Relevant bibliographies by topics / Painting, Mongolian

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Academic literature on the topic 'Painting, Mongolian'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Painting, Mongolian"

1

Arkhypova, Ye I. "BYZANTINE STONE ICON OF THE VIRGIN HAGIOSORITISSA FROM VSHCHIZH." Archaeology and Early History of Ukraine 35, no. 2 (June 30, 2020): 361–67. http://dx.doi.org/10.37445/adiu.2020.02.28.

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The fragment of stone icon with the image of Virgin, outstretching her arms in prayer, has been found in 1949 during the excavations of B. A. Rybakov on the site of Vshchizh, the small city of Chernigov principality. After the invasion of Batu Khan in 1238 it was destroyed and depopulated until the 16th century. T. V. Nikolaeva included the icon into the catalog of Rus stone icons as local craftsman’s production of 12th (?) century, exquisitely made and preserved the painting. The icon has been reproduced on the poor-quality black and white photography and for a long time did not attract the attention of researchers. The examination of digital image of the icon showed that T. V. Nikolaeva opinion was incorrect. The icon preserved not only the painting but also the gilding and Greek letters of dipinto representing the monogram of Mother of God. Usually the dipinti or their traces preserve very poorly on a stone and bone, especially on the icons which have been worn on the breast. The painted inscriptions were wiped away and later replaced by carving or repainting. Gilding, painting and dipinti are known on the Byzantine stone and bone icons but they have not been found on the icons made by Rus craftsmen in pre-Mongolian time. The using of all these techniques, fine relief, thickness of the plate (less than 1 cm) permit to consider the icon from Vshchizh the work of Byzantine, probably Constantinople, craftsman. The iconography makes it possible to attribute the image of Virgin to the type of Hagiosoritissa, and the style permits to date the icon to the second half of 12th — the beginning of 13th century.
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Ikkert, Tat'yana Valer'evna. "PROSPECTS FOR COMPREHENSIVE STUDY OF THE MONGOLIAN TRADITIONAL PAINTING MONGOL ZURAG (BY THE EXAMPLE OF B. SHARAV’S PICTURES)." Manuscript, no. 11 (November 2019): 322–26. http://dx.doi.org/10.30853/manuscript.2019.11.60.

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Heroldová, Helena. "“Father and Mother”: Tantric Couples in the Collection of the Náprstek Museum and the History of the Collection Description." Annals of the Náprstek Museum 37, no. 1 (2016): 71–86. http://dx.doi.org/10.1515/anpm-2017-0005.

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The first part of the study is devoted to the history of scholarly description of the Tibetan and Mongolian Collection in the Naprstek Museum, namely to the work of Lumir Jisl (1921-1969). The second part focuses on the iconography of Tantric couples on small votive Buddhist paintings from Mongolia.
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Song, Yang. "A Study of the Intercourse between Zhang Yu and Yu Ji---the Calligrapher in Yuan Dynasty." Region - Educational Research and Reviews 3, no. 2 (April 19, 2021): 5. http://dx.doi.org/10.32629/rerr.v3i2.294.

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In the Yuan Dynasty, the minority nationalities was entered the Central Plain for the first time in Chinese history. During this period, although the status of Chinese people and intellectuals was low, their ideological control was loose, thus forming a unique literary style. The rapid promotion of the status of the humanities such as painting, calligraphy and literature in the life of the scholars brought about a brand-new attitude towards life, especially in the late Yuan Dynasty, the humanities taste and the artistic orientation showed many new changes. And the development of literature, calligraphy and painting in the Song Dynasty, as well as the establishment of the regime in the Yuan Dynasty all accelerated this process.. Facing the setbacks brought by the Mongolian yuan rule, some intellectuals turned to create an atmosphere through some group activities of calligraphy and painting in this period, and literature and art were also given a higher status. As a famous calligrapher in the middle and late Yuan Dynasty, Zhang Yu was also an influential Taoist and poet. On the basis of studying Zhang Yu's calligraphy art, this paper analyzes his social intercourse and its influence on his calligraphy thoughts and artistic style. Especially in calligraphy, he was first taught by Zhao Mengfu, and then learned from Huaisu and Zhang Xu, forming a handsome and free style, which is very valuable. In addition, he made many friends all his life. After becoming a monk, he traveled to various famous mountains in the south of the Yangtze River and made friends with famous people. Therefore, studying the intercourse between Zhang Yu and yu Ji can restore the real situation of the Literati's communication in the middle and late yuan dynasty, understand the multiple Zhang Yu's accomplishments of Taoism, poet and calligrapher, and better understand the relationship between Zhang Yu and Yu Ji, It can also learn about his experience of learning calligraphy and the internal and external causes of the formation of his calligraphy style, and the influence and function of Mingxi Literati's elegant and Yuji's intercourse on the formation of his artistic style.
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A., Mukhareva A. N. ,., and Seregin N. "Petroglyphes of the Early Medieval Age in the Territory of Mongolia: the Main Stages And Results of Research." Teoriya i praktika arkheologicheskikh issledovaniy 33, no. 1 (2021): 144–61. http://dx.doi.org/10.14258/tpai(2021)33(1).-09.

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the territory of Mongolia. The process of accumulation and diverse interpretation of information about rock paintings, as well as images on “memorial” objects dating back to the second half of the 1st millennium AD is characterized. The analysis of the main results of the study of the petroglyphs of the early medieval nomads of the region allowed the authors to identify several key stages in the history of their study. The first stage, within which the initial formation of the source base took place, is associated with the discovery and fixation at the end of the 19th century of stylized images of goats, carried out as a rule in the study of epigraphic sites. The beginning of the second stage coincides with the large-scale archaeological research that took place in Mongolia in the middle of the 20th century. The third stage, which began in the mid-1970s, marked the expansion of scientists’ ideas about the rock art of the population of Mongolia in the second half of the 1st millennium AD, as well as the identification of various pictorial layers in it. Within the framework of the modern period (since the mid-1990s), approaches to the study of early medieval petroglyphs are being improved, new sites are being discovered, as well as a more detailed study of already known complexes. The article contains images recorded during the field research of the authors as part of the Buyant Russian-Mongolian archaeological expedition. Keywords: Mongolia, petroglyphs, early Middle Ages, history of research, periodization Acknowledgements: The research was carried out with the financial support of the Russian Foundation for Basic Research and the Ministry of Culture, Education, Science and Sports of Mongolia in the framework of the scientific project No. 19–59–44013 “Historical, Cultural and Ethnogenetic Processes in Mongolia during the Great Migration and the Early Middle Ages: an Interdisciplinary Analysis of Archaeological and Written Sources”.
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6

Sharaeva, Tatyana I. "Особенности иконографии в калмыцкой вышивке: традиционные и современные практики." Oriental Studies 14, no. 2 (July 20, 2021): 314–36. http://dx.doi.org/10.22162/2619-0990-2021-54-2-314-336.

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Introduction. The Kalmyks are a Mongolic Buddhist people that arrived in the Volga region in the 17th century. The specific ethnic features of Buddhism professed by the Kalmyks took shape over centuries of Russian suzerainty and were determined by various historical factors, including prolonged remoteness from Buddhist centers, the total eradication of Buddhist monasteries and centuries-long ban on spiritual guidance experienced in the 20th century, and the official Buddhist restoration by the early 21st century. Goals. The work aims at identifying and comparing traditional and contemporary Buddhist thangka patterns as elements to mirror particular features of Kalmyk iconography, as essential objects of religious cult and cultural heritage at large. Results. The paper shows that in the pre-20th century period Kalmyks used different techniques for producing thangkas — painting, embroidery, and applique ones. In the late 18th century onwards, imports of religious attributes from Tibet and Mongolia were restricted, and the role of art workshops affiliated to local Buddhist temples increased. That resulted in further development of thangka painting schools and the shaping of somewhat ethnic style in depicting Buddhist deities characterized by certain differences from canonical images. The old thangkas from private and public collections have served a basis for the restoration of ethnic painting traditions integral to Kalmykia’s Buddhism proper. The contemporary practices of producing divine images are closely related to stages in the regional development of Buddhism from the late 20th century to the present, lay Buddhist experiences, women’s leisure-time activities, and ethnic entrepreneurship. The study concludes contemporary Kalmyk needlewomen are guided by traditional rules of religious craftsmanship.
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7

Devlet, Ekaterina G., D. Uranchimeg, B. Bayartur, Yuri M. Svoyskiy, and Ekaterina V. Romamenko. "GACHUURT ROCK ART PAINTINGS IN MONGOLIA: RECONSIDERATION." Journal of historical philological and cultural studies 2, no. 60 (June 30, 2018): 101–15. http://dx.doi.org/10.18503/1992-0431-2018-2-60-101-115.

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8

Korotkov, M. V. "Restoration and storage of Buddhist painting from the Khara-Khoto collections of XII–XIV centuries." Vestnik of Saint Petersburg State University of Culture, no. 3 (44) (September 2020): 57–62. http://dx.doi.org/10.30725/2619-0303-2020-3-57-62.

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The paper is devoted to the conservation and early stages of maintenance and storage of the unique collection of Buddhist painting that was gathered by P. K. Kozlov in Mongolia in 1907–1909, 1926 and now belongs to the State Hermitage museum. History of its primary conservation is reconstructed using previously unexplored archival data. Of special interest are conditions of maintenance and actions taken to protect the monuments before they were given to the Hermitage. The article also analyses reasons why damage was caused to them. All this information is essential for fi guring out modern methods for their restoration that is a job of the Laboratory of scientifi c restoration of eastern painting of the Hermitage. The research goes beyond local museum practices as it helps to defi ne general problems in restoration of Buddhist painting
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Tamang, Deepak Dong. "A Comparative Study of Bhavacakra Painting." Historical Journal 12, no. 1 (December 31, 2020): 80–96. http://dx.doi.org/10.3126/hj.v12i1.35447.

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The Bhavacakra is a symbolic representation of Samsara, a powerful mirror for spiritual aspirants and it is often painted to the left of Tibetan monastery doors. Bhavacakra, ‘wheel of life’ consists of two Sanskrit words ‘Bhava’ and ‘Cakra’. The word bhava means birth, origin, existing etc and cakra means wheel, circle, round, etc. There are some textual materials which suggest that the Bhavacakra painting began during the Buddha lifetime. Bhavacakra is very famous for wall and cloth painting. It is believed to represent the knowledge of release from suffering gained by Gautama Buddha in the course of his meditation. This symbolic representation of Bhavacakra serves as a wonderful summary of what Buddhism is, and also reminds that every action has consequences. It can be also understood by the illiterate persons not needing high education and it shows the path of enlightenment out of suffering in samsara. Mahayana Buddhism is very popular in Asian countries like northern Nepal, India, Bhutan, China, Korean, Japan and Mongolia. So in these countries every Mahayana monastery there is wall painting and Thānkā painting of Bhavacakra. But in these countries there are various designs of Bhavacakra due to artist, culture and nation.
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10

Ah-Rim Park. "The Wall Painting Tomb at Ulaan Kherem, Bayannuur sum, Bulgan province, in Mongolia." CENTRAL ASIAN STUDIES 19, no. 2 (December 2014): 1–25. http://dx.doi.org/10.29174/cas.2014.19.2.001.

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Dissertations / Theses on the topic "Painting, Mongolian"

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Zheng, Yikan. "Entre la terreur et l’espoir : la construction de l’image du Mongol aux XIIIe et XIVe siècles." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH108/document.

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L’apparition de l’image du Mongol dans les peintures italiennes est un phénomène particulier et marginal aux XIIIe et XIVe siècles. Notre thèse s’interroge et analyse comment les artistes représentent cette nouvelle image de l’autre, si étrangère et siimpensable, et considère la formation et la transformation des images dans différents contextes. L’image du Mongol s’inscrit dans l’histoire transculturelle qui correspond à la période de la Pax Mongolica s’étendant entre 1250 et 1350. Après la conquête mongole, l’Empire mongol construisit une période de paix dans le vaste territoire de l’Eurasie. L’autorité mongole fit un grand effort pour faciliter les routes commerciales, elle construisit un réseau de routes qui permit aux marchands, ambassadeurs et missionnaires de circuler facilement entre l’Europe et l’Asie. A partir de ce moment, les figures mongoles, comme image d’altérité, pénètrent, d’une manière anachronique, dans les narrations évangéliques, comme l’Adoration des mages, la Crucifixion, la Pentecôte et la Résurrection. Elles ne jouent pas toujours un rôle péjoratif, mais changent leur image selon les contextes et les moments : elles ont été représentées comme Gog et Magog à la fin des temps, soldat partageant la tunique du Christ, spectateur et témoin devant le martyr et la Crucifixion, et rois orientaux adorant l’enfant Jésus. Tout cela constitue, dans une certaine mesure, une image oscillatoire qui crée une tension entre la terreur et l’espoir. Notre thèse tente de penser cette complexité du contexte dans la représentation de la figure mongole et dans ce processus, de démontrer comment l’image donne, à son tour, une visibilité des mentalités de la fin du Moyen Âge
The appearance of Mongol images in Italian paintings is a particular and marginal phenomenon in the late 13th and 14th centuries. My thesis examines and analyses how artists represent this new image of the Other, so foreign and so unthinkable, and considers the formation and transformation of images in different contexts. The Mongol image inscribed in a transcultural history corresponds to the period of the Pax Mongolica between 1250 and 1350. After the Mongol conquest, the Mongol Empire built a period of peace in the vast territory of the Eurasia. The Mongolian authority made a great effort to facilitate the trade routes, and built a network of roads that allowed merchants, ambassadors and missionaries to circulate easily between Europe and Asia. From this moment, the Mongol image, as an image of otherness, penetrates into evangelical narrations in an anachronistic way, such as the Adoration of the Magi, the Crucifixion, Pentecost and the Resurrection. The role of Mongol is not univocally negative. It changes according to the moments and contexts: they were represented as Gog and Magog at the end of time; as soldier dividing the tunic of Christ; as spectator and witness watching the crucifixion or martyrdom scenes; as oriental kings worshiping the newborn Christ-child. All of this constitute, to some extent, an oscillating image that creates a tension between terror and hope. My thesis aims to consider the complexity of the context in the representation of the Mongol image and to demonstrate how, in this process, the image gives, in turn, a visibility of the mentalities of the end of the Middle Ages
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Books on the topic "Painting, Mongolian"

1

Mongolian paintings. Ulaanbaatar: Union of Mongolian Artists, 2013.

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Ėnkhzhin, T︠S︡. Union of Mongolian Artists 2010: Mongġol-un Uracud-un Eblel 2010 on. Ulaanbaatar: Union of Mongolian Artists, 2011.

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Ėnkhzhin, T︠S︡. Khȯkh tėngėriĭn ornoor: 2007-2008. Ulaanbaatar: Mongolyn Urchuudyn Ėvlėliĭn Khoroo, 2008.

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Batchuluun, L. Khȯvlȯg Altaĭn urchuud. Ulaanbaatar Khot: Govʹ-Altaĭ aĭmgiĭn Zasag dargyn tamgyn gazar, 2010.

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T͡sultėm, Ni͡amosoryn. Mongolskia natsional'naia zhivopis' "Mongol zurag". Edited by Sandagdorzh D. Ulan-Bator: Gosizdatel'stvo, 1986.

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6

Aerzhai Shiku bi hua. Huhehaote Shi: Nei Menggu ren min chu ban she, 2010.

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7

Cohen, Monique. A la cour du Grand Moghol: Galerie Mansart, 6 mars-16 juin 1986. Paris: Bibliothèque nationale, 1986.

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Sanzhmi͡atav, T. Mongolyn khadny zurag. Ulaanbaatar: Mongol Ulsyn Shṅzhlėkh Ukhaany Akademi, 1995.

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Badral, Su̇khbaataryn. Mongolyn ėrtniĭ chuluun barimal. Ulaanbaatar: Interpress Khėvlėliĭn Kompani, 2001.

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Badral, Su̇khbaataryn. Mongolyn ėrtniĭ chuluun barimal. Ulaanbaatar: Interpress Khėlvėliĭn Kompani, 2001.

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