Contemporary sculpture

The fine arts in Mongolia were transformed by the People's Revolution in 1921, which led to the rapid dissemination of Western schools and methods, combined with the eventual subjugation of the arts to propagandistic aims. Particularly from the 1930s, Mongolian sculpture took the form of monuments dedicated to revolutionary heroes and events; the first major example of this genre was the monument to D. Su'xbaatar erected in the square in front of the former Party University in 1929. Following the victory in the Battle of Xalxyn Gol, major monuments were erected on the battlefields. Towards the end of the 1930s, former lama S. Choimbol began to create a series of statues to decorate gardens and squares, dedicated to soldiers, the motherland and physical strength.

The art of carving developed considerably from the late 1930s through the 1940s. Among the most legendary carvers was Cerennadmid, a companion of the reincarnated saint Zhambalzundui, who fled to Inner Mongolia in 1931 and came back through Dornogov' in 1945; it is said that Cerennadmid's carving of a horse's head ornamenting a MORIN XUUR was so realistic that the ears and eyes moved while the fiddler played. A carved wooden chess set made by Cerennadmid is now in the collections of the Zanabazar Museum of Fine Arts. One of the most unique of Mongolian carvings is a representation of the twelve animals of the Eastern zodiac, carved microscopically on the head of a chopstick by an unknown artist from Xentii, and visible only under a magnifying glass. Also significant in that period were the brass castings by X. Dagvaadorzh and B. Chimid, and the half-embossed reliefs D. Du'inxer. In 1946 a sculpture department was established at the national Art Studio, employing such renowned sculptors as S. Choimbol and B. Chimid. In 1946, to mark the 25th anniversary of the People's Revolution, S. Choimbol and young sculptors N. Zhambaa and D. Damdimaa produced the famous statue of the revolutionary leader D. Su'xbaatar to be placed in the central square of ULAANBAATAR. In the post-WWII years, under Soviet influence, gypsum busts of Marx, Engels, Lenin, Stalin, Su'xbaatar and Choibalsan were produced in large numbers and placed in clubs, conference halls and offices.

In the late 1940s and early 1950s, Mongolian sculptors created artificial stone and concrete monuments in a realist style, on themes reflecting the lives of common herders, placed in front of buildings, in parks and squares, and at sanatoria in ULAANBAATAR; examples include N. Zhambaa's Emneg surgagch (Horse Trainer, 1949), Saal'chin (Milkmaid, 1949) and Anchin (Hunter, 1951). Sculptors such as L. Maxbal, S. Damdinzhav, L. Dashdeleg, A. Davaaceren, A. Dorzhgotov, D. Damdimaa, L. Gardorzh and S. Choimbol also produced statues of Revolutionary heroes during this period. The sculptor A. Davaaceren, having graduated from the I.E.Repin University of Fine Arts, Sculpture and Architecture in Leningrad, became Mongolia's first professional sculptor to have been educated abroad.

In 1956 a bronze foundry was established in the National Art Studio, opening considerable new opportunities for Mongolian artists, and leading to the production of realist arts such as L. Maxbal's Partizan (Guerilla), S. Damdinzhav's Aavyn malgai (Father's hat), and N. Zhambaa's AIRAG. In the 1950s Mongolian sculptors contributed actively to the decoration of buildings and streets through the production of ornamental construction elements and statuary. Works related to Mongolian-Russian friendship, history, the Revolution, workers and common herders were produced by S. Dorzhpalam, L. Dashdeleg, P. Zulzaya, B. Zhamyansharav, U. Bold, D. Sanzhaa, M. Minzhir, Ch. Dashzeveg and C. Dorzhsu'ren. Outstanding carvers from this period included D. Gevsheexu'u', D. Dorzh, S. Sengee, L. Chuvaamed, B. Zhamyansharav, N. Luvsanceren and T. Zhambal. The carved Indian elephant tusks of S. Sengee and L. Chuvaamed, which can be considered among the most exceptional works of this period, were unfortunately almost all given away as gifts to foreign visitors and delegates.

To commemorate the 50th anniversary of the People's Revolution in 1971, a monument dedicated to Soviet soldiers was built on Zaisan Hill, at the foot of the Bogd Xan Mountain to the south of ULAANBAATAR, with the participation of sculptor C. Dorzhsu'ren. Although the location of this monument recalls the mountain-worship traditions of the Mongols, its style is purely Soviet.

In the early 1980s a production facility for "monumental decoration" was established, creating ornamental statuary for children's playgrounds, parks, city gardens and the like. Such monuments featured a striking, abstract composition and harmonious agreement with their settings; examples include Enxtaivan's Baavgai (Bear), Emee o'vo'o' xoyor (Grandmother and Grandfather) and Enxiin mod (Tree of Peace), S. Badral's Temee (Camel), D. Batzhargal's Yamaa (Goat), X. Bold's Olon bo'xtei temee (Camel with Many Humps) and other works by carvers from the Handicrafts Studio; monuments in the Children's Park, such as the U'lgeriin batruud (Heroes of Legends) wooden carvings and statues by A. Davaaceren; and the dinosaur statues constructed at the entrance to the tourist resort at Terelzh National Park. The first flight into space by a Mongolian cosmonaut in 1981 provided a new theme for sculptors such as C. Dorzhsu'ren and C. Amgalan.

Popular works dedicated to the 750th anniversary of the Secret History of the Mongols included G. Sereeter'sXo'ro'g (Portrait), N. Argaisu'x's Chingis and Ch. Ugtaabayar's Minii Mongol (My Mongolia). The Government of Mongolia also sponsored the production of a granite monument marking the presumed birthplace of Chingis Xaan at Xo'do'o' Aral, featuring an image of Chingis Xaan, his tribal symbol and a Mongolian Uigarzhin text inscription.

Significant monuments and sculptures created since 1990 include the monument to the victims of political persecution by sculptor L. Bold, situated in front of the National Museum of Mongolian History; the turtle-shaped monument in the central park of ULAANBAATAR to commemorate the site where the city's foundation was laid, the statue of Chin Van Xanddorzh in Bulgan aimag, the statue of Vandan Avarga in Arxangai and the statue of prime minister Cerendorzh in Ulaanbaatar by B. Xiimor'; the Ex (Mother) monument by S. Sarancacral; and the statue of Yu. Cedenbal by L. Ganxuyag. The most renowned of contemporary monumental works is the recreated gilded brass statue of Megzhidzhanraiseg, installed at Gandantegchenlin Monastery in 1994.

Contemporary sculpture in Mongolia is marked by an increasing diversity of genres and styles, with artists now holding successful independent exhibitions in both private and non-profit galleries.

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