on pasture for the day. Various modes of transport: horses, yak carts, camels, a tractor, and a motorcycle, protrude from the edges of the composition. There is a feisty yak, tied to a cart with canisters, impatiently raising his short fluffy tail while bowing his head and spectacular horns, wanting to get a move on. Behind him, a child with his new toy-airplane and a wand with a star in his hand is joyfully skipping toward his mother, who is placing freshly made traditional buuz (Mongolian dish similar to steamed dumplings) on top of the roof of her ger (Mongolian home) to freeze. At the center of the busy movement, two neighboring families embrace in a traditional Tsagaan Sar greeting (zolgokh yos). On the left side of the composition, a guest is arriving in his red new deel (Mongolian clothing) and is tying his finest horse to a post before going over to greet his hosts…

Naming this picture, “The National Holiday Tsagaan Sar,” would have been a risky move in 1977. Until 1988, the nationwide celebration of Tsagaan Sar as an official holiday was forbidden. Since 1932, the government had proclaimed Tsagaan Sar a “feudal” ritual perpetuated by religious leaders who wished to continue the “enslavement” of the masses. On January 26, 1952, when Mongolia’s leader, Marshall Kh.Choibalsan, passed away, Tsagaan Sar became a national day of mourning. Then in 1960, the proclamation of the official holiday of herders’ cooperatives began to allow only people in the countryside to celebrate Tsagaan Sar. Since the 1990’s democratic revolution, Tsagaan Sar, once again became an official holiday, celebrated throughout Mongolia. And these days, on Tsagaan Sar’s eve, or Bituun, the nation can watch the president’s official greetings on television.

Bituun and New Beginning

In a way, Bituun is a farewell party for the old year. So, to the extent possible, Mongols strive to complete old projects, settle disputes or any debts, wrap up deals or repairs, and clean up old properties etc. Even closing the curtains at home could do the trick. Traditional buuz and dumplings symbolize the successful completion of a year. And no guest is allowed to leave the house hungry or dissatisfied for the sake of good luck for all. Children play traditional games that also represent the end of a good year, and the winners would be considered particularly lucky next year. Many families place ice cubes on the roof of their ger to water the horse of the swift goddess of luck, Baldanlkham, as she passes by in the sky and blesses everyone at the moment when New Year begins.

On Shiniin Negen, or the first day of the New Year, to rise with the sun and go on a refreshing walk in the direction best suited for one’s personal zodiac sign (for the details, Mongols consult Buddhist astrologers and calendars beforehand) is a ritual that increases the chances of success in the entire year. After this ritual, it is time for everyone to change into their best deels and go out to greet each other (zolgokh), starting with the eldest family member. With best wishes for the New Year, people give and receive symbolic presents of appreciation and respect. The color white is associated with peace, goodwill and new beginnings in Mongolia. Therefore, a New Year’s meal begins and ends with sweetened rice with raisins or any dairy snack (tsagaan idee) one prefers.

Purpose and Deeper Origin

The practical purpose of Tsagaan Sar is to meet and reacquaint with one’s old and new relatives. But more importantly, it is a tradition inherited from the Mongolian nomadic culture. It plays a significant role in passing on history to future generations.

Long ago, Mongols used to celebrate the Lunar New Year in autumn when livestock was abundant and harvest, plentiful. Then, in the spring of 1206, after having successfully united the disparate tribes of the Central Asian steppe, Temuujin was conferred the title of Chinggis Khaan at the council of chieftains and became the head of a new nation of Mongols. The birth of a nation coincided with the first day of spring of the Tiger month in the Tiger year. It was hailed as an auspicious sign by shamans. On that day, Chinggis Khaan is known to have pardoned all convicts, to give a chance for everyone to begin a new chapter in history from a clean slate. Chinggis Khaan also paid respects to the eldest members of his nation by sending them generous presents. Thus, he acknowledged the priceless contribution and sacrifice of those who came before him.

Travellers’ Notes

In Guillaume de Rubrouck’s account, Claude and René Kappler noted that in 1254, the New Year’s took place on January 21^st. And in Marco Polo’s travels, it is described how Chinggis Khaan’s grandson, Khubilai Khaan carried on the tradition of New Year’s celebrations.

Exactly what system was used to organize the time and dates prior to the current lunar calendar in Mongolia remains to be agreed upon. But today, the celebration of the Lunar New Year in Mongolia continues to symbolize, in addition to the birthday of the Mongol nation, the kind union of families, the forgiveness for old wrongs, and the gratitude to those who once offered us their shoulder to lean on.

May the New Year of the tenacious White Ox be a bullish one for you!

References:

1) Burmaa, Ch. and Enkhjargal, D. Монгол Түмний Баяр Цагаан Сар. Ulaanbaatar: Empathy, 2017.
2) Choimaa, Sh. Монгол Ёс Заншил, Уламжлалт Ухаанаа Заан Сургагч Нарт Тус Дэм. Ulaanbaatar: Soyombo Press, 2015.
3) Kappler, Claude-Claire et René. Guillaume de Rubrouck, Envoyé de Saint Louis: Voyage dans l’Empire mongol (1253-1255). Paris: Payot, 1985. (Chp. 35)
4) Mongolian National Modern Art Gallery. Selected Works from MNMAG’s Collections. China: ICECE, 2008.
5) Rinchen, B. “Цагаан Сар.” Бямбын Ренчин, Vol. 5. Ulaanbaatar : Nepko Publishing, 2018.
6) Rustichello of Pisa. The Travels of Marco Polo, Vol. 1. Scotland: Yule-Cordier, 1902. (Book 2, Chp. 14)
7) Turmunkh, G. “Цагаан сарыг тэмдэглэхэд учир бий.” Tsahim-toli, February 04, 2016, http://www.tsahim-toli.mn/index.php?option=com_content&view=article&id=1601:tsagaan-sariig-temdeglehed-uchir-bii&catid=42:soyol&Itemid=401.
8) Tibet House Us. “Tibetan Calendar.” Date accessed: January 25, 2021. https://tibethouse.us/tibetan-calendar/.

By Ariunaa Jargalsaikhan
Published in UB Post on February 8, 2021
Ulaanbaatar

Part 1 of 2

About 470km South East of Ulaanbaatar, a towering eight-meter bronze sculpture of a scorpion looks out onto the intersection of three roads that scatter in separate directions like the thin traces of a firework over a boundless space of golden dust. They are but a small burst of countless trails that extend over the mystical land of Northern Shambhala, the legendary kingdom of earthly paradise. It is said that abundance, peace and enlightenment can be achieved in this kingdom. Its territory is shaped like the lotus flower with eighteen petals. In each of them, a particular art or a science of the inner or outer universe have been cultivated to perfection. The infinite repository of Shambhala’s riches is replenished by the planets and the stars. It can be accessed by the human mind and spirit. (G. Mend-Ooyo, 279)

Danzanravjaa’s Mission to Shambhala

About 200 years ago an extraordinary man, whose totem animal was the scorpion, devoted his life to restoring Shambhala and liberating people from pain and suffering. At that time, the Manchu Qing rule had been wielding divisive politics to weaken Mongolia’s relations and exerting pressure in the form of religious and monetary constraints repressing Mongols for over two centuries. Dulduityn Danzanravjaa created knowledgeable communities, built monasteries, libraries, schools, museums, and a theater to empower ordinary people of the Gobi. He was a composer, a playwright, and an author of some 500 poems and songs in Mongolian, Tibetan and Sanskrit. He was a healer and a teacher who circulated Buddhist wisdom in comprehensible and memorable verse. He was also a visionary who foresaw that the changes in the coming 20^th century would cast a heavy burden on many people including those on a mission to enlightenment.

The Mongolian word “khutagt,” originating from Sanskrit “arya” and Tibetan “phagpa,” is a title given to persons whose spirits have “transcended the ordinary life” and have attained freedom from worldly attachments. According to Buddhist tradition, they reincarnate into this life to awaken individuals to enlightenment. They are creators who were born to give to instead of take from this world. Their talents and abilities are often revealed at a young age. (P. Badral, 1)

As for Noyon Khutagt Danzanravjaa, it was determined that he knew something about the mysterious ways of the world when at the age of six or seven he spontaneously recited his poem on the inevitability of death regardless of social status or age to an audience of wealthy Gobi nobles in 1810.

The Wisdom of the Scorpion

Spirits live in every animate and inanimate parts of nature. According to Mongolian tradition, the scorpion belongs to the realm of the Water spirits. The scorpion is a nocturnal animal whose ancestors inhabited the waters of the Earth some 430 million years ago. To this day, the fossils of ancient 2.5-meter-long sea scorpions reflect a mysterious fluorescent glow. In the Gobi Desert, the scorpion is feared and respected for its reminder of the truth. The truth that the soul knows – the truth that endures time-bound beliefs, ambitions, and judgements – the truth that says, the only constant in life is change.

Like his totem animal, Danzanravjaa taught the lasting truth that the soul knows, to help people understand that freedom and peace were attainable in their lifetime. In his poems and songs, he often refers to the Buddhist principle of Shunyata. In Mongolian it is known as “khooson chanar,” emptiness that constitutes ultimate reality. It is the quality of no-mind, no-thing. Danzanravjaa’s famous song, “Ulemjiin Chanar” (The Quality of Perfection), is about this principle, and not just about romantic love as some people mistakenly believe. (N. Enkhbayar in Д. Равжаа Судлалын Тойм, Vol. 2., 119) This song is about the idea that what makes up the soul also makes up the universe, so that the soul exists in relation to the world it exists in. Therefore, so long as the universe exists, the soul will continue to exist because both are one and no-thing at the same time.

Truth and Death

Danzanravjaa’s first known poem recited in 1810 to wealthy Gobi nobles referred to the idea that worldly desires of gaining power, money and fame are ultimately superfluous because they instill fear, greed and envy in others. What matters is living mindfully, compassionately, purposefully. Filling others’ memories of us with gratitude for having known us in their life. Buddhists believe, this will help the soul in its rebirth.

In 1781, Immanuel Kant wrote in the Critique of Pure Reason, “we may adduce the transcendental hypothesis that all life is properly intelligible, and not subject to changes of time, and that it neither began in birth, nor will end in death. We may assume […] that if we could intuite ourselves and other things as they really are, we should see ourselves in a world of spiritual natures, our connection with which did not begin at our birth and will not cease with the destruction of the body. […] This hypothetical procedure is in perfect conformity with the laws of reason.” (I. Kant, Chp. 1, Section 3)

What Kant referred to is similar to the philosophy of major religious traditions originating from the great Indian cultures. They too suggest that the soul is infinite, that there is a universal intelligence, which human reason is part of, and by which cycles of life, death and rebirth abide. Buddhism explains that we experience suffering because we struggle to die unto the self that faces a fundamental challenge.

Our dissatisfaction with life arises from our own desire to control the impermanent quality of the universe while having forgotten that we too are part of its impermanence. Death walks next to every sentient being. Rebirth to a new outlook on reality is painful. But once we accept it, we could be relieved of our suffering as death becomes the pathway to enlightenment. If we could understand that all one needs to do is accept things as they are, then liberation will come naturally from the recognition of this truth. Nirvana, therefore, can be attained by living in harmony with the truth of death.

Preservation of Danzanravjaa’s Legacy

Shortly before he died in 1856, Danzanravjaa appointed one of his trusted students, Balchinchoijoo, to take care of his valuables, manuscripts, and creations. Balchinchoijoo was instructed that the heir to this role as a guardian (takhilch) would be born with a distinguishing birthmark. Danzanravjaa knew that a time was approaching when people may be persecuted for mentioning his name, let alone his legacy. He foresaw that his work may be displayed later in a museum where future generations could remember him. Five generations of takhilch after Balchinchoijoo had meticulously preserved the treasure trove bequeathed by Danzanravjaa in 1500 large wooden trunk chests.

The treasures were kept safe in a monastery until the Great Repression when Buddhist monasteries throughout the country were set on fire. In 1938, the seventh takhilch, G. Tudev, was able to save 64 chests. He moved them out in the middle of the night by himself and buried them in secret locations. During the communist era Takhilch Tudev became a carrier of goods by caravan and memorized passages from Lenin and Stalin’s books so as not to raise any suspicion. Secretly, he trained his grandson Z.Altangerel, who was born with the distinguished birthmark, to care for the remaining hidden treasures. After the 1990 revolution, Takhilch Altangerel dedicated his career to rehabilitating Danzanravjaa’s legacy, rebuilding his monasteries and reopening Danzanravjaa’s museum.

Danzanravjaa Studies

In 2006, UNESCO celebrated the 150^th anniversary of the death of Danzanravjaa. Their official statement read, “A Buddhist thinker with many talents, ranging from music to architecture and philosophy to the theater, Danzanravjaa Dulduitiin exerted an important influence on thought and culture, well beyond the borders of Mongolia. His vast body of work is now being rediscovered with the renewal of traditional Mongolian culture.” (UNESCO, 24)

In the late 1950’s, famous Mongolian writer, Ts. Damdinsuren, participated in the unearthing of the treasure chest that happened to contain the theatrical costumes from Danzanravjaa’s opera. Thus, Damdinsuren pioneered Danzanravjaa studies. Cautiously, so as not to upset the authorities, the tone in early significant Danzanravjaa research by Mongolian scholars usually criticizes the luminary’s “feudal” and “outdated” views.

In recent years, considerable scholarship and analyses have been devoted to Danzanravjaa’s poetry and literature. However, some popular interpretations of his philosophy, especially on meditation and love, risk being too literal or one-sided. (L. Khurelbaatar in Д. Равжаа Судлалын Тойм, Vol. 2, 53) This further exacerbates the public confusion of his philosophy with the negative stereotypes initiated by Danzanravjaa’s ideological rivals. Still, much research needs to be done on his work as a composer, painter, sculptor, architect, playwright, pedagogue, Buddhist, philosopher, healer, astronomer, biologist, geographer.

Today, schools and publications freely cite Danzanravjaa’s unique legacy. We may never know what was in the 1436 treasure chests that were lost to the Great Repression. But thanks to the 64 existing treasures, we have only begun to understand the scope of Danzanravjaa’s life, his mission and work.

We may not fully comprehend the reality in which souls in afterlife or the kingdom of Shambhala exist. But we know of a remarkable man who knew that they exist. He created many wonders because he lived for the purpose of awakening ordinary people to that reality. He sang prayers for the compassion and reverence of all of Nature’s sentient beings. The truth that Danzanravjaa knew will continue to resonate in people’s minds and spirits like the lights of a supernova that travel for hundreds and thousands of years.

References:
1) G. Mend-Ooyo. Гэгээнтэн. Ulaanbaatar: Munkhiin Useg, 2012.
2) G. Tsedevdorj. Д. Равжаа Судлалын Тойм, Vol. 2. Ulaanbaatar: Bambie San, 2014.
3) Kant, I. Critique of Pure Reason. Book II. Transcendental Doctrine of Method. Translated by J.M.D.Meiklejohn. Project Gutenberg, 2003.
4) P. Badral. Агнистын Гэгээ Цуврал, Vol. 3 Үлэмжийн Чанар. Ulaanbaatar: Nepko, 2016.
5) UNESCO. Celebration of Anniversaries with which UNESCO will be associated in 2006-2007. Paris: UNESCO, 2006.
6) Z. Altangerel and Ch. Khatanbaatar. Өвөрбаясгалант Хамарын Хийд. Ulaanbaatar: 2012.

By Ariunaa Jargalsaikhan
Published in UB Post on January 11, 2021
Ulaanbaatar

Part 2 of 2

The 18^th century Tibetan Buddhist Dagpu Luvsan Dambiijaltsan was the reincarnation of the Indian Prince Dharmanand. [3] Somewhere between 1735 and 1737, at the request of his students, Dagpu Luvsan Dambiijaltsan wrote down the dreams and visions he had since he was 11 years old. The book was titled, “The Tale of the Moon Cuckoo with a Blue Voice.” Its aim was to help readers understand the significance of compassion. About a century later, Noyon Khutagt Danzaravjaa wrote an opera based on this story in Mongolian. It is a legend about why the song of the cuckoo bird ushers in the beginning of spring.

The Legend

Once upon a time, there lived a noble king, Gularanz with his noble queen, Makhamadi. [2] They had a beautiful son named Nomuun Bayasgalan. The king’s adviser, Yamshi was jealous of the young prince. He set the prince up for a quarrel that chased away all his confidants. Then, Yamshi introduced his own son, Lagan, who became the Prince’s only trusted counsellor. Nomuun Bayasgalan was engaged to the lovely Sersenmaa, of whom Surasdini, her friend, was also jealous.

One day, Lagan convinced Prince Nomuun Bayasgalan to go into the deep forest and meditate with him. He dared the prince to switch bodies with another being. So, both transferred their souls into cuckoo birds and flew freely in the sky all day. But as the day was turning into night, the counsellor’s son suddenly abandoned the prince and flew back to the riverbed where their human bodies laid. Lagan quickly transported his soul into the prince’s body. Then, he threw his own into the river. When the lost prince finally found his way back to the right place, neither his friend nor the bodies were anywhere to be found.

The dazed prince flew back to his palace only to see that his body had indeed been stolen by Lagan. He tried in vain to speak to his parents, to anyone. People only heard a bird’s song. Lagan, posing as Nomuun Bayasgalan, declared to the king and the queen that his trusted friend had drowned in the forest river. Upon hearing the news of the death of their son, Yamshi jumped off a cliff, and Lagan’s mother hanged herself. But Lagan didn’t seem to be bothered. He continued posing as the prince, wreaking havoc on the king’s court. He rejected his lovely fiancée in favor of the terrible Surasdini. The uncharacteristic behavior of the prince pained his parents. The noble queen died soon thereafter. The king became disheartened. The kingdom went into an age of decline.

Sersenmaa had been noticing that ever since his return from the forest, her noble prince had become very cruel and intolerant. She tried to console the king and went in search for the real prince in the forest. After many days and months, she met a traveling monk, who had a cuckoo bird for a companion. The monk spoke of the sorrows of his feathered friend. The cuckoo bird was once a noble prince whose fate was stolen by a traitor, said the monk. So, he was helping the prince to pray for the wellbeing of all animals in hopes that someday his soul could return to his human form. Sersenmaa went back to the palace and consoled the king once more. The king implored the gods to transform him into a cuckoo bird so that the father could reunite with his son, but to no avail. Ever since then, the cuckoo bird sings prayers for a change in fate. That is why the cuckoo bird’s song has come to herald the beginning of spring.

The Opera

Noyon Khutagt Danzanravjaa’s “Life Story of the Moon Cuckoo” was staged from 1831 to the 1920’s throughout Mongolia and beyond with great success. When presented in its entirety, the opera lasted for a whole month. It consisted of nine acts. Its shorter version continued for 15 days. The audience would camp near the vicinities of the theater to watch the opera. This coincided with a joyous period of summer festivities. Every day, the show started in mid-morning and went on until lunch break, then finished sometime in the mid to late afternoon. In between breaks, there were dance and comedic performances, which the audience particularly relished. [4]

Danzanravjaa and his students would recruit the most talented singers and dancers amongst the general population. They would start rehearsals about half a year prior to the presentation. Women and monks were also allowed to participate in the performance. Danzanravjaa’s theater had a complex structure allowing assistants to create rain, winds, clouds, rivers, lights and the moon without the audience seeing them. The orchestra of musicians with traditional instruments played the sound effects and the music. The music and lyrics were composed by the playwright himself. There was even a special nook for the prompter to help actors who forgot their lines. The dressing rooms were hidden behind the stage. The actors wore bright makeup and extravagant costumes for a dramatic effect.

Danzanravjaa freely edited the original narrative, adding more color and contrast to the characters and their dialogue. Danzanravjaa scholar S. Khuvsgul counted that the opera had altogether at least 87 cast members. [1] Each role had many different bodies and costumes that represented its past, present, and future life. Every character was vital to the story that would not have been complete without it. The playwright created additional roles, including the role of the queen mother, Makhamadi. His female characters were complex. They had important passages to recite. It highlighted the agency and sensibility of women in the public eye.

The Message

Many scholars agree that Danzanravjaa’s version of the “Tale of the Moon Cuckoo with a Blue Voice” could be considered an independent work of art. His opera, in which nature and soul are considered as one, contained deeply philosophical and religious lessons from Buddhist teachings. It was also entertaining thanks to its comedic, romantic, and lyrical themes.

The opera treated at least three important concepts central to Buddhist philosophy. Firstly, it introduced the idea of oneness and the transcendence of the limits of life through meditation. Secondly, the opera depicted the manifestation of the laws of karma through the relationship of the prince and the counsellor’s son. In a way this seemed to justify the injustices endured by the main character. Finally, it is a tale about the significance of compassion and prayer for the alleviation of suffering for all sentient beings of nature.

Today, Danzanravjaa’s museum in Sainshand, Dornogobi Aimag is home to the invaluable manuscripts, stage directions, the score with original musical notation, as well as costumes created by Danzanravjaa’s students. As historians and dramatists gain support and expertise in accurately studying this unique opera, they make crucial steps toward the revival of traditional Mongolian theater.

Let us hope that one day the restaging of Noyon Khutagt Danzanravjaa’s chef-d’œuvre will enrich the joyous period of summer festivities once again.

References:
[1] Khuvsgul, S. “Саран Хөхөөний Намтар Жүжгийн Дүрийн Тогтолцооны Онцлог.” In Tsedevdorj, G. Д. Равжаа Судлалын Тойм, Vol. 2. Ulaanbaatar: Bambie San, 2014. Pg. 154.
[2] Mend-Ooyo, G. Гэгээнтэн. Ulaanbaatar: Munkhiin Useg, 2012. Pg. 229.
[3] Muzrayeva, D. N. “Сравнительно-Сопоставительный Анализ Текста Биографий Дагпу Лобсан-Данби-Джалцана (XVIII B.) и Либретто Пьесы Д.Равджи “Жизнеописание Лунной Кукушки” (XIX B.)” In Tsedevdorj, G. Д. Равжаа Судлалын Тойм, Vol. 2. Ulaanbaatar: Bambie San, 2014. Pg. 216.
[4] Oyun, E. “Саран Хөхөөний Намтар Дуулах Тухайд.” In Tsedevdorj, G. Д. Равжаа Судлалын Тойм, Vol. 1. Ulaanbaatar: Bambie San, 2014. Pg. 82.

By Ariunaa Jargalsaikhan
Published in UB Post on January 20, 2021
Ulaanbaatar

The year 2020 marks thirty years since post socialist Mongolia has availed itself of the benefits from market economy and the freedom of expression of thought. Contemporary art in Mongolia has been a significant representative of the changes that shape our society. Due to lack of finances, Mongolian contemporary art today is still not at the forefront of the expansion of societal intellect. But why should anyone, let alone the government, care about what a few eccentrics have to say by pouring airag all over themselves or by running around with funny objects on their head? This article aims to present a general assessment of the themes based on some of the artworks created by forty some artists during the “Urtuu” Art Camp project. Five major challenges in Mongolian society are addressed in the artworks viewed on location and at the subsequent exhibitions in Ulaanbaatar: corruption, preservation of cultural heritage, conservation of nature, feminism and awareness. I would like to propose that the works created in “Art Camp” and the issues they raise, reflect, like a mirror, the current sentiments of the individual as a citizen in a developing democracy. They are, therefore, an essential component of public awareness and education for a healthy civil society.

Before treating the concepts presented in Art Camp, here, it is necessary to give a brief account of how and when contemporary art began in Mongolia. As evidenced in Socialist Realism, government control over art until the Democratic Revolution did not give any leeway for modern and postmodern art to develop into chronologically distinct movements in Mongolia as freely as it did in the West. It was only towards the end of the Socialist regime that the iron grip of government censorship on art began to loosen. According to an article by founder and artist Yo. Dalkh-Ochir, a group of artists and poets educated in Mongolia and Eastern Europe created the Green Horse Mongolian modern/postmodern art society in the 1980’s. In the 1990’s, Green Horse opened the first school of post/modern art in the country, and its members and graduates began to present their artworks internationally. In 1992, with the encouragement of foreign artist friends the society launched projects focused on conceptual, performance and land art known as “Art Camp” and “Land Art” projects today.

Corruption

In this year’s Art Camp, several works of art responded to the problems of corruption in Mongolia. In the Untitled conceptual performance by L. Gawaa, the audience is a passenger in a car that circles around a small ovoo on a random site in a vast steppe. The repeated motion created a dirt road that raises so much dust it is impossible for the driver to see clearly or for the passengers to stay comfortable. Gawaa’s piece is a commentary on the parliamentary election results in June, a disappointment for those candidates and voters who observed the rules honestly. So, the nauseating cycle of moral and economic poverty in Mongolia continues, an exploitation of a people with opportunities as immense as the steppes of Mongolia by a few individuals in power who rewrite the rules whenever they want it to suit their own needs.

J. Munkhjargal’s artwork also reflects the confusion of the individual facing the current realities of Mongolian society. Fairy Tale Comes True is a video art responding to the irrational expenditures of the government on trivial business. In December 2019, 34 square blocks of rock weighing around 220 kg each were placed around the Sukhbaatar Square to protect it from drunk drivers, as one official retorted. The stone barriers cost around $40,000 and were later removed. The same rock in Fairy Tale Comes True a video art performance is made of plywood. A group of men carry the “heavy” rock from the right of the framed shot into the center. Two women follow them with ritual blessing. Munkhjargal’s work comments on the promises of fairy tale endings during political campaigns that are glossed over once the candidates are elected into power. It reminds one of a Mongolian popular phrase, “the eye of sin is deceived by flour” meaning, to conceal the truth by making lazy effort in resolving the core problem. Another performance piece by Munkhjargal is to walk around with a mirrored box covering his head. It brings the viewer’s attention to a cultural blind spot: the widespread tendency to value form over content. This weakness is abundantly exploited by politicians as they demonstratively gratify short-term obligations to the detriment of long-term solutions.

Preservation of Cultural Heritage

One of the root causes of corruption is the national identity crisis over Mongolian nomadic heritage. This dilemma manifests in a confusion of split loyalties to democracy and nomadism, which entails a system of clanship, i.e. political loyalty toward a group based on familial and territorial ties. This approach undermines the government’s firmness to implement the Rule of Law.

L. Bazarsad’s video art titled From Circle to Square shows a woman in a deel standing in a steppe holding a square screen with a motion picture of a city street. The scene then switches to show her standing in a street holding a screen with a motion picture of sheep in a steppe. Bazarsad’s work echoes the public’s concern over rapidly growing urbanization and the loss of the nomadic tradition. Yet the expansive coverage of cultural heritage as a subject in contemporary art indicates that Mongolia’s lasting nomadic traditions will not fade away as it is a philosophy deeply rooted in Mongolian identity and lifestyle.

Examples include, B. Chinbat’s Nomadism – a Heartbeat, J. Purevsuren’s The Crossroads of the Cardinal Directions, D. Badam’s Snakes – the Deities of Nature, I. Sainbayan’s Amar Baina uu? D. Narandulam’s Song Performance 2020, T. Enkhbold’s Blue Awakening, Ts. Tuvshinjargal’s 12.8.2020, G. Lkhagvasuren’s Thread. These works raise awareness of nomadic heritage and incite reflection and desire to protect it. In a prosperous democratic system like that of Japan’s, the preservation of cultural heritage is upheld by laws as an inherent value of democracy.

In Mongolia, however, modern democracy is in dire need of separation from nomadic traditions to protect it from being a method of corruption.

Conservation of Nature

According to the country’s plan for the UN Sustainable Development Goals, we are aspiring to be placed among the top 30 countries in the green economy index. But the current rate at which Mongolians are using its nonrenewable resources, we will need 4 planets to sustain our lifestyle by the year 2030. If this fact is not the toughest signal for Mongolia that prides itself on a harmonious relationship with its pristine nature, which we refer to as our mother, then some of the artworks such as B. Enhtuya’s Gaia, Ts. Solongo’s Rainbow Illusion, B. Bat-Erdene Baag’s Merge, U. Narbayasgalan’s Restart, L. Munguntsetseg’s Yesterday could help us understand more.

B. Enhtuya’s Gaia is an interactive work of land art that speaks to the problems of climate change and the production of unsustainable waste. About half a thousand red plastic bags lay across a steppe making up the outline of a womb. The work critiques capitalism’s consumer culture and human greed as the artwork spreads across the landscape like the waste that Mongolians traveling in the countryside have grown too accustomed to seeing. The question of not being bothered to pick up our waste is indicative of the poor level of manners and common sense. If Mongolians sought to use our own minds as urgently as our natural resources, one third of the population would not be living below the poverty level today, pit latrines would not be a reality for almost half of the population, and Mongolia would not be placing second to last in economic competitiveness.

Ts. Solongo’s Rainbow Illusion, in which a stream of black cloth and plastic sheets laying in a dried-up riverbed look like a river from a distance as the wet materials shine and sparkle in the sun. Her work is about the illusion of prosperity that manmade objects and synthetic materials create while they replace organic goods and destroy the real source of precious nonrenewable wealth.

The widespread use of plastic bags and synthetic materials is one of the many environmental hazards contributing to soil contamination. The anthropogenic disturbance causing serious environmental imbalance in Mongolia and in the world is a threat that will destroy us and our plastic if we do not exercise our minds and create systems to manage and reduce our own ecological footprint.

Feminism

The mother figure is a potent symbol of nature in both Mongolian tradition and modern-day culture. Therefore, the significance of women’s roles in Mongolian society is commonly acknowledged and well respected for the most part. Gender equality is also reflected in Mongolia’s constitution where it states, “Women and men have equal rights in the social, political, cultural, economic life and family relations.” Some of the artworks created at Art Camp have touched upon a woman’s view and her place in society.

Meira’s Mirror Part 1, Reflection Part 2 is a mixed media painting that depicts the way a girl is seen from the outside and how she sees herself when looking at a mirror. In Mirror Part 1, a girl with long pigtails looks at the reflection of her smile as floating eyes and faces in the background connect to the contours of her figure. Purple, green and yellow colors are contained within her shape. In Reflection Part 2, flowers and grass scatter across a yellow, peach, magenta background in a composition of abstract free-floating perpendicularly set hands, eyes and faces. This work presents an opportunity to think about how popular culture, fashion magazines and trends in social media can reflect only a partial view of a woman’s world, and further inspires the question of why there is not enough diversity in female superheroes for little girls to dream of becoming.

Little girls are socially conditioned to take on the role of a wife and a mother. S. Khulan’s Playing House a conceptual performance brings into focus the disproportionate number of single mother households in Mongolia by showing how playing house stays a childhood game for boys whereas for many girls it becomes a reality later in life. Ts. Nyamdulam’s Expectation, a conceptual performance where the artist sits next to a telephone waiting for it to ring, her change of dresses indicating the passage of time, critiques the passive role that women have been traditionally conditioned to adopt in society. Participation of women at decision making levels both in private and public sectors is still slow to pick up due to the omission of gender-based differences in approaches to family and career responsibilities. Yet women’s equal participation in decision-making is vital to developing a healthy civil society. N. Sunderia’s Woman with Wings Folded, Woman with Wings Spread, a conceptual performance piece gives a glimpse into how the world would feel like if important decisions reflected women’s perspectives equally.

This year in August, 10,000 women were awarded the Order of Exceptional Mothers of Mongolia. That the government is recognizing the heroism of mothers is laudable. However, besides mothering, women fulfill many other important duties in society. Ensuring a safe and comfortable environment for parents to raise children by providing better quality education, infrastructure and healthcare would help. In Iceland, for example, new fathers are given 3 months of paid leave. Companies are measured and rewarded based on their monitoring and implementation of gender equality requirements in their business culture. In kindergartens, boys and girls are separated for an hour a day so teachers can focus on instilling assertiveness in girls and gentleness in boys. Such practices, studies have shown, are helping change Iceland into a nation that embodies gender equality. In Mongolia, increasing salaries and creating better working conditions for traditionally female-dominated professions such as teaching, nursing and healing, would be more helpful to mothers than a medal and some $50 per child.

Awareness

We need to recognize that ceremoniously handing out medals and cash in lieu of follow through on promises does not alleviate the problems that people have to battle against. If the government focused on providing solid frameworks that are conducive to creating high quality content, then the form would take care of itself. Recognition of the disparity between how things appear and how they are in reality requires awareness. Some of the artworks created at Art Camp suggest what awareness feels like.

J. Ariuntuya’s Blue Meeting, is a labyrinth made of blue cloth at the center of which is a mirror that the viewer can see themselves in. The same work when moved to a gallery space has turned into a white cloth with a tree in the middle that replaced the mirror, showing how self-reflection can transform into inspiration.
G. Enkhjargal’s Ataman-2 is a video in which the artist performs a ritual of forgiveness by meditating and then cleansing her energy with airag.
R. Chinzorig’s The Eye refers to the all-seeing third eye of wisdom. Like a field of flowers, awareness blossoms all over the steppe moving us to see the wisdom within ourselves and the natural world.
T. Odgarig’s 3:30AM, an installation and a recorded sound art piece reveals an intimate account of the artist’s own thought process and the mind observing itself, which validates the viewer’s own perceptions and experiences inside the mind.
D. Bayartsetseg’s Island, a video art showing the quiet passage of time as shadows of a rocky hill reflect in a river peacefully moving with the sunlight.
Uugantsatsral’s Lock, an art installation presents a woman trapped in a plastic bag labeled “fear” and standing uncomfortably against the clear blue sky. It raises awareness of how our own fear is what keeps us trapped and limits our potential to grow.
D. Batkholboo’s Gas, speaks to the impermanence of the elements of life.
N. Sunderia’s Egg and Fledgling, a performance art piece in which an egg that requires care and patience to hatch, is broken by throwing it against a concrete wall. The work speaks to how the current social constructs destroy the creative potential of youth before they get a chance to fully develop.
M. Munkh-Erdene’s Location, a conceptual performance expresses the disorientation of the individual in a globalized, digital world where information overload and short attention span forces him toward self-actualization.

Viewing works such as these raises awareness of one’s existence and the way in which one shows up in the world. Awareness is a prerequisite for taking responsibility and inspired action. The issues addressed in the artworks at Art Camp raise awareness of some of the challenges that lay ahead on Mongolia’s road to development. They prompt the viewer to contemplate on the country’s need to focus on transparency, independent rural development, conservation of nature and cultural heritage, providing an environment for equal opportunity and mutual respect. Solutions to these challenges can be unlocked by first acknowledging and waking up to the urgency of the problems we face.

If the government would include the arts and sciences in its institutional reforms by developing policies to financially support these sectors, to build a contemporary art museum of high quality, where citizens can freely engage with friends and family in an intellectual conversation about the world through art, it would be a practical investment into a healthy civil society. Museums like MoMA, Guggenheim and Whitney are arguably the largest generators of tourism revenue in New York City.

Mongolia has enough land to construct an international level museum of contemporary art in a new location without having to destroy existing historical architecture nor having to sacrifice playgrounds for parking lots. Mongolians have a limitless opportunity to live better by using the talents and creative skills within our own minds. We need to change the way we see the world. Contemporary art can help us. We can start by understanding and valuing it a little more.

The “Blue Sun” Contemporary Art Center and the Mongolia Artists’ Residency Studios realized the Urtuu Art Camp Project in August 2020. The above works can be viewed during the upcoming exhibition organized by the Mongolian Arts Council at Art Space in Edelweiss Hotel starting from November 6^th.

References:

D. Jargalsaikhan. “Are Mongolian People the Wealth of the Country?” Jargal Defacto, October 18, 2017, https://www.jargaldefacto.com/article/are-mongolian-people-the-wealth-of-the-country.
The Economist. “The Best Place to Be a Woman?” December 20, 2018. 6:10. https://youtu.be/l7fyqpHKARg
Pd. Purevee. “Workplace gender inequality in Mongolia.” Medium.com, March 05, 2018, https://medium.com/@pureveepd/workplace-gender-inequality-in-mongolia-2154b54e134f.
T. Boldgerel. “Эко Мөр Буюу Хоёр Дэлхий Хэрэгтэй Болсон нь.” Jargal Defacto, August 04, 2020, https://www.jargaldefacto.com/article/eko-mur-buyuu-khoyor-delkhii-kheregtei-bolson-ni.
Yo. Dalkh-Ochir. “Green Horse and Modern Art.” Blue Sun Mongolian Contemporary Art Magazine, no.3 (July/Aug/Sep 2018): 33.

By Ariunaa Jargalsaikhan

Published in UB Post on October 19, 2020
Ulaanbaatar

Since the spread of COVID-19 the world has seen 10.5 million cases of illness and lost 512,000 people so far. In Mongolia, as of today, thanks to the timely actions by the government and the heroic efforts of health care professionals, there are no deaths, 220 people are sick (who came from out of country), and 175 people have recovered. Due to the strict isolation of those who are infected, the situation in the country is kept under control. Therefore, society in general is circumspect but relatively free to conduct daily life. Since the government’s announcement of lockdown on February 13^th, schools, museums, libraries and theaters are closed, even though their reopening at the end of each month was announced several times before. Currently, public institutions are expected to reopen on July 15^th. As shows and events are cancelled or indefinitely postponed, cultural life in the country remains at a standstill. Those of us who are lucky enough to stay safe, worry about sustenance over a longer period of time. During this time of crisis, three different art exhibitions in private galleries have come as a surprise relief to help nurse our listless minds in quarantine.

Harmonious Vibes is a show by D.Ochir and E.Tuvshintur (Altan Khaan Gallery, June 12 – July 14). Ochir is a sculptor. His specialty is metalwork. Tuvshintur is an artist who primarily works with leather. This show has an esoteric vibe that focuses on the spiritual, shamanic qualities of art. Tuvshintur’s rhombus canvases with leather spirals symbolize the unending flow of life-force energy, change and expansion. Ochir’s welded as well as miniature, abstract sculptures in mixed media channel the animal spirit: tiger, bull, lion, the four harmonious animals (elephant, monkey, hare and bird). A small sculpture of Chinggis Khaan praying to the sky was particularly cute. Most impressive out of these works were Tuvshintur’s landscape of the Gobi Gurvan Saikhan National Park and Ochir’s welded sculpture of a horsehead with a flaming mane. The quality of craftsmanship and creative resolution in both did not disappoint. Given the roughness of the media used, the artists’ skills rendered a graceful outcome that emits harmonious vibes. I hope that further attention to detail by these talented artists will continue to produce even more polished works in the future.

D.Ochir. “Mori,” 2019.

E.Tuvshintur. “Gobi Gurvan Saikhan,” 2020.

Parallel is a joint exhibition by six artists: B.Bat-Orgil, B.Bat-Erdene, Ts.Davaajargal, D.Dorjderem, S.Ganzug, J.Gantulga (MN17 Art Gallery, February 22nd – end date unspecified). They are part of the Mongolian contemporary art movement called “Human Nature Love Freedom”. In the dark space of the gallery, our eyes are challenged to palpate vast sheets of felt that encompass black canvases with microbial volcanos protruding. A giant face of an infant bulging out of a white wall presented as a work-in-progress reflects the most amount of light amidst other pieces: experiential sculptures, installations, bricolages, video art and digital prints that seem to be set less clearly into the foreground. Particularly interesting was a cosmic sound design that perfectly accompanies a sculpture evoking a military maquette of a tiny armada of spaceships. My visit coincided with an exclusive party for a trendy young generation of visitors. Their face masks and creative fashion statements added extra volume to the respectful and rebellious atmosphere.

D.Dorjderem. Untitled, 2020.

Journey is a solo exhibition by the graphic artist and printmaker Z.Uyanga (Norphei Art Gallery, June 23 to 30). She specially trained in printmaking (Repin Academy of Arts, 1989) and has been teaching her craft at the University of Arts and Culture. This show is a retrospective of her selected works from 1989 through 2018, including unique prints from the 1994 “Mongol Queens” series and two prints from 1994 and 2006 that were selected by the Union of Mongolian Artists as part of their annual show of best artworks. The diversity of the subject matter attests to the artist’s rich oeuvre: dancers in boldly contoured action, women in traditional Mongolian Khalkha wife’s dress and hairdo, still lifes with spectral flowers, battle scenes from medieval Mongolian history. The expressiveness achieved by superimposed layers of bright colors and etchings were potent, especially in the arresting simplicity of the silk screen cave paintings.

Z.Uyanga. “Huvun tsetsegtei nature morte,” 1989.

Z.Uyanga. “Gezeg,” 1993.

Viewing these three shows reminded me why art matters during these uncertain times, why artists who exhibit their works when visitors and buyers have become as scarce as water in a desert, take the trouble to create and put forth their art into a world that is too shocked and scared to concern itself with the “non-essential business” of art. I think it is because art helps us to gain wider perspective.

As governments scratch their heads over how to revive the economy in the aftermath of the pandemic, and as medical professionals work hard to prevent the disease from reigniting in the future, artists will preserve the cultural memory of these times of hardship. Through their creations, they will show that humanity came to terms with its current reality, chose to set aside their differences and joined forces to proceed with hope that the future will be better than the present.

The Black Plague that killed over 50 million people in Medieval Europe instigated a Renaissance of Culture and Innovation during the subsequent centuries, wrote Swiss Historian Jacob Burckhardt in 1878 in the Civilization of the Renaissance in Italy. Presently, the devastations of COVID-19 are fortunately not as massive as those of the Black Death, relatively speaking. It may take historians half a millennium to draw conclusions like Burckhardt did at the end of the 19^th century. Or it may not.

Nevertheless, it is difficult to ignore the impending global shift to a new “normal” after COVID-19. Our unconditional generosity and kindness towards one another will play a crucial role in this transformation. That is why artists are sharing their work despite the difficult circumstances. Art helps us to stay kind. That is why art matters.

By Ariunaa Jargalsaikhan

Published in UB Post on July 1st, 2020 Ulaanbaatar

The architecture of a parliamentary building usually reflects the culture and traditions of governance of a nation. In the summer of 2006, a new façade for the Mongolian State Parliament building was unveiled commemorating the 800th anniversary of the Great Mongol State. A seated statue of Chinggis Khaan occupies the center of the complex under a rectangular glass cupola supported by four white marble columns with gold capitals. Six more columns on both sides of the baldachin supporting windows in lieu of entablatures complete the central structure. Each side of the central unit are connected to fourteen more columns forming colonnades closed off by glass walls. Both colonnades lead to square loggias with smaller cupolas supported by ten columns each. They house seated statues of his third son Ugudei Khaan on the west side and grandson Khubilai Khaan, founder of Yuan dynasty, on the east side. A large open stairway in front of the central structure leads up to the monument of Chinggis Khaan. The inscription on his pedestal carved in classical Mongolian script reads, “The founder of the Great Mongol State heavenly ruler Chinggis Khaan”. Two warriors on horseback stand on both sides of the stairway. The architecture of this building with its new addition contains a wealth of symbolism that tell the story of how modern Mongolia came to be and gives an insight into the values that shape our culture.

Friendship between two strangers begun in 1178 near Mount Burkhan Khaldun is the first key to unlocking this symbolism. When Temujin was sixteen years old, thieves stole his eight palomino (sharga) horses. At sunset, Temujin’s brother returned from hunting and Temujin took off on his brother’s short-tailed red dun (ogotor khongor) horse following the trail of bent grass-blades left behind by the horses’ hooves. After three days and nights, he came across a boy milking a mare and asked him if he had seen eight palomino horses pass by. The boy affirmed that he knew the direction in which they went. He introduced himself as Nakhu Bayan’s only son, Borchi. He offered to accompany Temujin, for he saw that the thieves were many and dangerous to confront alone. Temujin agreed, and Borchi gave him one of his fast horses to replace Temujin’s exhausted horse. After three more days and nights, they found the eight horses and quickly started to herd them back home. As the thieves chased after them, Borchi told Temujin to run away with the horses while he held back the thieves with his arrows. But Temujin refused and the two of them fought alongside each other until the thieves were left far behind and they could both safely escape. Upon return to Borchi’s home, Temujin offered Borchi as many horses as he wished in appreciation. But the latter refused, saying that he only wished to help a man facing grave danger. Since childhood, Temujin’s encounter with strangers had only brought him tremendous suffering. But in this instance, for the first time in his life, a stranger had presented him with the gift of unconditional kindness. Over dinner, Nakhu Bayan, Borchi’s father, after a great deal of scolding and crying for fear of his missing son concluded that the ordeal’s successful end marked the beginning of a solid friendship. Thus, Temujin became friends with Borchi whom he valued for the rest of his life. Borchi fought alongside his friend in over thirty battles during his lifetime. Honest, brave and generous, Borchi proved to be a formidable commander. Temujin never ceased to listen to his friend’s wise counsel even when their success in wars ultimately led Temujin to earn the title of Chinggis Khaan. Such is the story of one of the warriors portrayed on a statue to the right of Chinggis Khaan in front of the Parliament building. As Commander of the western armed forces of Chinggis Khaan, he is depicted wearing a traditional Mongolian warrior’s leather armor that was before the Mongol army adopted advanced protective gear from cultures beyond the Mongol State.

Loyalty was one of the highest principles that Chinggis Khaan’s leadership entailed and one of the strict standards by which he held himself, as well as his warriors, accountable. In 1199, Toril Khaan of the Khereid State was fighting alongside Chinggis Khaan’s army against Buirug Khaan of the Naiman State. After an enemy of Chinggis Khaan persuaded Toril Khaan to abandon his ally in the middle of the night, Chinggis Khaan’s army awakened the next day to an empty camp with no ally in sight. However, Buirug Khaan still decimated Toril Khaan’s army on his way back and Toril Khaan, on the verge of extermination, sent an emissary to Chinggis Khaan pleading for help from his four warriors. Chinggis Khaan did not forget the help of allies easily. Toril Khaan was his father’s ally and once had helped Chinggis Khaan rescue his beloved wife Borte from the enemies. So Chinggis Khaan sent him his four best warriors, Borchi, Mukhulai, Borokhul and Chuluun, who crushed Buirug Khaan’s forces and returned Toril Khaan’s captured people and animals back to him. However, Toril Khaan’s loyalty proved to be feeble and the Khereid State withered away as their Khaan and heirs eventually perished at enemy hands. As a man of his word, Chinggis Khaan excelled at forging alliances. He was highly perceptive about people, especially the strength of their loyalty, and greatly valued those who were as loyal and perceptive as he was toward his allies. Many soldiers of diverse backgrounds and origins were promoted to the highest ranks of Chinggis Khaan’s army after proving their unshakeable, incorruptible and undying loyalty in battle. One such soldier was Mukhulai. In various sources, as referred to by I. Chinbat in Chinggis Khaany Yusun Urlug (2019), Mukhulai is described as over 2 meters tall, “strong as an elephant”, sharp-sighted, deft, strategic and fearless. Legend remains that once Chinggis Khaan and his thirty men including Mukhulai were attacked by an enemy near a ravine called Zev. As the arrows came down on them like rain, Mukhulai shielded Chinggis Khaan and called the others to fight as he started to shoot back. The enemy’s men fell one after the other from every single arrow that the warrior released. When the astounded enemy asked who the archer was and heard that it was Mukhulai, they were said to have fled and never returned.

Mukhulai was the third son of Gung gua of Jalair country of the Naiman State. Gung gua had expressed to Chinggis Khaan his wish to introduce his son as a friend in a ceremonial oath under the sacred Saglagar tree of the Khorkhunag valley. Once Gung gua accompanied Chinggis Khaan and his seven horsemen when they were attacked. Chinggis Khaan’s horse had died from a wound, and Gung Gua gave him his, as he elected to stay and hold back the enemy so the rest could escape. Gung gua died and saved Chinggis Khaan’s life. Many years later, Chinggis Khaan held the ceremony for his friend Mukhulai under the Saglagar tree as Gung gua had wished. But by that time, Mukhulai had already proven his loyalty to Chinggis Khaan many times. The Mongol State had been established and was now fighting the better equipped and superior armies of the Liao and Jin dynasties. As commander of the eastern armed forces of Chinggis Khaan, Mukhulai played an indispensable role in the long wars on the southern front for over 25 years, eventually leading to the siege of Beijing. Mukhulai treated his men like his own brothers and taught them how a few soldiers employing astute tactics could outmaneuver a stronger, larger army. He was also a shrewd diplomat who advised Chinggis Khaan to actively employ emissaries and forge strategic alliances including with the Song dynasty which resulted in the growth of Mongol forces and the advancement of military technologies. He died of old age and became an example of military excellence for the rest of the soldiers of the Great Mongol State. This was the man whose statue stands on the stairway of the Parliament building to Chinggis Khaan’s front left. He is depicted wearing a metal armor and is holding a mace in his right hand.

Statues of historical figures serve to honor their contribution to a nation’s prosperity and are important reminders of the values they represent for future generations. In viewing statues, we are piqued to know more about their subjects’ lives and achievements. With the understanding of who they were, we realize their significance in our history, and in our minds, their stories transform the motionless, cold figures into living people. I would have preferred the façade to have been modeled after the classical greco-roman principles of alignment as many beloved architectural gems of Ulaanbaatar such as the buildings of the National Public Library, the Ministry of Foreign Affairs or the State Opera and Ballet Theatre soundly embody. But personal preferences aside, the present solution taken after the traditional Asian temple framing with thinner columns and protruding roof is also viable, albeit more distant.

In 1253, Guillaume de Rubrouck had noted that in Kharakhorum, the ancient capital of the Mongol Empire, a golden angel on top of a grand fountain stood in the center of the royal courtyard surrounded by distinctly Asian temple-like quarters. Therefore, the current design is a reflection of the architectural eclecticism long appreciated by Mongols as in the ancient so in the modern times. Considering that Chinggis Khaan was well known for tolerance of diversity of religions and cultures, the addition of this design to the other structures and monuments on Sukhbaatar Square is a welcomed reminder of his open mindedness. However, as of 2020, public access to this interesting and unique structure is forbidden. So I sincerely wish that our parliament would someday allow citizens as well as visitors to be able to view these monuments from up close as other democratic countries do. Then, the statues and their human stories would cease to intimidate and start to truly inspire modern Mongols and their friends.

Reference:

I. Chinbat, Чингис Хааны Есөн Өрлөг, (Ulaanbaatar: Soyombo Printing. 2019).

By Ariunaa Jargalsaikhan

Published in UB Post on April 29th, 2020 Ulaanbaatar

The time has come for us to find the most rational and efficient way to possess underground resource of Tavan Tolgoi deposit and benefit from its fruits from generation to generation.

The country’s future, social stability and order as well national security will depend on how we deal with such a new intellectual challenge. The Government of Mongolia decided to sell 10% of Erdenes TT to domestic professional investors and give 10% free to its people, 30% to international investors and own remained 50%. So far, it selected Deutsche Bank (Germany) and Goldman Sachs (the U.S.A) as underwriter for IPO and BNP Paribas (France) and Macquarie Bank (Australia) to involve in the sales and brokerage activities.

Shares in state-owned company Erdenes-TavanTolgoi will be sold within 2011 and each citizen is expected to receive 550 shares.

If the shares would be sold as to this government version, in a country like Mongolia where the half of its population lives only for daily foods to eat, the people will hurry to sell their free shares at first chance to do so.

All capital will concentrate in hands of few people and after some time the poor will remain poor. Mongolians will be begging money from donors sinking in debts.

The two political parties in power are doing this with final purpose of looking as if they fulfilled their pre-election promises. Since it is going to take more time for us to receive real money after Erdenes TavanTolgoi make initial profits and distribute its dividends, I suggest to make a little change to this.

1. It is necessary to ensure that 10% of existing and to-be-determined reserve of Tavan Tolgoi Deposit should be always equivalent to 10% of total shares of Erdenes Tavantolgoi Ltd. Otherwise; there is possibility that by issuing additional shares, the value of previously existed shares is diluted.

2. Let us give 500 shares to existing population of Mongolia.

3. Though it might be a good idea to sell 10% to national companies, it is a burdensome task. It would be unfair to sell shares at nominal price by comparing Erdenet Mining Corporation or Mobicom Company with those passive companies that did nothing for ten years and did not pay a single penny to tax and this is the discrimination of citizens with no company. Instead, let us distribute this 10% in shares, 500 shares per new-born citizen of the country. It means our current population of 2.7 million can double to 5.4 million. After that, we can look back again to improve our system.

4. I propose to hand over 500 shares together with the Gerege or certificate of the Mongol to each citizen and to new-born child citizen to certify that the holder is a real owner of the country’s treasure. But do not make it a political game.

5. But the Government will own 30% and let us develop secondary market of securities by means of selling another 20% at domestic stock market. Anyone with wealth can acquire and sell it freely.

6. Let us apply this model not only in Tavan Tolgoi but also in all of other strategic deposits. The Gerege should play a basic role in ensuring that that being a free and happy citizen of independent and democratic Mongolia is the guarantee of good life. If we manage to effectively coordinate this capital with hard work and commitment of every single person, then the proud to be a Mongol will arise. In order to make the Gerege a guarantee for each Mongolian person to live in wealth, a law including the following provisions needs to be adopted.

а. Open personal account for each person with the Development Bank or with the Human Development Fund and deposit dividend from 500 shares to this account on annual basis. Let us state in the law that owner of the shares is not entitled to sell his shares and can use certain amount of his dividend on specified conditions. He only can spend that amount for limited purposes such as buying or repairing apartment, paying tuition fee or treatment. The government can also spend the capital to deal with such issues. The goose that laid golden egg in Aesop’s fable would be this share.

b. Shares can be transferred to children and grandchildren under a will. By doing so, Mongolians all generation can own apartment despite they might be poor ones.

c. It would be fair if the Development Bank pay an interest equivalent to the long-term apartment purchase loan to the balance of long-term personal account.

Besides, this capital can be spent to issue credits to big infrastructure projects. Generally, in some countries, pension and health funds are brought into circulation in this way. Only in this way, we can provide each family with modern apartment and deal with almost all urgent problems in Mongolian society.

This model was successfully implemented by Singapore to achieve today’s progress. We should raise initial funds of operation by selling 30% at foreign stock markets. Basically, shares are usually issued piece by piece to sell by constantly increasing the price. Anyway, up to 80% of total shares will be circulated at free market and remained 20% will not be for sale to be distributed as dividend.

It is also required that one third of company’s board of directors is civil representatives and that all information is open and transparent.

The Gerege of Mongol would be a real step towards making Mongolians prideful, self-confident and respected. Thus, let us give every single citizen an opportunity to work, create and live well in own country.

Translated by Shinebayar

UB Post
March 04, 2011