Drawing and calligraphy
The drawing tradition has long existed in Mongolia, drawing its origins in rock art - encountered in ancient petroglyph complexes such as those of Cagaan Gol in Gov'-Altai, Tevsh in Övörxangai and Chuluutyn Xad in Arxangai, which often extend over several kilometres. Petroglyphs from the Mesolithic, Neolithic and Bronze Ages represent an emergent mythical-symbolic system, depicting a three-tiered conception of the universe, which came to be further developed in the carved stone monuments of the Bronze Age and later periods. The semiotic structure of these early petroglyphs can be interpreted as a form of primordial written language; even today the Central Asian nomads refer to such ancient images as bichig ("writing"), and the names of rocks and caves where petroglyphs can be found often include the word bichigt ("with writing").
The art of calligraphy also belongs to the drawing tradition. The earliest known examples of the art of writing are the works of the 14th century Choizhi-Odser, who wrote and had xylographed the Burxany arvan xoyor zoxiongui (Biography of the Buddha), in addition to producing manuscripts in various calligraphic styles. As Buddhist sutras came to be printed in great numbers in the 17th century, the arts of calligraphy and illumination developed rapidly, making use of inks produced from gold, silver and the "nine jewels". It is also possible to define a Persian-Mongolian drawing technique, represented most clearly in the illustrations for Rashid ad-Din's Universal History (J?mi'at-taw?r?x).
 | 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. |   |