Buddhist sculpture
The dissemination of Buddhism in Mongolia from the second half of the 16th century had a strong influence on the Mongolian sculpture tradition. Mongolian artists fully mastered the ancient sacred arts traditions developed in India more than two thousand years ago, while closely following the teg (Tib. thig), or school of proportions of Tibetan art. Nevertheless, it would be false to assume that the Mongolian sacred arts were a mere imitation of Indian and Tibetan traditions. Of the several hundred volumes of Tibetan-language works written by Mongolian Buddhist scholars, there are many texts concerning arts and architecture - among the most famous of which are the works of Öndör Gegeen Zanabazar (1635-1723), descendant of Chingis Xaan and son of Xalx Tüsheet Xan Gombodorzh, and considered the founder of the Mongolian classical school of sacred arts.
Although he excelled in a number of different fields, Zanabazar achieved perhaps the greatest success with his sculptures. As described in his biography, his major works produced in the 1680s included gold castings representing Ochirdar' (Vajradhara), the Five Celestial Victors (Yazguuryn tavan burxan, Skt. Pa?cakula), the twenty-one Taras (xorin negen dar' ex) and Cevegmid (Amitabha). Zanabazar was also renowned for his "Five Precious" icons at Ix Xüree, the "Zuu" (Buddha), "Ayuush" (Ayushi), "Namsrai" (Vaishravana), "Manal" (Medicine-Buddha, Tib. Sman-bla) and "Baraishir" (Sosorbaram); the "Ochirdar'" (Vajradhara) with a pearl on its forehead at Erdene Zuu Monastery; the "Mahakala" Guardians of Baruun Xüree; and a statue of "Xazhid", the size of a three-year-old child. Zanabazar's sculpture of Ochirdar', the main object of worship at Gandantegchenlin Monastery, represents a synthesis of all deities of Tantric meditation; in the two hands of his crossed arms he holds an ochir (vajra) and bell, symbolizing the inseparable arga and bilig, method and wisdom. Zanabazar's works follow the "32 symbols and 80 compositions (nairag)" of the image of a deity, yet are images of true human beauty, with youthful and robust limbs, very soft and even shoulders, straight joints, and round waists. Zanabazar created his works using the teachings of the Bstan-hgyur, specifically the ancient Indian "Dashatala" or ten-palm measurements scheme.
Later bronze, copper or brass cast images of the Buddha, Zhanraiseg (Avalokitesvara), Ayuush (Ayushi), Manzhshir (Manjusri), the Green and White Taras and other Buddhist deities following the principles of the Zanabazar school are characterized by a typically round base, correct proportions, a subtlety of ornamentation and a beautiful artistic style.
The quality of Mongolian sacred art visibly declined from the second half of the 18th century, due to the increasing mass-production of icons at foundries in Dolnuur and other Northern Chinese cities, which served the growing number of monasteries and temples in Mongolia. For example, the monumental copper and brass statues such as the Maidar (Maitreya) and Zhanraiseg (Avalokitesvara) of Ix Xüree are ill-proportioned and present very few "Mongolian" characteristics, having been produced merely as functional objects designed to satisfy rituals needs.
Immoveable statues such as the main icons of a temple or the guardian deities at the entrance of a monastery were often made of muutuu paper mixed with clay, and finished by being coated with clay, then primed and painted, or sometimes gilded.
Among the most widely produced Buddhist sculptures in Mongolia were small, moulded clay figures produced in large numbers by important lamas and large monasteries and distributed to their disciples and sponsors. Such bas-relief medallions depicting the wrathful Choizhin, the three Ayurdirgha Buddhas (nasny gurvan burxan), and other Buddhist figures, produced on round or oblong surfaces measuring 1-10 centimetres in length, would be placed in small frames and suspended from the neck; occasionally the figures would be painted or gilded.
Another important technique used in producing sacred sculptures was papier-mâché, employed in the manufacture of large or small statues, and primarily cam masks, of which nearly one hundred were required for a single cam performance.
One interesting Buddhist art form is the balin (Skt. bali) or dough offering figure, which was often accompanied by butter figures of flowers, leaves, jewels, people or animals.
 | In commemoration of the legacy and teachings of His Holiness Dulduit Danzanravzhaa Fifth Wrathful Noble Xutagt of the Great Gobi (1803-1856) I did not overbearingly sophize Nor preach with pride and arrogance But having found a sense in this world Spoke the truth of my dear heart. |   |