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Modern paintings
Alongside these sacred arts developed a tradition of freestyle paintings, not governed by the strict rules of proportion, colour and composition imposed on the artist producing of Buddhist images. These included depictions of real-life events, figures of people and animals drawn on hand-made playing cards and u'u'chu'u'r game pieces, and the illustrations for manuscript books, in addition to paintings by such artists as B. Sharav, Lodoi and Cagaanzhamba. B. Sharav made the most notable contribution to developing a new "national" style of Mongolian painting, through works such as Mongolyn neg o'driin yavdal (One Day in Mongolia) and U'rs garch baigaa n' (The Birthing), which depict with great skill and comic detail the full sense of Mongolian life, and in portraits of subjects such as Luvsandondov Lama, Baldan Gachin, the Eighth Bogd Zhivzundamba and the Mother Dakini.
In the early 20th century paintings of urban and natural landscapes also became common, as seen in works such as Zhu'gder's paintings of Ix Xu'ree and Dambyn Zayayn Xu'ree and G. Dorzh's painting of Sain Xany Xu'ree.
The murals seen on the walls of the several original monasteries that remain partly standing today are also an important part of Mongolia's artistic heritage. The most outstanding examples of these are the skilfully-produced figures of Ayuush (Ayushi), the Red Protector (Begze) and Camba (Sakra-devanamladra) deities on the walls of the temples at ERDENE ZUU MONASTERY, attributed to the seventh Shireet Lama Luvsandagvadarzhaa.
Western schools of art made their way into Mongolia in the 1920s and 1930s, with Russian artist K. I. Pomerancev making a notable contribution by training ten young artists in Mongolia over a period of three years. These artists went on to produce some of Mongolia's best-known works: L. Gavaa's Sharyn shashin (Gelugpa Sect); U'. Yadamsu'ren's portraits of Choibalsan, Udarnik Ichinxorloo, "The Old Xuur Player" (O'vgo'n xuurch) and D. Su'xbaatar; O. Cevegzhav's Azargyn nocolgoon (Fight of Stallions), Emneg surgalt (Taming the Horse) and Uuland (On the Mountain); L. Gavaa's Altain uuls (Altai Mountains), Bulgan gol (Bulgan River) and Kino mexanik (Film Technician); N. Cu'ltem's Talyn ail (Family on the Steppe); L. Namxaiceren's Zag (Saxaul) and Togloltyn o'mno' (Before the Game); G. Odon's Azhlyn daraa (After Work); A. Sengecoxio's portrait of Marzan Sharav; B. Chogsom's Xorgo, Taixaryn derged (By Taixar Rock) and Gov'd (In the Gobi), S. Dondog's Xuurch Zham'yaan (Fiddle-Player Zham'yaan), Mo'r (Footsteps) and Gov'd (In the Gobi); B. Gombosu'ren's Shine cagiin ezed irlee (The Masters of the New Era Have Arrived); D. Amgalan's Zhaaxan shargyn nutagt (In the Home of Zhaaxan Sharga) and Ulaan toos (Red Dust); and G. Dunbu'ree's Mongoltrans. Young Mongolian artists broadened their ranks in the 1970s and 1980s, abandoning realism for the language of imagination, exploring impressionism and modernism in such works as Yo. O'lziixutag's Talyn ezed (Masters of the Steppe), B. Pu'revsu'x's Talyn baatruud (Heroes of the Steppe) and Do. Bold's Uschin (Water-Carrier).
Since the 1990s the Mongolian visual arts have experienced an explosion of new schools, styles and techniques, as artists gained access to new ideologies, techniques, schools and trends. This diversity can be seen in works such as C. Cegmid's Sartai sho'no' (Moonlit Night), Salxin su'u'der (Windy Shadow) and cagaan zoxiomzh (White Composition); C. Enxzhargal's Ulaanyxan, xarynxay (The Reds and the Blacks) and Morin to'vo'rgo'o'n (Roaring Hooves); C. Enxzhin's Nu'u'del (Moving) and Conx (Window); and Ch. Boldbaatar's Transpozic-11 (Transposition-11) and Zoxiomzh (Composition). Young artists such as C. Ganxu'u' and M. Erdenebaatar have contributed to the production of works of beauty.