First pictorial testimonies
The oldest paintings in the Mongolian territory are found in the caves of Khoit Tsenkheriin Agui, in theaimag
(or province) of Khovd. These rock paintings, in ochre tones, are dated to the Stone Age, between 20,000 and 15,000 years ago. The symbols that adorn the walls and ceilings surround a rich bestiary: deer, buffalo, mammoths, antelopes, camels, ostriches, are entangled on the rock. Unique in Mongolia, these wall paintings are in the exaggerated forms common at that time.To this primitive art succeeds a Buddhist religious art. The paintings of this kind are made on leather, silk, cotton or linen supports, materials that are easy to fold and transport. The colors are made from mineral pigments, and have (as in Tibet) a strong symbolic value. Thus, blue represents fidelity and eternity; yellow, wealth, love and spirituality; red, joy; and white, holiness and purity. The technique of appliqué was only developed later, in the monasteries, for larger paintings that no longer needed to be transported. Beautiful examples of works from this technique can be admired at the Erdene Zuu monastery
in Kharkhorin. Religious painting dominated the arts until the beginning of the 20th century.Ancestral sculptures
During the Bronze Age, around 1000 BC, reindeer stones appeared at the confluence of painting and sculpture. Made on grey granite or marble tablets, they measure between 2 and 5 meters high and seem to be linked to shamanistic practices. The paintings are generally divided into three parts. The upper third represents the moon and the sun, thus representing the Great Sky. The middle of the stone is occupied by the reindeer, which according to tradition carry the spirit of the dead to their new home. Finally, the lower third is that of the underworld, represented by bows, arrows or swords. Generally gathered in groups of at least five steles, the reindeer stones were used to mark the location of the tombs of kings or warriors. There are about 500 of them in Mongolia, but they can also be found elsewhere in Central Asia.
There is a variant, the men's stones(khunni chuku). Visibly of Turkish origin (they are also found throughout Central Asia), these flat statues represent a man holding a bowl at chest height, sometimes armed with a sword. Generally oriented towards the east, they seem to be linked to funerary practices.The importance of Buddhism
It is necessary to wait for the affirmation of Buddhism in Mongolia to see again a sculpture of exception. This field is marked by the painter and sculptor Zanabazar (1635-1723), the first spiritual leader of Tibetan Buddhism living in Mongolia. Trained in Lhasa, he brought back all the techniques of Tibetan art, which he enriched with the specificities of Mongolian culture. A school of art bearing his name was thus created. His particularity is the very strong humanization of his representations of the deities, and in particular the goddesses. The latter are endowed with very feminine forms and expressions of almost maternal softness, which did not exist in Tibetan representations before him.
Center of Buddhist art between 1600 and 1920, Mongolia excels in the art of mandala. Paintings and sculptures are used as supports for meditation and are destroyed after the time of recollection. On the other hand, the rolls or thangka, richly decorated with animals, are preserved.Mongolian Zurag
This term, which literally means "Mongolian painting", refers to a national painting movement that emerged in Mongolia in the early 20th century. This emergence coincides with the independence from China, and strengthens after the Revolution of 1921. It is quite natural that nationalist themes are favored, supported by traditional techniques. The drawings are traced on a cotton canvas with mineral pigments or Indian ink.
Balduugiin Sharav (or Marzan Sharav) is representative of this trend and is influenced by Soviet art. Born in 1869 and died in 1939, this painter is the one of the passage from the old to the new, both in art and in Mongolian society. His most famous work, A Day in Mongolia(Mongolyn neg ödör), depicts the Mongolian way of life in a traditional Buddhist style. It is kept in the Zanabazar Museum of Fine Arts in Ulaanbaatar. This institution has been housing the collections of Mongolian masters from the 18th to the 20th century since 1966. Other famous paintings by Marzan Sharav are the portraits of Bogd Khan and his wife, Queen Dondogdulam. Bogd Khan, proclaimed emperor in 1911, gave his name to the oldest museum in Mongolia, the Winter Palace and Museum of Bogd Khan. It now houses the richest art collection in all of Mongolia, with more than 8,600 objects of art.Modern trends
The 1960s and 1970s saw a return to traditional appliqué techniques, which brought a breath of fresh air to a production of oil paintings devoted exclusively to the glory of socialist achievements. It was also during these decades that Mongolian artists turned to the West and to abstraction. The artist Purewbat Gankhuu began to introduce modernism to Mongolia. However, the first abstract works were banned by the Soviets.
The Democratic Revolution of 1990 marks a new turn, more radically contemporary. Its great representative, Otgonbayar Ershuu, was born in 1981, in Ulaanbaatar. A precocious artist, he exhibited his work from the age of 15. He trained in traditional Mongolian painting in Ulaanbaatar, then studied miniature painting in Buddhist monasteries. Now based in Berlin, OTGO has already produced 600 works and exhibits worldwide.
With the end of the Soviet era, contemporary art is given a new impetus. This benefits abstract art and street art. The current artists are especially interested in the problem of the preservation of nomadic traditions in the face of galloping urbanization. Some of them introduce contemporary art in the Mongolian steppes, by making artistic performances in ovoo
or in yurts as the artists of the Blue Sand collective did in 2012. The National Gallery of Modern Art, funded by the government, exhibits modern Mongolian art. The 4,200-piece collection addresses Mongolian identity across all creative fields.Street art in Ulaanbaatar
The streets of the capital bear witness to three generations of graffiti artists. Since the 1990s, ANZ, considered as the godfather of Mongolian graffiti, has been a source of inspiration. He is followed by a second generation of artists, from 2005, carried by artists Deez, Eto or Heesco. In 2014, TNMC (The Nasty Methods Crew) brings together Dasher, Sane2, Risky, Emak and TEM. They each develop their style, each their approach. What unites them is the will to address the largest number of people.
TEM is also at the origin of Nomadink, the first street art festival in the country. The event brings together artists from all over the world.
The young festival "Nogoonbaatar, International Eco Art Festival" was born in the capital. Its objective? To realize the dream of the inhabitants to live in harmony with nature and breathe fresh air. To this end, the festival invites street artists from Germany, France and the Czech Republic to share their experiences and supports ecological initiatives. They have collaborated with contemporary Mongolian artists including Ts.Ariuntugs, T.Enkhbold, E.Jantsankhorol, R.Luvsandorj, Ts.Tuvshinjargal, N.Amarsaikhan, O.Tuguldur, B.Ider, R.Chinzorig, B .Bat-Erdene, J.Shijirbaatar, M.Munkh-Erdene. Their works combine street art, paintings and sculptures, and are located around the Uuliin Nuur park. The idea is that in the long run, the surroundings of the park will become a place for walking and an open-air museum.Current scene
The young generation is brimming with talent and initiative. In summer, the biennial of contemporary art adapts to the nomadic life since 2010. Itinerant, Land Art Mongolia takes place in the middle of yurts. Inspired by the immensity of the landscapes, the invited artists apply themselves to redefine the society with regard to the climatic emergency, through original proposals.
More traditional, the Altan Khaan gallery works to promote the recognition of young artists on an international scale. In its pool of artists, we notice a large proportion of women. Dulguun Baatarsukh, born in Ulan Bator in 1984, graduated in painting and design from the School of Fine Arts of the University of Arts and Culture of Mongolia. She pursues a dual career in painting and clothing design. Her imagination is distinguished by its surrealist tones. Dulguun is a member of the women's stage group Vague Nomade and the art movement Soleil Bleu.
Ecological issues are at the heart of the work of many artists. Munkhtsetseg Batmunkh (Muujii), born in 1982, alerts on environmental issues and living conditions in her native country. She uses natural materials such as Mongolian felt, used in the making of yurts. Concerned with passing on the Mongolian heritage to future generations, Ulziijavkhlan Adyabaatar (Javkhaa), born in 1981, paints everyday life in the countryside in scenes of profound serenity. Her work on the link between life and flora is part of the trend of ecological art (eco-art). Similarly, the watercolors of Munkhzul Bundgaa (alias Zulaa), show a strong sensitivity towards Mother Nature and God.
Two resolutely modern artists: the sculptor, painter and teacher, Ganbold Dorjderem (Bono) was born in Ulaanbaatar in 1982. Because of his unstructured silhouettes, he is often called the "Picasso of Mongolia". Movement and horses are the central themes of the impressionist paintings of Bazarvaani Sambuu, born in 1982 in Uliastai, Zavkhan province. He does not hesitate to cut his colored materials with a knife.
Between tradition and modernity, Naidandorj Enkhbaatar (Naigaa), born in 1986, has acquired solid bases in drawing and traditional Mongolian painting. His classical training allows him to consolidate his exploration of innovative techniques. He combines Zurag, modern drawing and the possibilities offered by acrylic painting. Proud of his traditions, Naigaa calls for the respect of today's Mongolia and its cultural heritage. In this sense, he is the bearer of the message of a whole generation of talents.
