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Mongolian
Arts and Culture > Fine Art
> History
HISTORY
The art of the ancient Mongol
is rooted in, and an inseparable component of, nomadic culture
and folk art.
The oldest examples of rock painting
in Mongolia are located at Khoit-Tsenkher Cave in Hovd Aimag.
Painted in ochre on cave walls, these Stone Age paintings
depict mammoths, sheep and ostriches. Later, cave paintings
from the Bronze Age show animals, hunting scenes, carriages
and various symbols.
The traditional Mongol zurag or
painting style is developed from these prehistoric rock
paintings. This style of painting has long brush strokes
which taper at the end. It also tends to feature bright
colours. In addition, Mongol zurag has the following features:
Paintings usually show subjects from traditional nomadic
life;
The paintings usually do not focus on a single subject but
instead show many different activities;
There is no perspective in the paintings. Regardless of
distance, everything is shown in the same proportion.
 Rock
and cave paintings are, however, not the only important Mongolian
early artwork. The earliest examples of monumental sculpture
known, not only in Mongolia, but in Central Asia in general,
are deer stones. Considered by some to be the only genuine
monument produced by nomadic art, deer stones are generally
made from grey granite or marble and measure between two and
five metres in height. Related to the religion of Shamanism,
they are thought to mark the graves of important kings or
warriors and are often located in groups of five or more.
Altogether around 550 deer stones have been found in Mongolia
and around 200 in the Eurasian countries surrounding it.
The deer stone can be divided into three
sections representing the three worlds of ancient Central
Asian mythology: the sky, earth and the underworld. The
top part of the stone shows the sun and the moon, representing
the sky; the center shows a deer or other hoofed animal
representing the world of the living whereas the bottom
part shows bows and arrows, swords and sometimes deities
representing the underworld. The deer, which is usually
represented in silhouette with a long snout is an important
symbol for Mongolians, and is believed to be able to carry
the spirit of the dead to the next life.
The other major type of monument found
in Mongolia dates to the Turkish Empire between the 6th and
8th century AD. These human monuments are placed at graves
facing the direction of the sun. The figures may be shown
seated or standing, and are usually holding rituals cups against
their chests, a symbol that they are participating in their
own funerary banquet. In front of the statue there are usually
a number of uncarved stone blocks, known as balbal. These
may represent the number of enemies defeated by the buried
hero.
Another example of very sophisticated
workmanship and artistic abilities of early Mongolians are
the ancient relics found in at the Hunnu tombs of "Noyon
Uul" which date back to between 1AD and 3BC. Jewellery,
pottery and other early artwork have been found here but
the most well regarded piece is a felt carpet which dates
back around 2,000 years. The carpet shows a scene depicting
a predator attacking an elk. The genre and style of the
work is reminiscent of classic Greco-Scythian art, although
it is a real Mongol folk art creation, since it is a piece
of everyday practical utility. The technique of design is
genuine Mongolian handwork style.
Even though Mongolians have traditionally
been a nomadic people, there is a long history of permanent
settlements in Mongolia. One of the first of these is the
city of Khar Balgas which was the capital of the Uighur Empire
between the 8th and the 10th century AD. Built on the Orhon
River, the city had streets and separate commercial and residential
areas and a number of different religions including Christianity
and Buddhism. Its ruins can still be seen today.
The Kidan Empire, which developed soon
after the fall of the Uighurs, brought about a period of
urbanization in Mongolia. A network of cities (156 in total)
was developed along the trade route, and traces of Buddhist
temples and frescoes have been found in the remains of these
settlements.
Later, during the empire of Chinggis Khan
in the 12th century, the great capital of Karakorum was established.
The French monk William Rubruck (ca. 1210-ca. 1270) had the
distinction of being the first European to visit the Mongol
capital on the Orhon River to return and write about it. Rubruck
had decided to undertake a mission to the Mongols primarily
in the hope of converting them to Christianity. His roundtrip
journey lasted the better part of three years. William described
Karakorum: "In the Saracen quarter there was a market
and many streets. In the Chinese quarter lived the craftsmen.
Besides there were people of various nationalities, religion
and faith, and twelve idol temples of different nations. In
the outskirts of the city there were two mosques of Islam
and one Christian church." It seems that during that
time, the Christian religion was preached in a Nestorian version
of doctrine.
In fact, although Buddhism was present
during the Uighur and Kidan empires, as well as being the
religion of choice of Chinggis Khan's grandson, Kublai Khan,
it wasn't accepted as a state religion until a meeting with
Alta Khan and the leader of the Yellow Order of Buddhism
from Tibet in 1578. Around sixty years later the son of
Gombodorj, the "Tusheet Khan", who was the grandson
of legendary Avtai Sain Khan, was enthroned in 1639 as a
theocratic monarch with the name Zanabazar. He contributed
greatly to the history of the Mongols and was a pioneering
role model in fine arts, especially sculpture. For more
information on the sculpture of Zanabazar. For centuries
after the adoption of Buddhism in Mongolia, Buddhist-related
art was the predominate form of art created in this country.
There was at that time a whole network of locations in medieval
Mongolia where professional craftsmen were trained. The
most famous among them were Ikh Khuree, Zaya Khuree, Ikh
Tamir Khuree, Bereeven Khiyd monastery complex. Generally,
artists were also monks (lamas), and the actual creative
process was also a spiritual one. Both art and architecture
from this period draw heavily from Tibetan and Chinese traditions,
with some specifically Mongolian elements woven in.
Indeed, the architecture of monasteries
in Mongolia is particularly interesting. This architecture
was influenced by Chinese and Tibetan styles but many monasteries
also reflect the traditional architecture of the ger. These
temples are built with the same basic framework as a ger,
with the felt covering replaced with wood or stone, and the
windows or shutters located at the top of the walls.
There are also Tibetan style complexes,
like the Erdene Zuu compound, which was erected on the ruins
of Karakorum. At this unique site, visitors are able to
enjoy the ancient architectural and fine arts in one. Currently
in Erdene Zuu monastery compound there are 11 monasteries.
Zanabazar was assassinated by the Manchu Emperor in 1723
and Amarbaysgalant monastery was erected in Selenge aimag
on Iyven river in memory of him. This monastery is another
unique site representing an important stage of architectural
art development in Mongolia. The complex is laid out on
a north-south axis and the buildings are Chinese in style,
but the roof structures are not like anthing else found
in China or Mongolia.
In temples throughout Mongolia, the art
relates to the gods and devils of Buddhism. Often Buddhist
dieties are presented in a form of icon portraits, with surrounding
accessories and symbols, painted with pigments on paper or
cloth. There are also appliqu? pieces, which involve embroidery
and sewing of various cut silk details onto a background silk.
Another fine example of Buddhist art
is the Undur Janraiseg statue located in Gandan monastery
in Ulaanbaatar which was constructed in praise of prosperity
of the 8th Bogdo Javzandamba Khutagt, the theological monarch
and was devoted to Aryabal Burkhan, one of Gods in Buddhism.
In Buddhist art, the masks of the Tsam
ritual dance were also one of the main artistic streams. These
masks were created in 17th and 18th centuries by the master
team headed by Puntsag-Osor and formed the basis of traditional
Tsam ceremonies held on special days throughout the year.
For more information, please see Two-Dimensional
Art and Three-Dimensional Art.
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