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Journal articles on the topic 'Mongolian Art'
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1
Haoribao, Enke, Yoshinori Natsume, and Shinichi Hamada. "Arrangement Plan of Inner Mongolia Buddhist Temple." ATHENS JOURNAL OF ARCHITECTURE 8, no. 1 (2022): 67–90. http://dx.doi.org/10.30958/aja.8-1-4.
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Since BC, the construction of cities has been started in the Mongolian Plateau with the establishment of dynasties, but many were turned into ruins. However, the Tibetan Buddhist temples built after the 16th century, which are an indispensable element in the process of settling the Mongolians from nomadic life, have been relatively well preserved in Inner Mongolia. These temples have been thought to be the epitome of the Mongolian economy, culture, art, and construction technology. Therefore, it has a great significance to research them systematically. Interestingly, these temples in Mongolia were originated from Inner Mongolia, which is located on the south side of Mongolia. The architectural design of these temples has been primarily influenced by Chinese and Tibetan temple architecture, suggesting that the temples appear to be considered a vital sample for studying temple architecture in Mongolia or East Asia. So far, there is still no study systematically on temple architecture in Inner Mongolia. Therefore, this research aims to study the arrangement plan of Inner Mongolian Tibetan Buddhist temples, which is the most important factor to consider in the first stage of temple construction.
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Bai, Gegentuul Hongye. "Fighting COVID-19 with Mongolian fiddle stories." Multilingua 39, no. 5 (2020): 577–86. http://dx.doi.org/10.1515/multi-2020-0087.
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AbstractThis article examines the recontextualization of traditional Mongolian verbal art khuuriin ülger (‘fiddle story’) by Mongolian folk singers in the context of the spread of COVID-19 in Inner Mongolia, China. Drawing on the concept of intertextuality, I analyze the verbal and visual signs in 94 videos of Mongolian fiddle stories. The article argues that the minority Mongols participate in the dominant global and national discourses while at the same time creating a sense of Mongolian-ness by marrying Mongolian verbal art with public health messages related to COVID-19. The article also finds that the multivocal COVID-19 Mongolian fiddle stories are a medium to articulate the very heteroglot sense of the world in which minority Mongols dwell and to construct and reaffirm their multi-layered identities. The study contributes to our understanding of how traditional genres and symbols evolve in response to the pandemic.
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Kuzmin, Yuri, Alexey Manzhigeev, and Liudmila Sanina. "Mongolia of the Twentieth Century and Russian-Mongolian Relations: Based on the Materials of the Conference Dated May 28, 2021." Bulletin of Baikal State University 31, no. 2 (2021): 197–207. http://dx.doi.org/10.17150/2500-2759.2021.31(2).197-207.
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Currently, the leadership of Russia considers the expansion of economic, scientific and educational cooperation with Mongolia important, therefore, the study of modern Mongolian and world Mongolian studies, which formulate and determine further development of international relations, seems to be an urgent and contemporary task. The article describes the development trends of modern world and Russian Mongolian studies, poses topical issues that need to be resolved in the face of increasing geopolitical competition in Mongolia. It is an overview of the reports presented at the international scientific-practical conference «Mongolia of the 20th century and Russian-Mongolian relations: history and economy» dedicated to the 100th anniversary of the establishment of Russian-Mongolian diplomatic relations, which took place on May 28, 2021 in Irkutsk on the basis of the Baikal State University. The conference participants supported the idea of creating a «Biobibliographic Dictionary of Russian Researchers in Mongolia». It was proposed to include in the dictionary corpus not only the representatives of Russian Mongolologist, but also Turkologists, Sinologists, researchers of the history of Russia, as well as practitioners: diplomats, translators, military men, merchants, journalists who wrote studies on history, geography, economics, culture and art of Mongolia. Thus, scientific Russian-Mongolian cooperation continues successfully, new joint publications, round tables, and scientific conferences are being planned.
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Sharavtseren, Tserenjigmed. "Factors, obstacles, mechanism and development directions for the professional music education in Mongolia." Problems of Modern Education (Problemy Sovremennogo Obrazovaniya), no. 4, 2020 (2020): 225–38. http://dx.doi.org/10.31862/2218-8711-2020-4-225-238.
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The article presents the results of the study of training music art professionals and music teachers in Mongolia. The comparative analysis of music education in Germany, Sweden, Israel, China, Japan and Russia is conducted. Prospective measures of development of professional music education in Mongolia are suggested. Factors, obstacles, mechanism and directions of development of the Mongolian State Conservatory – the first Mongolian academic higher education institution for training professional musicians – have been identified. The mechanism of the development of professional music education in Mongolia is the concept of the Mongolian State Conservatory. The concept includes goals, main and additional tasks, the scheme of interaction with the authorities and social partners, the model and scheme of education, the management system, financial basis and stages of organization of the conservatory.
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Уранчимэг, Д., and Ян Гоу Чин. "The formation of the art of socialistic realism in Mongolia: the main stages, the role of the Russian art school." Iskusstvo Evrazii [The Art of Eurasia], no. 4(23) (December 29, 2021): 170–87. http://dx.doi.org/10.46748/arteuras.2021.04.013.
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Статья посвящена стилю социалистического реализма в изобразительном искусстве Монголии. Выделены основные этапы становления и факторы его формирования: революционные события и утверждение идеологии социализма; поддержка нового направления правительством Монголии, а также влияние российской художественной школы. Показана роль Российской академии художеств, Института им. И.Е. Репина, Института им. В.И. Сурикова в обучении и передаче художественных традиций и навыков монгольским художникам. Отмечено своеобразие монгольского варианта стиля соцреализма, синтезировавшего приемы и методы российской школы живописи с народными формами художественного творчества и буддийским искусством; показана непреходящая значимость и востребованность данного стиля в современном искусстве Монголии. Охарактеризовано творчество ведущих монгольских художников, и проведен искусствоведческий анализ ряда произведений. The article is devoted to the style of socialistic realism in the fine arts of Mongolia. The main stages of formation and factors of its formation are highlighted: revolutionary events and the establishment of the ideology of socialism; support of the new authorities of Mongolia, as well as the influence of the Russian art school. The role of the Russian Academy of Arts, the I.E. Repin St. Petersburg State Academic Institute of Painting, Sculpture and Architecture, the Moscow State Academic Art Institute named after V.I. Surikov in teaching and transferring artistic traditions and skills to Mongolian artists is shown. The peculiarity of the Mongolian version of the style of socialist realism, which synthesized the techniques and methods of the Russian school of painting with folk forms of art and Buddhist art, is noted; the enduring importance and relevance of this style in the contemporary art of Mongolia is shown. The work of leading Mongolian artists is characterized and an art history analysis of a number of works is carried out.
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Melekhova, Xenia A. "Contribution of Artists Teaching at the Russian Federation S.A. Gerasimov Institute of Cinematography into Formation and Development of the Fine Arts in Mongolia in 20th century." Journal of Flm Arts and Film Studies 10, no. 1 (2018): 64–74. http://dx.doi.org/10.17816/vgik10164-74.
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The relevance of studying the contribution of artists and educators of Russian art for formation and development of the creative method of masters in Central Asian countries is due to the importance of this topic for solving the theoretical and practical problems of contemporary art history. Since the second half of the 20th century, the influence of Russian art school on art of the countries of the socialist community has increased. Russian universities have become base centers of higher art education. As a result, the main number of masters of art in Mongolia are graduates to Soviet and Russian art institutions. With appearance in 1935 of the studio "Mongolkino" in Ulan Bator, there was appear need for connoisseurs. Mongolian creators got the opportunity to obtain good education in the Soviet Union in VGIK. When learning students mastered programs aimed at comprehensive creative education. Priceless contribution to formation of the creative method of young masters was made by the artist-educators B.V. Dubrovsky-Eshke, F.S. Bogorodsky, Yu.I. Pimenov and others. Particular attention in pedagogical activity they drawn to the development and improvement of the creativity of the student. We were taught to think and feel images, constantly develop creative individuality, professionalism and at the same time preserve national roots. In the 50s, Mongolian painters Ochryn Myagmar and Purev Tsogzol were educated at VGIK. They passed the school of Soviet art and based on it stood at the origins of the Mongolian cinema. Artists work in various genres and techniques, in the mainstream of European artistic methods. Perfectly knowing how to draw, they write with oil and watercolor. For both artists, work on the nature is fundamental. With a perfect mastery of this creative approach, they remain deeply national masters. VGIK pedagogical school gave the basic footing for the development of cinema in Mongolia and further stimulated the creative potential of new generations of filmmakers. So the Mongolian visual and film art enriched with innovative artistic principles.
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Bayarsaikhan, Khaliunaa. "The contemporary Mongolian cultural landscape: Cultural influences, language skills, and the impact of foreign cultures." Tudásmenedzsment 24, no. 4. különszám (2023): 73–86. http://dx.doi.org/10.15170/tm.2023.24.k4.6.
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This article examines the contemporary Mongolian cultural landscape and explores the influence of foreign cultures on Mongolian youth. The study investigates the effects of foreign cultural dominance on Mongolian language proficiency, traditional Mongol script skills, and the appreciation of the mother tongue. Additionally, the article delves into the impact of Korean bubble-culture, social media platforms, Hollywood movies, Japanese anime, and capitalist art on Mongolian youth, with a focus on their potential for escapism and desensitization. Furthermore, the article discusses the clash between traditional Mongolian cultural values and those of dominant foreign cultures, and the resultant devaluation of Mongolian cultural heritage. Ultimately, the study aims to shed light on the challenges and potential alienation faced by Mongolia's cultural landscape.
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Ge, Gen, and Sungkyoo Hong. "Analysis of Lyrics of Mongolian Traditional Songs in Modern China." Korean Society of Culture and Convergence 44, no. 5 (2022): 407–40. http://dx.doi.org/10.33645/cnc.2022.5.44.5.407.
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This study sorted out the trend and theme classification of the modernization of Mongolian traditional music in Inner Mongolia, China, and investigated the literary characteristics of the modernization of Mongolian traditional music through the analysis of the lyrics of the selected representative songs of each theme. For this reason, this study refers to the academic literature related to Mongolian music at home and abroad, as well as the works collection of in the modernization of Mongolian traditional music such as “Inner Mongolia folk songs and folk songs” and “grassland new songs”. Based on the classification theme, literature and popularity of songs, this study selects 12 representative songs from more than 400 songs included in the works collection, and analyzes their lyrics. The results can be summarized as follows: first, from the lyrics of modernization of Mongolian traditional music, we can see the distinctive “aesthetic characteristics of socialist realism”, namely “people’s nature”, “party spirit” and “class nature”. Second, In the songs of the modernization of Mongolian traditional music, it is found that the “beauty of artistic conception” of national aesthetics is the unity of emotion and scenery, content and form, subjective and objective, which injects emotion into things through metaphor and personification, and then turns into poetic images. Third, in the modern songs of Mongolian traditional music, we can see the “national religious consciousness” of “life and female worship” left over from the ancient national belief Shamanism. Fourth, in the songs of the modernization of Mongolian traditional music, we can feel the strong “symbolism of national culture” of national culture through the cultural symbols containing the inner world of poetic narrator and the connotation of national culture. On the other hand it can also be seen from the development process of the modernization of Mongolian traditional music for more than 70 years that the literary and artistic policies and economic policies in different periods have had a great impact on its development, which also proves the importance of a country’s social politics and economy to the development of culture and art. It is true that art in any country can not completely get rid of the influence of politics, but the Complex spiritual labor like art should not be defined and controlled by politics, and its pure spiritual world should always belong to the human individual itself.
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Tumur-ochir, Selenge. "The Development of Modern Art in Mongolia: On the Example of Mongolian Modern Painting of the Late Twentieth and Early Twenty-First Centuries." Ethnic Culture 3, no. 3 (2021): 15–19. http://dx.doi.org/10.31483/r-98686.
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Modern art in Mongolia has been developing since the last century. The art appeared as a result of artists’ ideas, expression of national mentality and other factors. As some researches said: “Mite of the abstract paintings were established in Hun states, because when this times, all of the people to the paint-ed effect of their mind on the rock of cave” on their tractate book. That says that the abstract paintings was established at that time, but according to other sources it was developed in 1960. For example, in 1968 Mongolian young painters orga-nized an exhibition named: the first exhibition of young painters. Then, in 1980 modern and contemporary arts started developing. The purpose of the study is to analyze the development and classification of modern art in the late twentieth and early twenty-first centuries, which are kept in art galleries. The study was con-ducted in the following steps: to study modern Mongolian art and to identify cur-rent trends in its evolution. The study classified 2,333 paintings. Consequently the next conclusions were drawn: abstractionism, post-impressionism, and im-pressionism were more developed in modern paintings created in 1990–2000. Modern paintings created in 2000–2009, on the other hand, were more developed in abstraction, fauvism, surrealism, and symbolism. This shows that modern Mongolian artists prefer abstract and symbolic paintings. Before 1990, there was a lot of realism, but since 1990, modernism has developed a lot and has become a major trend.
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Lkhaasuren, Kherlen. "THE CONCEPT ON THE TERM OF MONGOLIAN THROAT SINGING." Mongolian Diaspora. Journal of Mongolian History and Culture 2, no. 1 (2022): 31–54. http://dx.doi.org/10.1515/modi-2022-020105.
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Summary Mongolian “throat singing” has been developed in association with life, religion and traditional customs of the Mongols since ancient time. Today, being considered as one of the authentic art of the nation, khoomei finds its significance in academic research of scholars not only from Mongolia, but also from other countries. The preliminary and important subject of the study related to throat singing refers to the origin of term "throat singing", its meaning, and appellation. The Mongols have created and developed their unique culture in the context of their lifestyle, economy, natural environment and their traditional customs for the centuries in their history. Khoomei is definitely an essential part of their culture, and an exceptional category of the nation’s art, which was brought up to the days as the true “Mongolian” piece.
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Liang, Kailin, Bin Liu, Yifan Hu, Rui Liu, Feilong Bao, and Guanglai Gao. "Comparative Study for Multi-Speaker Mongolian TTS with a New Corpus." Applied Sciences 13, no. 7 (2023): 4237. http://dx.doi.org/10.3390/app13074237.
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Low-resource text-to-speech synthesis is a very promising research direction. Mongolian is the official language of the Inner Mongolia Autonomous Region and is spoken by more than 10 million people worldwide. Mongolian, as a representative low-resource language, has a relative lack of open-source datasets for its TTS. Therefore, we make public an open-source multi-speaker Mongolian TTS dataset, named MnTTS2, for related researchers. In this work, we invited three Mongolian announcers to record topic-rich speeches. Each announcer recorded 10 h of Mongolian speech, and the whole dataset was 30 h in total. In addition, we built two baseline systems based on state-of-the-art neural architectures, including a multi-speaker Fastspeech 2 model with HiFi-GAN vocoder and a full end-to-end VITS model for multi-speakers. On the system of FastSpeech2+HiFi-GAN, the three speakers scored 4.0 or higher on both naturalness evaluation and speaker similarity. In addition, the three speakers achieved scores of 4.5 or higher on the VITS model for naturalness evaluation and speaker similarity scores. The experimental results show that the published MnTTS2 dataset can be used to build robust Mongolian multi-speaker TTS models.
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Гантулга, Д., and С. Г. Батырева. "Basic Principles of Meaning Expression in the Applied Arts of Ancient Mongolia." Nasledie Vekov, no. 4(24) (December 31, 2020): 53–63. http://dx.doi.org/10.36343/sb.2020.24.4.005.
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В статье рассматривается проблема влияния концептов сознания, разделявшихся творцами древней культуры Монголии на образы, заложенные в произведениях декоративно-прикладного творчества. В качестве стержневой идеи такого смысловыражения принято учение арга билиг. Материалами послужили произведения древнего искусства Монголии и результаты исследований монгольских и российских археологов, искусствоведов и культурологов. Изучены традиционные принципы и символика монгольского декоративно-прикладного искусства. На многочисленных примерах (оленные камни, гуннское литье, печати ханов, стеганый войлок и т. д.) показаны основные образы, свойственные искусству древней Монголии, определены принципы создания символического изображения. Сделан вывод, что благодаря сочетанию принципов «арга» и «билиг» монгольское искусство во все времена являет собой органическое единство взаимосвязанных частей, сплетенное из элементов, по смыслу своему принадлежащих одному из двух противоположных полюсов мироздания. The authors consider the problem of the influence of the concepts of Mongolian ancient culture creators’ consciousness on the images inherent in the works of applied arts they created. The doctrine arga bilig, which proceeds from the understanding that harmony in the world is determined by the struggle and unity of two opposing principles, is accepted as the core idea of such meaning expression. The materials for the study were the works of Mongolia’s ancient art and the results of research by Mongolian and Russian archaeologists, art historians and cultural scientists. The methodology of the work was formed by the approaches adopted in the semiotics of space and the concept of “symbolic forms” developed by Ernst Cassirer and reflecting the properties of mythological consciousness. The essence of the concepts arga and bilig as the fundamental foundations of the worldview of ancient Mongolia’s nomads is revealed. The traditional principles and symbols of Mongolian arts and crafts are studied. The authors examine the symbolism of the deer stone culture, noting that it originated in Mongolia, and then spread to the territory of Eastern Europe. In the aspect of analyzing the symbolic meaning, the works of Hun casting (animal style), khans’ seals, quilted felt are studied. The main images inherent in the ancient and medieval art of Mongolia are shown, the principles of creating a symbolic image are determined. The principles that determine the meaning expression of the motives of the arga type (its images correspond to the Upper World in the structure of the Mongols’ mythological consciousness) are revealed. The principle of depicting symbolic motifs of the bilig type (according to the views of representatives of the nomadic culture, it belongs to the Lower World) is revealed. The mutual connections of the Upper and Lower Worlds, embodied in symbols, determine the semantic fullness and significance of the image. The authors point out that the main works, made according to the principle of depicting the mutual connection of arga and bilig, are bronze casting objects with animal style motives, as well as ornamental compositions. The authors conclude that, due to the combination of the principles of arga and bilig, Mongolian art at all times represents an organic unity of interconnected parts, woven from elements that, in their meaning, belong to one of the two opposite poles of the universe. This unity is the pivotal idea of the nomadic culture and determines its harmonious existence in the integral system of the macrocosm.
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Plekhanova, Anna M., та Tsymzhit P. Vanchikova. "Гуманитарные научные исследования в Бурятии в 1930–1940-е гг.: достижения и проблемы (на материалах Государственного института культуры / Государственного института языка, литературы и истории)". Монголоведение (Монгол судлал) 13, № 3 (2021): 450–66. http://dx.doi.org/10.22162/2500-1523-2021-3-450-466.
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The article aims to analyze the principal directions in the activities of Buryat-Mongolian State Institute of Culture (1929–1936) / Buryat-Mongolian State Institute of Language, Literature and History (1936–1944), the successor of the first scientific organization in Buryatia — the Buryat-Mongolian Scientific Committee (1922–1929). It focuses on the achievements and problems in the organization and implementation of scientific research in the humanities in the 1930s. Materials. The sources used are unpublished documents of the Center for Oriental Manuscripts and Xylographs of the IMBT SB RAS, such as annual plans and reports on research work, minutes of meetings of the Directorate, expedition reports, presentations, abstracts and minutes of conferences, correspondence with various organizations and offices, and other materials that were instrumental in reconstructing the history of reorganizations of the scientific institute under study, in following the changes in its scientific program, and in showing its effectiveness and efficiency. Results. In the 1930–1940s, the studies in the field of history, language, literature, and arts of the Buryat-Mongolian people were the principal directions of research in the Institute. Archaeological expeditions were useful in drawing a general picture of the ancient history of Buryatia and the first cultural-historical schemes. Historians’ work resulted in publishing a significant number of documents devoted to the history of the Buryat-Mongolian people, the publications included materials on issues of the pre-revolutionary Buryat-Mongolia, the revolutionary movement and the Civil war period, culture, and education, including monographs on the history of Buryatia recognized today as classical scientific works. Within the framework of the established ideological attitudes, there was a discussion on controversial issues of the history of Buryat-Mongolia, which accepted the one-line nature of the historical process in Buryat studies. Thanks to the successes of Buryat linguistics, a reform of the Buryat-Mongolian writing was carried out, first based on the Latin, and then on the Cyrillic alphabet. The linguists of the Institute made a decisive contribution to the elaboration of the literary Buryat language, enriching its lexical resources and standardizing spelling and grammar. Collection, systematization and study of oral folk art and musical folklore, adding to the Manuscript Department of the Institute manuscripts and woodcuts in Tibetan, Mongolian, Buryat-Mongolian languages, as well as uligers, chronicles, and other historical and literary monuments, and translation work — these and other areas of scientific research shaped the development of the humanities in Buryatia in the 1930–1940s. Throughout the period of persecutions and repressions, despite personnel shortage and everyday hardships, the Institute’s team continued their work, conducting large-scale studies of the socio-political and economic history, the culture and art of Buryat-Mongolia.
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Kapišovská, Veronika V. "Фотографии артефактов монгольского цама, сделанные чехословацкими исследователями в 1950-х и 1960-х гг.: новый взгляд на старые документы". Oriental Studies 13, № 6 (2020): 1513–23. http://dx.doi.org/10.22162/2619-0990-2020-52-6-1513-1523.
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Introduction. This paper deals with two sets of colour photographs of Mongolian tsam masks taken by Czechoslovak archaeologist Lumír Jisl (1921–1969) and art photographer Werner Forman (1921–2010) in Mongolia during the period of 1956–1963. Werner Formanʼs photographs appeared in Lamaistische Tanzmasken. This unpretentious, slim volume, with a text composed by B. Rinchen (with the apparent assistance of a former tsam ceremony master, giving it unequivocal authenticity) holds a unique position: it was published 32 years after the last eye-witness description of the Mongolian tsam given by Shastina in 1935 (including black-and-white photographs), and some two decades before the series of tsam mask photographs featured in Tsultemʼs Mongolian Sculpture and Iskusstvo Mongolii ʻMongolian Artʼ. In contrast, Lumír Jislʼs photographs, apart from the few that were published during his lifetime, were preserved in a family archive for more than fifty years. The goal of this paper is to describe the circumstances under which these colour photographs came into being. A brief account is given of the visits to Mongolia undertaken by Lumír Jisl and Werner Forman. The general background of Czechoslovak-Mongolian cooperation in its first decade after the establishment of diplomatic relations between the two countries is also sketched out. At that time, tsam masks were stored in the Choijin Lama Temple, one of the very few monastic complexes to survive the antireligious campaign of the late 1930s; the temple became shelter to many religious artefacts. In addition to photographing this temple complex, Lumír Jisl photographed the tsam masks during research trips to at least three regional museums. This paper also describes the different goals and visions of both Lumír Jisl and Werner Forman when photographing the tsam masks, resulting in differing modes of execution. In conclusion, I examine the changes in perspective of the Buddhist monks following the general atmosphere of mistrust and fear engendered by the antireligion campaigns and repressions of the late 1930s, as well as the subsequent partial easing of these repressions. Not only were Forman and Jisl both invited to take photographs of religious artefacts, but they also received assistance in doing so. The Mongolian monks who helped Forman and Jisl had to accept, however, the drastically changed status of these artefacts: once sacred items used in religious ritual dance, they were now objects of Mongolian artistic heritage.
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Хертек, А. С. "Tuva and Mongolia: cooperation in the fine arts." Iskusstvo Evrazii [The Art of Eurasia], no. 3(22) (September 30, 2021): 116–25. http://dx.doi.org/10.46748/arteuras.2021.03.010.
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Статья посвящена культурным связям между Республикой Тыва и Монголией в связи со 100-летием российско-монгольских дипломатических отношений. Автор приводит обзор ряда фактов из истории тувинского и монгольского изобразительного искусства, совместных выставочных проектов. Так, ключевыми событиями, повлиявшими на творчество мастеров, стали первая крупная выставка тувинских художников и Нади Рушевой в Монгольской Народной Республике в 1984 году, другие выставки в Монголии, Москве и Туве, групповые обменные поездки монгольских и тувинских художников в XX–XXI веках. Важными для сотрудничества стали выставки 2017 года: рисунков Нади Рушевой в Улан-Баторе и восковых фигур «Хаан хаанов» из Музея Чингисхана (Улан-Батор) в Национальном музее имени Алдан-Маадыр Республики Тыва. The article is devoted to the issue of cultural ties between the Republic of Tyva (or Tuva) and Mongolia in view of the 100th anniversary of the Russian-Mongolian diplomatic relations. The author gives an overview of a number of facts from the history of Tuvan and Mongolian fine art, joint exhibition projects. Thus, the key events that influenced the work of the masters were the first large exhibition of Tuvan artists and Nadya Rusheva in the Mongolian People's Republic in 1984, other exhibitions in Mongolia, Moscow and Tuva, group exchange trips of Mongolian and Tuvan artists in the 20th and 21st centuries. Exhibitions of 2017 became important for the development of Tuvan-Mongolian cultural relations: drawings by Nadya Rusheva in Ulaanbaatar and wax figures “Khaan Khaans” from the Genghis Khan Museum (Ulaanbaatar) in the National Museum named after Aldan-Maadyr of the Republic of Tyva.
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Séfériadès, Michel Louis. "Neolithisation in Mongolia: the Mesolithic-Neolithic site of Tamsagbulag (Dornod district)." Documenta Praehistorica 31 (December 31, 2004): 139–49. http://dx.doi.org/10.4312/dp.31.10.
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The article outlines the first results of the French Archaeological Mission to Mongolia centered on the Neolithic. The topics discussed include general aspects of the initial Neolithisation in Eurasia, and the use of state-of-the art archaeological techniques in studies of Prehistory, with special reference to the Mesolithic/Neolithic interface, as exemplified by a survey and excavations in the area of Tamsagbulag site (Eastern Mongolia, aimak/district of Dornod) originally investigated by a Soviet-Mongolian mission directed by Professor A. P. Okladnikov, a renowned Russian archaeologist.
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Baranovitch, Nimrod. "The 2011 Protests in Inner Mongolia: An Ethno-environmental Perspective." China Quarterly 225 (February 5, 2016): 214–33. http://dx.doi.org/10.1017/s0305741015001642.
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AbstractIn May 2011, Inner Mongolia experienced the most serious ethnic unrest in the region for 30 years. In this article, I explore the broader context that led to the eruption of the protests, with a particular emphasis on environmental issues. My aim is to explain why environmental issues occupied such a prominent position in the protests, and how these issues were connected to ethnicity. After discussing the material and practical implications of grassland degradation for Mongolian herders, I analyse the symbolic implications of this environmental crisis for the Mongolian educated elite, who have linked environmental issues to ethnic politics and identity. I argue that in the last 20 years or so, Mongolian intellectuals have developed a highly ethnicized environmental discourse, and that this discourse played an important role in informing the 2011 protests. My analysis focuses on this discourse as it is manifested in the domains of art, academia and daily discourse.
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Сарантуяа, Б. "Works of Mongolian sculptors — graduates from the Ilya Repin Leningrad Institute for Painting, Sculpture and Architecture." Iskusstvo Evrazii [The Art of Eurasia], no. 3(30) (September 30, 2023): 106–19. http://dx.doi.org/10.46748/arteuras.2023.03.008.
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В статье изучается роль монгольских скульпторов — выпускников Ленинградского института живописи, скульптуры и архитектуры имени И.Е. Репина в развитии местной школы ваяния. Данный вопрос до сих пор недостаточно исследован в историографии монгольского искусства, а отдельные упоминания о деятельности этих мастеров в научной и научно-популярной литературе не складываются в целостную картину. Между тем произведения скульпторов-репинцев представляют интерес не только сами по себе, в плане их высокого художественного совершенства. Ими также обозначаются важные вехи в эволюции местной школы, поскольку в них были впервые поставлены и разрешены такие творческие задачи, за которые монгольские мастера до тех пор еще не брались. Благодаря этому на примере деятельности скульпторов — выпускников Репинского института можно в сжатом виде проследить траекторию развития всей скульптуры Монголии с середины XX века до наших дней. Главным новшеством для монгольской пластики прошлого столетия явилось возникновение в ней светской тематики и связанных с нею жанров портрета, памятника и монументальной скульптуры. Овладение их возможностями потребовало от местных мастеров основательной технической подготовки и знания базовых принципов художественной организации пластической формы. Какими стали первые шаги в этом направлении, показывает анализ творческой деятельности выдающегося монгольского скульптора А. Даваацэрэна, выпускника института 1956 года. Мастер поразительно широкого творческого диапазона (выполнял аллегории, исторические сцены, портреты, произведения монументально-декоративной скульптуры), он, помимо прочего, впервые в монгольском искусстве поставил вопрос о необходимости соединения навыков реалистической передачи окружающего мира с национальными традициями. Помимо Даваацэрэна, важную роль в развитии монгольской пластики на протяжении 1960-х и 70-х годов сыграли другие скульпторы-репинцы: Д. Санжаа, Л. Дашдэлэг, У. Болд и Ц. Доржсуурэн. С их именами связан ряд важных новшеств, в частности утверждение на монгольской почве типологии скульптурного монумента (мемориальный комплекс на Зайсан-Толгое в Улан-Баторе, открытый в 1979 году). С другой стороны, названные мастера вводили в монгольскую скульптуру новые изобразительные темы (в частности, тематику «сурового стиля») и практиковали работу с необычными для нее материалами, также начав постепенный отход от реалистических принципов, экспериментируя с художественными формами. Поэтому от их деятельности протягивается нить стилистической преемственности к произведениям скульпторов следующего поколения, среди которых важное место занимают имена Ц. Амгалана, Р. Энхтайвана, Б. Дэнзэна и других ваятелей. Многие из них начали свою деятельность еще в 1980-х годах, однако их творчество образовало плавный переход к современному монгольскому искусству скульптуры, развивающемуся во многом благодаря усилиям бывших студентов-репинцев. This article deals with the role of Mongolian sculptors — graduates from the Ilya Repin Leningrad Institute for Painting, Sculpture and Architecture in the process of development of the fine art in modern Mongolia. This question seems actual because there is no any specific study dedicated to these artists in the historiography of Mongolian art. Although some mentions could be found in scientific and popular-science books, it does not contribute significantly to the complete comprehension of this topic. Meanwhile, the artworks of Mongolian Repin-graduates deserve to be studied not only because of their extremely high artistic quality. Today, they serve as a sort of milestones in the process of studying Mongolian art because they demonstrate how some new and important tasks were resolved on their base in this country for the first time. In this way, such works help us to study the historical development of Mongolian sculpture as a whole beginning from the mid-20th century until nowadays. The most striking feature in this process was the emergence of secular subject-matters and, accordingly with this, new artistic genres such as portrait bust, sculptural monument and monumental sculpture. In order to create them, Mongolian sculptors had to possess fundamental technical skills and principles of representing sculptural forms. How it worked is clearly visible when we study the creative activity of an outstanding Mongolian sculptor A. Davaatseren who was the 1956-year graduate. He was very versatile producing allegorical pieces, historical scenes, portraits as well as some works of monumental decoration. For the first time in Mongolian art, he managed to combine realistic principles of depiction of the surrounding world with some elements of the national tradition in art. Along with Davaatseren, some other graduates from the Repin Institute played an important part in the process of development of Mongolian sculpture during the 1960th and 70th. Among those were D. Sanzhaa, L. Dashdeleg, U. Bold, and Ts. Dorjsuren. They introduced some very important novelties in Mongolian art of that time, in particular, developing completely new for this country type of the colossal monument which combined elements of architecture and sculpture (the Zaysan memorial complex, Ulaanbaatar, inaugurated in 1979). On the other hand, these masters introduced in Mongolian art new subject-matters as in the case of the so-called austere style, for example, and used new materials. Sometimes, they preferred to conduct original stylistic experiments while deviating from the principles of the Realist art. This provides a link with the next generation of Mongolian sculptors, among those were Z. Amgalan, R. Enkhtaivan, B. Denzen, and others. They started their careers in 1980th, but their sculptural works served as a base for the future development of the modern Mongolian art. This fact put an emphasis on the specific role of the Repin graduates in this process.
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Zhou, Xiangdong. "The Interest of Art Language in Inner Mongolian Ethnic Films and Televisions." Frontiers in Humanities and Social Sciences 3, no. 2 (2023): 24–27. http://dx.doi.org/10.54691/fhss.v3i2.3867.
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When look around, whether it is the western Hollywood commercial films or the eastern ethnic films, the pursuit of visual effects has become a belief in the process of filmmaking. Since the first minority film of new China, "The Victory of the Inner Mongolian People", won the screenwriting award at the 7th Karlovy Vary International Film Festival in Czech Republic, Inner Mongolian ethnic films have started to win awards in various international festivals. This paper first analyzes the use of art language in Inner Mongolian ethnic films, and then discusses its development difficulties and countermeasures.
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Baatarnaran, Tsetsentsolmon. "The Features of Musical Folklore in Mongolian Shamanic Chanting." Inner Asia 9, no. 1 (2007): 109–17. http://dx.doi.org/10.1163/146481707793646601.
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AbstractThis paper explores the specific features of musical folklore in Mongolian Shamanic tradition through the four essential features of folk art works, selectivity, existence, continuity and complexity. Adopting the systematic theory of Mongolian folklore including folk music which was developed by Jamtsyn Badraa, Mongolian folklorist, on the basis of Indian philosopher Nagarjuna’s Eightfold Negation, the author examines the chanting ways (formation or improvisation), functions (non- or multifunctional), learning process (transmission), and authorship (collectivity and individuality) of Mongolian Shamanic chanting.
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Han, Yuchen, and Lin Zhang. "Historical Evolution and Cultural Identity of National Dance: Taking Andai Dance as the Research Object." Herança 7, no. 1 (2023): 165–76. http://dx.doi.org/10.52152/heranca.v7i1.829.
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The Andai Dance is a traditional folk dance that spreads in the Horqin area of Inner Mongolia. It has strong local and national characteristics, and the dance style is passionate and generous, fully expressing the true feelings of the Mongolian people. It is a form of expression of national folk art integrated with singing and dancing performance and music singing. This paper profoundly explores and studies the inheritance and development of Mongolian Andai Dance in Horqin Grassland, including the form and characteristics of traditional Andai Dance. Understand the evolution of the movement and function of Andai Dance, let the new Andai Dance inherit the most vivid musical and dance elements of the traditional Andai Dance, protect and inherit the traditional culture, and explore the new development trend of Andai Dance in professional creation, performance, and mass popularization.
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Ли, Ч. "Mongolia stage decoration in the socialist period." Iskusstvo Evrazii [The Art of Eurasia], no. 3(22) (September 30, 2021): 90–103. http://dx.doi.org/10.46748/arteuras.2021.03.008.
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До появления профессиональных театров в Монголии театрализованные представления, мистерии и гимны, танец Цам, церемонии в честь Майтрейи, имеющие религиозное назначение, исполнялись в монастырях Их Хурээ, Эрдэнэ Зуу и некоторых крупных монгольских храмах. Результаты данного исследования показывают, что оформление религиозных и государственных театрализованных церемоний было разработано художниками и мастерами декоративно-прикладного искусства и предназначено для демонстрации на подмостках и на площади. Все типы мистерии были основой для развития декоративно-прикладного искусства, а именно для создания одежды и аксессуаров с активным использованием дерева, кости, камня, металла, кожи, бумаги и войлока. Таким образом, традиционные народные промыслы, такие как шитье, вышивание, ткачество, аппликации, резьба, тиснение и роспись, использовались для изготовления костюмов для Цама, масок и реквизита. Этот факт доказывает, что все виды декоративно-прикладного искусства, связанные с театрализованными церемониями, являются традиционным художественным творчеством. После Народной революции 1921 года в Монголии начало развиваться современное театральное искусство, которое создало условия для развития различных творческих профессий, связанных со сценой. Prior to the establishment of professional theaters in Mongolia, operas and hymns were performed at the Ikh Khuree, and Tsam dances and Maitreya ceremonies were held at the Ikh Khuree, Erdene Zuu, and some major Mongolian temples. The results of the research show that these works of art, religion, and state ceremonies were designed by artists and craftsmen who were trained in arts and crafts, and were designed to be placed on stage and in the square, and to create clothes and accessories. For example, using wood, bone, stone, metal, leather, paper, and felt, traditional folk crafts such as sewing, stitching, weaving, gluing, carving, embossing, weaving, and painting are used to make Tsam costumes, masks, and stage set. The fact that the Mongolian stage design is a traditional art activity proves that it was a traditional art activity. After the People's Revolution of 1921, Mongolians established modern theatrical art, which created conditions for the development of various professions created on stage. An integral part of the development of the theater is the stage design and decoration. Stage decoration can be considered as a collective work of playwrights, directors, actors, composers and stage artists.
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Varenov, Andrey V. "In Memoriam Gai Shanlin (1935–2020) – A Prominent Chinese Rock Art Researcher." Oriental Studies 19, no. 10 (2020): 162–66. http://dx.doi.org/10.25205/1818-7919-2020-19-10-162-166.
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Gai Shanlin (盖山林), of Manchu origin, was a native of Xingtang County, Hebei Province in China. He was born on 10 September 1935, and received higher education in Lanzhou city in 1960. Since 1962, Gai Shanlin was employed at the Inner Mongolian Archaeology of Cultural Heritage Research Institute. He was a prominent rock art researcher, considered to be No. 1 in China. Gai Shanlin was the first who discovered, described and published materials of the rock art sites of Inner Mongolia in the Yinshan mountains, the Wulanchabu grassland and the Badain Jaran Desert. During his life, he wrote about a dozen books and several hundred articles on the subject. Since 1988, Gai Shanlin was also a member of the China Association for Promoting Democracy. He was elected Vice-Chairman of the 9th CPPCC Inner Mongolia Autonomous Regional Committee in 2003 and held that post until 2008. Gai Shanlin aged 85 passed away on 9 February 2020, in Hoh-hot city.
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Шинковой, А. И. "Mongolian works of Buddhist art in the museums of Irkutsk: general characteristics of the collections." Iskusstvo Evrazii [The Art of Eurasia], no. 3(22) (September 30, 2021): 126–37. http://dx.doi.org/10.46748/arteuras.2021.03.011.
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В статье дается общая характеристика монгольских буддийских коллекций в Иркутском областном художественном им. В.П. Сукачёва и Иркутском областном краеведческом музее. Показана значимость и оригинальность монгольских коллекций в музеях; приведены краткие истории их формирования и способы комплектования фондов восточными произведениями искусства. Дается сравнительный анализ коллекций; в частности, отмечается, что предметы монгольских собраний Иркутского областного художественного музея, в отличие от коллекций Иркутского областного краеведческого музея, были освящены ламами. Приводятся описания наиболее значимых монгольских экспонатов, анализируются экспонаты религиозного культа. The article provides a general description of the Mongolian Buddhist collections in the Irkutsk Regional Art Museum named after V.I. Sukachov and the Irkutsk Regional Museum of Local Lore. The significance and originality of Mongolian collections in museums is shown; brief histories of their formation and methods of acquisition of funds with oriental works of art are given. Comparative analysis of the collections is given; in particular, it is noted that the items of the Mongolian collections of the Irkutsk Regional Art Museum, in contrast to the collections of the Irkutsk Regional Museum of Local Lore, were consecrated by lamas. Descriptions of the most significant Mongolian exhibits are given; the exhibits of the religious cult are analyzed.
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Уранчимэг, Д., and Е. В. Яйленко. "The artistic tradition of Russian Academism in Mongolian contemporary art (a study of the historical paintings by Mongolian artist B. Otgontuvden)." Iskusstvo Evrazii [The Art of Eurasia], no. 2(33) (June 28, 2024): 188–203. http://dx.doi.org/10.46748/arteuras.2024.02.013.
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В статье рассматриваются особенности развития в современном изобразительном искусстве Монголии академического направления, представленного творчеством выпускника Санкт-Петербургского академического института живописи, скульптуры и архитектуры имени И.Е. Репина, монгольского художника Б. Отгонтувдэна. Оно сохраняет большое значение уже потому, что дает возможность ответить на вопрос об актуальности академизма в художественной жизни Монголии, отмеченной отчетливым доминированием модернистских тенденций. Анализ произведений Отгонтувдэна на историческую тему позволяет показать, в чем заключается сущность творческой стратегии академизма, позволяющей ему сохранить общественную актуальность в условиях интенсивного поиска собственной национальной идентичности, что чрезвычайно характерно для современной Монголии. С другой стороны, на примере картин Отгонтувдэна хорошо видно, как академическому направлению в XXI веке удается успешно развивать основные типологические разновидности исторической картины, сформировавшиеся в предшествующую эпоху, и сопутствующие выразительные приемы. В статье показано, что главным залогом их эффективной адаптации к новой содержательной тематике, заимствованной из монгольской истории, служит ряд особенностей духовной и бытовой культуры современной Монголии, проявляющихся преимущественно в свойственном ей уникальном соединении примет прошлого и настоящего. This article examines some features of the development of the academic tradition in Mongolian contemporary fine art, represented by the work of a graduate of the Saint Petersburg Academic Institute of Painting, Sculpture and Architecture named after I.E. Repin, Mongolian artist B. Otgontuvden. It is of great historical and artistic interest since it allows us to answer the question about the relevance of academicism in modern conditions, marked by the clear dominance of modernist trends. An analysis of Otgontuvden’s works on a historical theme allows us to show what is the essence of the creative strategy of academicism, which allows it to maintain social relevance in the context of the search for the national identity, which is extremely typical for today’s Mongolia. On the other hand, the example of Otgontuvden’s paintings clearly shows how the academic movement in the 21st century manages to successfully develop the main typological varieties of historical painting that were formed in the previous era, and accompanying expressive techniques. The article shows that the main guarantee of their effective adaptation to new content themes, borrowed from Mongolian history, is a number of features of the spiritual and everyday culture of modern Mongolia, manifested mainly in its unique combination of signs of the past and present.
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Батхулэг, Э. "From the place of action to the space of meaning: Ch. Gungaasukh’s work and his role in the development of scenography art in Mongolia in the last third of the 20th century." Iskusstvo Evrazii [The Art of Eurasia], no. 2(33) (June 28, 2024): 112–29. http://dx.doi.org/10.46748/arteuras.2024.02.008.
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В статье рассматривается творческая деятельность выдающегося художника-сценографа, народного художника Ч. Гунгаасуха и анализируется его значительная роль в развитии театрально-декорационной живописи в Монголии XX века. Основу для их искусствоведческого изучения образует обширный изобразительный материал из фондов Театрального музея в Улан-Баторе, до сих еще в полной мере не известный специалистам. Анализ сохранившихся эскизов позволяет сделать вывод о том, что творчество Чойжылжавына Гунгаасуха сыграло определяющую роль в утверждении на монгольской сцене модернистских принципов декорационного решения, основу которых составило совершенно новое понимание задачи организации сценического пространства. Исследование показало, что использованные художественные приемы имели задачей усилить выразительный потенциал сценического оформления, превратив живописно-пластический образ в важнейший содержательный фактор театральной постановки. Кроме того, творчество Ч. Гунгаасуха сыграло ключевую роль в процессе утверждения на монгольской сцене 1970–1980-х годов национальной тематики, тем самым предвосхитив важнейшие тенденции в развитии современного монгольского искусства. This article examines the creative activity of the outstanding artist and scenographer, People’s Artist Ch. Gungaasukh and analyses his great role in the development of theatrical and decorative art in Mongolia. The basis for this art-historical study is formed by the extensive material of art, which is kept in the Theatre Museum in Ulaanbaatar and is still not fully known to specialists. The throughout analysis of the sketches allows us to conclude that the work by Ch. Gungaasukh played a decisive role in the dissemination of the modernist principles in the sphere of the theatre decorative painting on Mongolian 20th century scene. These principles were based on the completely new understanding of the spatial organization of the scene. Their consideration gives us an opportunity to conclude that the artistic techniques used by Ch. Gungaasukh were intended to enhance the expressive potential of the stage design, turning the pictorial image into the most important meaningful factor of the theatrical performance. In addition, the work by this artist played a crucial role in the process of establishing the national subject matter on Mongolian scene of the 1970s and 1980s, thus anticipating the most important trends in the development of Mongolian modern art.
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Fitzhugh, William W., and Jamsranjav Bayarsaikhan. "Khyadag and Zunii Gol: Animal Art and the Bronze to Iron Age Transition in Northern Mongolia." Vestnik of Saint Petersburg University. History 66, no. 3 (2021): 909–33. http://dx.doi.org/10.21638/11701/spbu02.2021.313.
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The Late Bronze Age Mongolian culture known for its memorial deer stones and khirigsuur burials, the Deer Stone-Khirigsuur complex (hereafter DSK) dating to 1300–700 BCE, displays persistence over several hundred years. Radiocarbon dates from hearths and horse remains associated with these sites show little change in architecture, ritual practice, and iconography, giving the impression of an unchanging mortuary cultural regime. New research demonstrates that deer stones are memorials to recently deceased leaders that display distinctive features of personal identification within the unifying framework of an over-arching religious theme represented by deer-bird iconography. Despite continuity, the DSK complex is not monolithic. This paper presents evidence for regional cultural and chronological variation in deer stone art and ceremonial activity based on research at the Khyadag and Zunii Gol sites in northcentral Mongolia. Areal excavation, detailed survey, and recording of deer stone art revealed the presence at Khyadag of a new class of miniature deer stones and evidence of copper smelting, and at Zunii Gol — an unusual khirigsuur associated with a deer stone carrying elements of Scytho-Saka animal style art. These data indicate geographic and chronological overlap in V. V. Volkov’s deer stone types and changes in deer stone art and khirigsuur ritual in the later period of the DSK complex. In the future, emphasis needs to be given to broad excavation strategies that explore the contextual history of individual DSK sites, dating of Volkov’s Type II and III deer stones, and regional comparisons with Xinjiang, Baikal, and the Mongolian and Gornyi Altai.
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Adilbyek, Mushyelkhan. "Монгол Алтайн хадны зураг дахь зарим нарийн зураасан зураг". Mongolian Journal of Anthropology, Archaeology and Ethnology 13, № 1 (2024): 65–72. http://dx.doi.org/10.22353/mjaae.2024130105.
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This article discuss a comparative analysis of the detailed images, methods, thematic compositions, and chronological context of incised graffiti found in the rock art of Tsagaan Salaa-Baga Oigor of Ulaankhus soum, Shiveet Khairkhan of Tsengel soum, and Khoid Khöltsööt in Buyant soum of the Bayan-Olgii Province, in the western region of the Mongolian Altai. At these three sites, a total of 24 incised images are present, showcasing depictions such as deer, which are frequently encountered in petroglyphs, alongside representations of humans and chariots. Chronologically, these carvings range from the Bronze Age to the Turkic period.
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Tsultemin, Uranchimeg. "Mongolian Art and the Dilemma of Himalayan Affiliation." South Asian Studies 34, no. 2 (2018): 137–53. http://dx.doi.org/10.1080/02666030.2018.1524883.
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Molodin, V. I., D. V. Cheremisin, Yu N. Nenakhova, and D. A. Nenakhov. "Unusual Plot of Bear Hunt in the Petroglyphs of Khara Jamat Gol (Mongolian Altai)." Problems of Archaeology, Ethnography, Anthropology of Siberia and Neighboring Territories 27 (2021): 551–56. http://dx.doi.org/10.17746/2658-6193.2021.27.0551-0556.
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The petroglyphs left by the inhabitants of the mountains and steppes of Eurasia are very numerous. The main subjects include hunting, warfare, weaponry, wheeled vehicles, and many more. For thousands of years, the most common subject was wild animals. The article presents a rare subject of petroglyphs from the Mongolian Altai. During the survey of the Khara Jamat Gol valley, accumulation of petroglyphs was found on the left bank of the river in the Sabi-Salaa area in the northwestern Mongolia near the Mongolian-Russian border. A multifigured composition of bear hunt with dogs chasing and attacking bears was pecked on a vertical slate slab. Hunters are armed with bows and clubs. The manner of rendering people and animals points to the Bronze Age as the time when this composition was created. In the mountains and steppes of Eurasia, bears were represented on the petroglyphs much less often than other animals, such as mountain goats, red deer, bulls, elks, wild boars, feline predators, and wolves). The interaction of bears and humans was reproduced only in two places in the Mongolian Altai. This rare subject finds parallels in the rock art of Fennoscandia. The composition of hunting bear with dogs is known from Pegtymel - the northernmost place of the Asian petroglyphs. Unusual subjects on the rocks of the Sabi Salaa in the Mongolian Altai and in the Tsagaan-Gol valley reflect the hunting practices of cattle breeders from the Sayan-Altai region in the Bronze Age. Obviously, brown bears would appear from time to time in high-mountain valleys of the Mongolian Altai and were hunted by the local population.
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Elikhina, Yu I. "The artistic Heritage of Dzanabadzar and his School preserved in the Collections of the State Hermitage." Orientalistica 3, no. 3 (2020): 662–80. http://dx.doi.org/10.31696/2618-7043-2020-3-3-662-680.
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The article deals with the heritage of the outstanding master of Mongolian art Gombodorzhiin Dzanabadzar (1635-1723) and his disciples, who formed the so-called “school of Dzanabadzar”. The actual subject to analysis are most significant works of Mongolian Buddhist art preserved in the collections of the State Hermitage / St Petersburg. These comprise bronze sculptures and scrolls (tankas), as well as fragments of Buddhist clay sculptures and some other items, which originate from the Sardag monastery, the moulds for which were designed by Dzanabadzar. To describe the holdings, the author uses comparative analysis of the Buddhist iconography and stylistics. The sculptural works of the master as well as his disciples are so diverse that it is almost impossible to ascertain two completely identical items. The same is relevant for the phenomenon of the Dzanabadzar school plastics. Only the images of the clay tathagatas where were used the moulds are completely identical. The article offers a cornucopia of material for further discussions regarding the Mongolian art preserved in the collections of the State Hermitage.
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Luvsanbaldan, Odontuya, and Munkhtuya Buyandelger. "CULTURAL RELATIONS BETWEEN MONGOLIA AND CHINA ON THE EXAMPLE OF SONGS." Mongolian Diaspora. Journal of Mongolian History and Culture 2, no. 1 (2022): 143–60. http://dx.doi.org/10.1515/modi-2022-020109.
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Summary Despite its long history as neighbors, the history of Mongolian-Chinese cultural relations, which at one time ignored each other and at other times advanced and cooperated with each other, covers a wide range of issues. We live in a time when war and peace are being resolved positively on the basis of mutual understanding and agreement between nations, and trade, economic and cultural relations are expanding globalization. The article explores the traditional relationship between Mongolian and Chinese music will not only improve the history of cultural relations between the two countries, but also contributes to the study of both Mongolian and Chinese literature as well as Mongolian-Chinese translation. We assume that the tradition of Mongolian-Chinese art and culture relations will become clearer if scholars continue to study the relationship between Mongolian and Chinese folk songs in depth from a theoretical and historical point of view, enriching them with new facts and materials, reviving, developing and defining their future.
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Gonchikova, Medegma Ts, and Rimma B. Dondokova. "FORMATION OF HUMAN RESOURCES IN THE BURYAT-MONGOLIAN ASSR IN THE FIELD OF MUSICAL CULTURE AND EDUCATION IN THE 1920S – 1930S." Arts education and science 1, no. 38 (2024): 102–6. http://dx.doi.org/10.36871/hon.202401102.
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One of the tasks of the state cultural policy in the 1920s and 1930s was to create the necessary conditions for the development of musical culture and education in the Buryat-Mongolian ASSR. To solve the problem of personnel training in this sphere, a number of activities were carried out: organization of training courses for cultural and educational work, amateur art instructors, attraction of specialists from the main cities of the country, development of the material base, search for various forms of financing. The most important events in that period were the opening of a children’s music school in Verkhneudinsk (since 1934 — the city of Ulan- Ude) and the first institution of secondary specialised music education — the Technical School of Arts, transformed in 1936 into a Theatre and Music College. The opening of the Technical School allowed the creation of theatres, orchestras, philharmonic society, and contributed to the further development of musical culture and art in the Buryat-Mongolian ASSR. To provide highly qualified personnel, the most talented musicians were sent for internships and studies to the leading universities in the country. As a result, the first decade of Buryat-Mongolian art, held in Moscow in 1940, showed a high level of achievement of creative and professional potential of its participants. Thus, in the 1920s and 1930s, the formation of human resources in the field of musical culture and education in the Buryat-Mongolian ASSR took place.
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Шишин, М. Ю. "Creativity of the Mongolian artist D. Enkhtaivan: stages of formation, key elements of the creative method." Iskusstvo Evrazii [The Art of Eurasia], no. 3(22) (September 30, 2021): 138–51. http://dx.doi.org/10.46748/arteuras.2021.03.012.
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В статье рассматривается творческий путь современного монгольского художника Данзанбалжира Энхтайвана, который смог достичь продуктивного синтеза лучших черт монгольской и российской школ искусства. Показано, что Энхтайван сумел воспринять от российской школы гуманизм, интерес к внутреннему миру личности, стремление к профессионализму и достижению высокой художественной выразительности. Монголия же дала ему бесконечное количество тем и идей. В эволюции его творческого метода заметно, что от плоскостной трактовки, от крупных пятен в колорите своих работ художник постепенно переходит к свободному мазку, к высокой пластической выразительности формы; но одновременно в повышенной цветовой интенсивности явно просматривается влияние монгольской школы с ее декоративностью и цветовой насыщенностью. Работы художника представлены в ведущих государственных музеях и частных галереях Монголии, Германии, Польши и других стран. The article examines the creative path of the modern Mongolian artist Danzanbaljir Enkhtaivan, who was able to achieve a productive synthesis of the best features of the Mongolian and Russian schools of art. It is shown that Enkhtaivan was able to perceive humanism from the Russian school, interest in the inner world of the individual, the desire for professionalism and the achievement of high artistic expression. Mongolia, on the other hand, gave him an infinite number of topics and ideas. In the evolution of his creative method, it is noticeable that from a flat interpretation, from large spots in the color of his works, he gradually passes to a free brushstroke, to a high plastic expressiveness of form; but at the same time, the influence of the Mongolian school with its decorative effect and color saturation is clearly seen in the increased color intensity. The artist's works are presented in leading state museums and private galleries in Mongolia, Germany, Poland and other countries.
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Zhang, Wuyun. "Khoomei Research on Singing Techniques and Stage Performance." International Journal of Education and Humanities 10, no. 1 (2023): 139–40. http://dx.doi.org/10.54097/ijeh.v10i1.11103.
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The Mongolian word "Khoomei" refers to a special sound emitted by exhalation from the lungs. Because of its unique and distinctive pronunciation, it is called "the oldest singing method in the world", which is a unique singing art in the world, because its unique pronunciation is that a person can make two parts at the same time.Therefore, Khoomei has extremely distinctive national characteristics. However, due to the influence of language and singing technology, the spread is not wide. Nowadays, only Mongolia, the Altai region of Xinjiang and the Republic of Tuva still has the vocal art of Khoomei, and Khoomei is on the verge of crisis in China. Therefore, for Khoom It is very necessary to analyze and study singing techniques and their stage performance research. This article discusses its development process and singing techniques for reference.
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Sanchez, Jamie N. "Repair: Mongolian Art as Reimagination of the Pastoral Identity." IAFOR Journal of Cultural Studies 5, no. 1 (2020): 81–93. http://dx.doi.org/10.22492/ijcs.5.1.05.
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Cheremisin, D. V., V. I. Molodin, L. V. Zotkina, D. Tseveendorj, and C. Cretin. "New Research of Earliest Rock Art in Mongolian Altai." Vestnik NSU. Series: History and Philology 17, no. 3 (2018): 57–77. http://dx.doi.org/10.25205/1818-7919-2018-17-3-57-77.
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Khazbulatov, A., L. Nekhvyadovich, and Zh Shaigozova. "Unity and diversity turko-mongol world: Kultobe settlement as a crossroads of religions and cultures." Pedagogy and Psychology 46, no. 1 (2021): 186–95. http://dx.doi.org/10.51889/2021-1.2077-6861.25.
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The culture and art of the Turkic-Mongolian world is one of the deepest subjects of the humanities, which again and again take the attention of researchers. The historical vicissitudes, which was formed over many centuries, contributed to spread Zoroastrianism, Manichaeism, Buddhism, Christianity and Islam in the Great Steppe. We can see it in unique art artifacts and architectural structures. This article is devoted to unity and diversity study of the Turkic-Mongolian world, based on the example of the Kultobe settlement, which is presented by the authors as the oldest peculiar crossroads of religions and cultures. The Kultobe settlement, during scientific years and archaeological research by the Kazakh Research Institute of Culture, truly unique material evidence (architectural objects and artifacts) was discovered, which allows us to speak of this unique monument of archeology as one of the “crossroads” of religions and cultures in the Turkic-Mongolian world. The Kultobe settlement and later Yasi, a spiritual and religious place, developed -Turkic Sufism. The famous Sufi and poet K.A.Yasawi lived and preached here. The work was prepared under the state assignment of the Altai State University, project №748715Ф.99.1.ББ97АА00002 “The Turkic-Mongolian world of the “Greater Altai”: unity and diversity in history and modernity.”
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Tserendorj, Batbaatar. "Historical Development of Mongolian Press Photography." Mongolian Journal of Humanities and Social Sciences 8, no. 17 (2023): 93–105. http://dx.doi.org/10.69542/mjhss.v8i17.3422.
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How long has press photography developed in Mongolia, some of the measures taken to develop it, how it has developed, and the current situation will be briefly discussed. Having Mongolian photojournalists At the national level, it has been developing as a type of photojournalistic activity since the middle of 1940. Since then, the daily newspapers "Unen", "Höldölmör", "Zaluchuudyn Unen", "Pioneer's Unen", "Ulaanbaatar News", "Literature Art", "Ulaan Od", "Ekh orny Manaa" newspapers, "Modern Mongolia", "Science and life" magazine, State Photo and MONCAME agency have many photojournalists and photo reporters working. By the 1970s, the photography report type had been steadily developed and photographs, photo news, reports, and portraits taken by our first photographers were published regularly. Issue of phasing of the development of photojournalism in Mongolia. In this study, the development of Mongolian photography, especially the history of photojournalism is reviewed in phases as follows: The beginning of photojournalism in Mongolia - 1940 - early 1960s. The period of development of Mongolian professional photojournalism - from 1980 to 1990 Photojournalism of market and social transition period – 1990-2010, From 2011 until now, as "Digital or modern photojournalism". Thus, the photojournalism development can be reviewed in 5 phases. We considered in addition to the development of photography technology, the time when professional photographers appeared. As for today, the role of photography in the media is increasingly decorating the appearance of newspapers, and the quality of the information delivered to the readers is becoming a unique pattern. Монголын хэвлэлийн гэрэл зургийн түүхэн хөгжил Хураангуй: Монголд хэвлэлийн гэрэл зураг хэдий үеэс үүсэж хөгжсөн, түүнийг хөгжүүлэх талаар авч хэрэгжүүлсэн зарим арга хэмжээ, хэрхэн хөгжиж ирсэн чиг хандлага, одоогийн нөхцөл байдлын талаар товч авч үзэх юм. Монголд анх гэрэл зураг хөгжсөн нь хэвлэл мэдээллийн гэрэл зураг, гэрэл зургийн сэтгүүл зүй хөгжих үндэс болсон бөгөөд үндэсний гэрэл зургийн сэтгүүлчид төрж, мэргэжлийн төвшинд хөгжүүлэх талаар төр, засгаас авч хэрэгжүүлсэн олон талт арга хэмжээний үр дүнд тусгайлсан мэргэжлийн гэрэл зургийн сэтгүүлчдийг гадаадын их, дээд сургуульд сургаж, дээд боловсрол эзэмшүүлж байжээ. Фото сэтгүүл зүйд залуу үе түрэн гарч ирэхийн зэрэгцээ тодорхой төрөл, сэдэв, чиглэлүүдээр дагнасан сайн дурын клуб, бүлэг, нийгэмлэг, агентлаг болон ажиллаж байгаа нь гэрэл зургийн сэтгүүл зүйн хөгжлийн мөн нэгэн хэлбэр гэж болно. Өдөр тутмын сонин, сэтгүүлүүд болон хэвлэл мэдээллийн хэрэгслүүд өөрийн редакцадаа /зарим нь редакцтай эсэхэд эргэлзээтэй/ гэрэл зургийн редактор байтугай сурвалжлагч, гэрэл зурагчингүй ажилладаг. Олонх нь интернэтээс зургаа авч байгаа нь энэ цагийн гэрэл зургийн сэтгүүл зүйн хөгжилд ухралт болдог. Гэвч хөгжил дэвшилд дамжих, туулах ёстой “тийм” цаг үе, зүй тогтол гэж бий гэдэг. Цаашид бид гэрэл зургийн сэтгүүл зүйн хөгжлийг үечилж, тухайн үеийн байдал, өнөөгийн төвшинд хүрэхэд хэрхэн нөлөөлсөн талаар нарийвчлан судлах хэрэгцээ энэ салбарт бий. Түлхүүр үг: Фото сэтгүүл зүй, түүхэн фото, фото зургийн хөгжил
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Бардалеева, С. Б. "Collection of the Buddhist sculptures of Mongolia of the National Museum of the Republic of Buryatia." Iskusstvo Evrazii [The Art of Eurasia], no. 3(22) (September 30, 2021): 68–77. http://dx.doi.org/10.46748/arteuras.2021.03.006.
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В статье впервые рассматривается собранная Национальным музеем Республики Бурятия коллекция буддийской скульптуры Монголии, связанной с именем Г. Дзанабадзара (1635–1723), основоположника монгольской школы в буддийском искусстве. В ходе изучения коллекции использовалась визуальная и сравнительная методика, а также знакомство с авторскими работами Мастера в музеях Монголии. В результате были выявлены три группы буддийских скульптур с характерными особенностями этой школы: цельное толстостенное литье, блестящая позолота, комбинированное золочение, особая техника освящения скульптур. Ярким украшением коллекции является авторская работа самого Дзанабадзара — скульптура Будды долголетия Амитаюса. Кроме того, около тридцати скульптур XVIII–XIX вв. представляют его школу. Третья группа скульптур состоит из поздних работ монгольских мастеров в виде реплик и подражаний. О коллекции монгольской скульптуры музея упоминалось в сообщении автора статьи на научной конференции в Монголии, посвященной 370-летию Дзанабадзара. Целью данной статьи является возможность ознакомить читателей с «эталонными» работами Великого Дзанабадзара и его школы, создавших базу для творчества следующих поколений художников. The collection of the Buddhist sculpture of Mongolia, which is related to the founder of the Mongolian school in the Buddhist art G. Zanabazar (1635–1723), is observed for the first time at this article. The process of research of the collection involved visual and comparative methods as well as conversance with the master’s works in museums of Mongolia. As a result, three groups of the Buddhist sculptures with special features of the school were fetched out: one-piece and heavy-walled casting, lucent gilding, special technic of sculpture consecrating. The collection cherry on top is Zanabazar’s own work — a sculpture of Buddha of longevity Amitayus. Furthermore, about thirty sculptures of 18th – 19th centuries represent his school. The third group of the sculptures consists of late works of Mongolian masters by way of replica and imitating. This collection of the Mongolian sculptures of the museum was mentioned by the article author at scientific conference in Mongolia dedicated to the 350th anniversary of Zanabazar’s birth. The article aim is to introduce to the readers the “reference” works of the great Zanabazar and his school, which prepared a basis for creation for the next generation of artists.
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Molodin, V. I., J. M. Geneste, L. V. Zotkina, D. V. Cheremisin, and C. Cretin. "The “Kalgutinsky” Style in the Rock Art of Central Asia." Archaeology, Ethnology & Anthropology of Eurasia 47, no. 3 (2019): 12–26. http://dx.doi.org/10.17746/1563-0110.2019.47.3.012-026.
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On the basis of petroglyphic sites Kalgutinsky Rudnik (Kalgutinsky mine) on the Ukok Plateau, Baga-Oigur and Tsagaan-Salaa in northwestern Mongolia, a distinct “Kalgutinsky” style of rock art of the Russian and Mongolian Altai is described. The distance between these sites is about 20 km. This group is marked by very specifi c stylistic features, common technological properties, a narrowly defi ned motif, featuring only animals, and a very intense desert varnish. All these features and the proximity of the sites suggest that they should be regarded as a special group, which we term the “Kalgutinsky” style and date to the Upper Paleolithic on the basis of several criteria. Images of mammoths at Baga-Oigur and Tsagaan-Salaa are similar to those known in the classic Upper Paleolithic cave art of Western Europe. An entire set of stylistic features typical of the “Kalgutinsky” canon is seen also in the representations of mammoths, and this manner is consonant with that of European Upper Paleolithic rock art. Our fi ndings suggest that a peculiar “Kalgutinsky” style existed and, moreover, that it represented a separate Central Asian locus of Upper Paleolithic rock art.
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Varenov, A. V. "Medieval Chinese Painting «Nomads», Boqtag and Rock Carvings of Human Figures in Long Robes from Khakasia in South Siberia." Vestnik NSU. Series: History and Philology 21, no. 10 (2022): 37–50. http://dx.doi.org/10.25205/1818-7919-2022-21-10-37-50.
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The author recollects his first ‘in-person’ acquaintance with petroglyphs of South Siberia under the tutorship of his teacher V. E. Larichev. The main interpretations of figures in long robes (so-called «boots») engraved on planes of Oshkol pisanitsa and other adjacent rock art sites of Northern Khakassia are enumerated. Arguments by S. V. Pankova in favour of their interpretation as Manichean or Buddhist priests and their attribution to Tashtyk culture time are considered. The author tries to present alternative interpretation and dating of figures in long robes. He proposed the 13th century Chinese painting «Nomads» depicting two women in boqtag – traditional headdress of Mongolian nobles – as the ichnographically closest analogy to Khakas rock art «boots». A brief overview of Russian boqtag studies is given. The author mentions articles by M. V. Gorelik, N. V. Khripunov, E. P. Myskov, Z. V. Dode, A. A. Tishkin, S. A. Pilipenko, L. E. Maklasova and others. He presumes that Chinese Medieval scroll «Nomads» depicted a Mongolian wedding train and rock engravings of figures in long robes in Khakassia reflected matrimonial contacts of Yenisei Kyrgyz leadership with Mongolian nobles.
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Narankhuar, N. "MONGOLIAN DANCE «ANDAI»: FROM SHAMANIC MYSTERIES TO MODERN CHOREOGRAPHIC ART." Вестник Восточно-Сибирского государственного института культуры 176, no. 1 (2019): 99–107. http://dx.doi.org/10.31443/2541-8874-2019-1-9-99-107.
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Төрбат, Цагаан, Нацаг Батболд та Бихумар Өмирбек. "Бага Ойгорын палеолитын хадны зургийн дурсгал". Mongolian Journal Anthropology, Archaeology and Ethnology 12, № 1 (2023): 27–35. http://dx.doi.org/10.22353/mjaae.2023120102.
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In 2004, Ts. Turbat made a discovery of a significant site of engraved rock art, dating back to the Upper Paleolithic period. Situated on the south bank of the Baga Oigor River, this remarkable site lies within the protective zone of the World Heritage site of the Mongolian Altai rock art complex. The Baga Oigor-VI complex boasts an impressive array of 41 depictions featuring animals such as horses, ibex, argali, deer, cattle, and snakes from the Upper Paleolithic period, complemented by an additional 16 images originating from the Bronze Age, constituting a total of 57 images. Noteworthy is the superior preservation status of this monument, eclipsing that of comparable sites and presenting unparalleled clarity in visibility. The scarcity of open Paleolithic rock art sites across the globe that bear resemblance to this exceptional find underscores its singular nature. The geographically nearest analogous site of significance is the Gobustan monument in the South Caucasus followed by largest concentration of similar monuments in Iberian peninsula. Beyond the renowned ochre paintings of the Khoid Tsenkher Cave, an extensive exploration of carved rock art open air monuments is underway, elevating the Mongolian Altai region to the status of a pivotal hub in the realm of ancient art. The sheer abundance and widespread distribution of these monuments contribute to its characterization as a veritable “cradle of prehistoric art”.
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Syrtypova, S. Kh D. "Vajradhara Buddha in Mongolia." Orientalistica 2, no. 1 (2019): 62–76. http://dx.doi.org/10.31696/2618-7043-2019-2-1-62-76.
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Abstract: the article deals with the Vajradhara Buddha iconography and sculptural images. Vajradhara is a symbol of the dharmakaya i.e. the primordial Buddha, the fundamental principle of the whole pantheon of deities of the Vajrayana. Due to the genius and inspirations of Zanabazar (1635–1723), the great artist and the spiritual leader of Mongolia, the Adi-Buddha Vajradhara became the holiest figure in Mongolian Buddhism and also religious symbol of the whole country. The author analyses various sculptural images of Vajradhara both as single deity and as a yab-yum symbol (a representation of the primordial union of wisdom and compassion, depicted as a male deity in union with his female consort) by Ӧndӧr Gegen Zanabazar or related to him. The artefacts are currently being preserved in the Buddhist monasteries, temples and the museums of art as well as in private collections in Mongolia. The latter have not yet received their full description and often remain unrecorded.
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Molodin, V. I., D. V. Cheremisin, N. Batbold, Yu N. Nenakhova, L. V. Zotkina, and B. Umirbyek. "New Petroglyphs of the Baga-Oygur River (Right Bank) in Northwestern Mongolia." Vestnik NSU. Series: History and Philology 23, no. 5 (2024): 95–105. http://dx.doi.org/10.25205/1818-7919-2024-23-5-95-105.
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Purpose. The prehistory of the Mongolian Altai is represented by chronologically various archaeological sites, especially the rock art ones. In 2023 (as part of 2019 season), the Russian-Mongolian expedition continued to study the rock art complexes in northwestern Mongolia.Results. On the right bank of Baga-Oygur River, 7 new petroglyphs locations were discovered; the photo and graphic documenting of multi-temporal compositions was performed. In particular, the earliest petroglyphs of the “Kalguty” style were studied. Conclusion. Dozens of images refer to the Bronze Age; images and scenes of the Early Iron and Medieval periods are also discovered. Along with the points where petroglyphs are concentrated and strictly localized, a wide distribution of petroglyphs was noted on boulders lying on coastal terraces, as well as on rocky outcrops and on the peaks of the mountain frame of the river.
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Уранчимэг, Д., and Е. В. Яйленко. "The art of Dagdangijn Amgalan: features of stylistic development and artistic content." Iskusstvo Evrazii [The Art of Eurasia], no. 4(31) (December 29, 2023): 192–205. http://dx.doi.org/10.46748/arteuras.2023.04.012.
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В статье рассматривается творчество выдающегося монгольского художника XXвека Дагдангийна Амгалана. До сих пор оно еще мало изучено и к тому же недостаточно известно в России, хотя роль Амгалана в развитии изобразительного искусства Монголии представляется исключительно важной. Основная задача данной статьи состоит в создании научно-методологической основы для систематизации обширного фактического и историко-художественного материала, впервые в таком объеме публикуемого в отечественной научной периодике. Впервые прослеживается творческая эволюция монгольского художника, обозначаются и характеризуются ее отдельные этапы, раскрывается стилистическое и идейно-содержательное своеобразие каждого из них. Отдельно рассматриваются вопросы о том, какую роль сыграло творчество Амгалана в распространении в монгольском искусстве «сурового стиля» и как изменились на местной почве его заимствованные формальные и тематические принципы. Также показано, что Амгалан стоял у истоков возрождения национальной традиции в художественной школе Монгольской Народной Республики, причем в качестве основного достижения в данной области рассматривается оформление Дворца бракосочетания в Улан-Баторе, выполненное по его проектам. Однако, в то же самое время, будучи необычайно разносторонним художником, во второй половине 1970-х годов Амгалан выполнил ряд картин, в которых получили отражение идеи модернизма. This article investigates artistic legacy of Dagdangijn Amgalan, an outstanding Mongolian artist of the 20th century. Although he played a significant part in the development of Mongolian art, his oeuvre hasn’t been studied yet in a satisfactory way and hasn’t still been well-known for Russian readers. The main goal of this article consists in providing the solid scientific base for the systematization of a great number of facts and artworks connected to Amgalan. This new material has never been introduced to the scientific research in the Russian Federation. The article provides an overview of the whole development of Amgalan as a painter and designates individual stages in this process as well as their peculiar features in what concerns style and subject-matter. It also examines how Amgalan contributed to the dissemination of the principles of the “austere style” in Mongolian art as well as further development of its stylistic principles and content. It has also been demonstrated that Amgalan was an initiator of the revival of the vernacular artistic tradition in the art of the Mongolian People’s Republic. His main achievement in this sphere constitutes the inner decoration of the Matrimonial Palace in Ulaanbaatar. Nevertheless, at the same time, in the late 1970s Amgalan produced some paintings related to the concept of Modernism.
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Na Ri, Ge Le. "Characteristics of Mongol Figures in Persian Miniature Paintings." Highlights in Art and Design 4, no. 2 (2023): 62–64. http://dx.doi.org/10.54097/hiaad.v4i2.12855.
Full textAbstract:
Among art categories, Persian miniature paintings have a very high reputation. Persian miniature paintings are also called Iranian miniature paintings. Persian miniature paintings first appeared in illustrations in books. Miniature painting began to have a significant Mongolian style in the 13th century AD. At the same time, it was influenced by Mongolian art and finally reached its peak in the 15th and 16th centuries. Because the Mongols at that time wanted to write "Historical Collection" and other similar types of works, they added some illustrations. This movement effectively promoted the development and growth of Persian miniature painting in the world, allowing Persian miniature painting known to more people, and the development of Persian miniature painting has broken the previous constraints on figure painting in Islamic countries and created its own distinctive artistic style. After relevant investigation and understanding, it was found that the current academic research on Persian miniature paintings is mostly around the techniques, composition and color of Persian miniature paintings. For this reason, this thesis research will mainly be based on the research of other scholars. In it, the image of Mongolian figures in Persian miniature paintings is discussed in detail to deepen the understanding of Persian miniature paintings.
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Bayarsaikhan, Solongo, Davaalkham Jagdagsuren, Batbaatar Gunchin, and Tsogtsaikhan Sandag. "Survival, CD4 T lymphocyte count recovery and immune reconstitution pattern during the first-line combination antiretroviral therapy in patients with HIV-1 infection in Mongolia." PLOS ONE 16, no. 3 (2021): e0247929. http://dx.doi.org/10.1371/journal.pone.0247929.
Full textAbstract:
Mongolia has a low incidence of human immunodeficiency virus (HIV) infection, with 281 cases reported at the end of 2019 and an estimated incidence rate of <0.01 cases per 1000 population. However, no study has analyzed the association between antiretroviral therapy (ART) outcomes and pretreatment characteristics of patients with HIV/acquired immunodeficiency syndrome (AIDS) in Mongolia. This retrospective study aimed to determine the survival, CD4 T cell recovery, and immune reconstitution pattern during ART in HIV patients and to determine baseline patient characteristics associated with ART outcomes. Based on three different World Health Organization (WHO) guidelines, we analyzed the 3-year observation data of 166 patients with HIV/AIDS who received treatment between 2010 and 2017. An increase of >50 cells/μL indicated CD4 T cell count recovery, and a cell count of ≥500 cells/μL in patients with a baseline cell count of <500 cells/μL indicated immune reconstitution. In this study, the 3- and 1-year mortality rates were 5.4% (survival rate: 94.6%) and 3.6%, respectively. A total of 83% of deaths that occurred in the observation time occurred within the first 3 months. The CD4 T cell count recovery rates at 3, 12, and 36 months were 62.7%, 80.7%, and 89.2%, respectively. The CD4 T cell count increased to >500 cells/μL in 95 of 145 (65.5%) patients with a baseline cell count of <500 cells/μL after 36 months of ART. The baseline CD4 T cell count was found to be a sensitive indicator for immune reconstitution. An advanced pretreatment clinical stage of HIV infection (as classified by the WHO classification), a low CD4 T cell count in the peripheral blood, and a high viral load before the initiation of the first-line ART accurately predicted survival, CD4 T cell count recovery, and immune reconstitution in Mongolian patients with HIV/AIDS.
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Batorova, Elena A., and Elvira N. Raitsanova. "Female Jewelry of the Mongolian People in the Collection of the V. A. Obruchev Kyakhta Local Museum." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 2 (2022): 260–71. http://dx.doi.org/10.15826/izv2.2022.24.2.038.
Full textAbstract:
This article examines the Mongolian female jewelry collection of the Kyakhta Local Museum amounting to almost a hundred and fifty items. The collection started with expeditions of the Russian Geographical Society in the early twentieth century and continued throughout the Soviet period when it was significantly enlarged with items from various regions of Buryatia. According to the museum’s documents, and most of the items are still unidentified, the collection consists of scattered items or their individual elements which need proper research and technical expertise. During their examination of the said items, the authors solve several problems, i.e. they analyse and describe the art piece, the semantics of the ornamentation, identify the scrambled elements and pieces of jewelry used in the traditional costume of the Buryat regions. The authors use the iconographic, iconological, and comparative methods. The full set of female jewelry for the Mongolian people adorns the head, the neck, the chest, the shoulders, the waist and both arms. The article only focuses on headpieces and items worn hanging from the temples all the way down to the chest. It includes the description of silver decorations used for the top of male and female hats, and techniques for their differentiation. The study attempts to attribute the jewelry to define its affiliation with a specific Buryat ethnic group, as different areas of Buryatia and Mongolia have their own variations and artistic identities expressed in the traditional costume of their tribes and families. The article describes three items of Mongolian female jewelry. The authors aim to continue the research by focusing on each group of female jewelry attire with reference to comparable material from different museums.