Undur Gegeen Zanabazar is one of the most influential figures in Mongolia’s Buddhist history. He was the first Bogd Gegeen, a 17th-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.
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 17th-century Mongolian Head of State and Faith, are an integral part of Buddhist art history.
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.
Great monuments carry their significance from a bygone past into a faraway future. The Statue of Sukhbaatar is Mongolia’s foremost landmark that symbolizes not only the nation’s capital, but also the creed of its people. Ever since it was unveiled in the summer of 1946, the monument, located in the heart of the city, has been a witness to many life changing events for Mongolians. Today, as citizens of a democratic nation, united by the belief in liberty and prosperity for all, Mongolians have gotten used to the freedom that lies in their own hands. However, this has not always been the case. At the dawn of the 20th century, Mongolia, with a native population that hardly reached half a million, was a disorderly battlefield for ancient and nascent ideologies and their foreign and domestic defenders. As a result of the ongoing terror and bloodshed from all sides, the nation was on the verge of extinction.
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 13th, 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 15th. 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.
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.
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Hello! Thank you for visiting my website. My name is Ariunaa. I am a writer of art and culture articles, from Mongolia. Here is a place where creativity and beauty help make sense of life. Have a look. Take your time. Share your thoughts. Welcome to Artsaccessible!