Browsing by Author "Edgar and Dorothy Fehnel Chair of International Studies, Herron School of Art and Design"

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    Buddhist Archeology in Mongolia: Zanabazar and the Géluk Diaspora beyond Tibet
    (University of Hawaii Press, 2019) Tsultem, Uranchimeg; Edgar and Dorothy Fehnel Chair of International Studies, Herron School of Art and Design
    This article discusses a Khalkha reincarnate ruler, the First Jebtsundampa Zanabazar, who is commonly believed to be a Géluk protagonist whose alliance with the Dalai and Panchen Lamas was crucial to the dissemination of Buddhism in Khalkha Mongolia. Zanabazar’s Géluk affiliation, however, is a later Qing-Géluk construct to divert the initial Khalkha vision of him as a reincarnation of the Jonang historian Tāranātha (1575–1634). Whereas several scholars have discussed the political significance of Zanabazar’s reincarnation based only on textual sources, this article takes an interdisciplinary approach to discuss, in addition to textual sources, visual records that include Zanabazar’s portraits and current findings from an ongoing excavation of Zanabazar’s Saridag Monastery. Clay sculptures and Zanabazar’s own writings, heretofore little studied, suggest that Zanabazar’s open approach to sectarian affiliations and his vision, akin to Tsongkhapa’s, were inclusive of several traditions rather than being limited to a single one.
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    Buddhist Revelations in Davaakhuugin Soyolmaa’s Contemporary Mongolian Art
    (University of Hawaii Press, 2017) Tsultem, Uranchimeg; Edgar and Dorothy Fehnel Chair of International Studies, Herron School of Art and Design
    In 1990, a seven-decade socialist taboo on religion was lifted in newly transforming Mongolia, where democratic reforms and a peaceful transition to a market economy and multiparty government system were taking place. The country entered into a critical period of transition in 1992, when revisions to the constitution changed the Mongolian People’s Republic into the Republic of Mongolia. While political studies of this transitional period have been conducted, along with studies of the economic boost of 2008, very little has been written about Mongolian art since 1990. This essay explores that relatively untrodden ground by focusing on contemporary artist Davaakhuugin Soyolmaa (b. 1977) (figure 1), whose work exemplifies the revival of Buddhist art and culture in contemporary Mongolia.
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    Cartographic Anxieties in Mongolia: The Bogd Khan’s Picture-Map
    (University of Hawaii Press, 2016) Tsultem, Uranchimeg; Edgar and Dorothy Fehnel Chair of International Studies, Herron School of Art and Design
    This article extends cartography into ethnographic and representational practices for territorial inclusion (Hostetler 2005) and nation building (Krishna 1994). Outer Mongolia, a vassal state of the Qing Empire until 1911, produced ethnographic paintings intended as new cartographic visuals around the time of its independence. Mongolia’s last ruler, the Bogd Khan (1870–1924) commissioned the artist Balduugin Sharav to produce a large painting of the Mongol countryside titled Daily Events, a work that constitutes an unusual cartographic “picture-map” (Paul Harvey 1980) intended for a special public display. The work (now known as One Day in Mongolia) depicts the Mongolian people as a distinct ethnic group in quotidian scenes of Central Mongolian (Khalkha) nomadic life. This article demonstrates how the covert connections between the scenes together construct a Buddhist didactic narrative of the Wheel of Life, and argues that this picture-map was the result of the Tibetan-born ruler’s anxieties over ethnic identity, national unity, and the survival of his people, who strove for independence from the Qing, as well as their safe positioning vis-à-vis new political neighbors.
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    Introduction to “Buddhist Art of Mongolia: Cross-Cultural Connections, Discoveries, and Interpretations”
    (University of Hawaii Press, 2019) Tsultem, Uranchimeg; Edgar and Dorothy Fehnel Chair of International Studies, Herron School of Art and Design
    A comparative and analytical discussion of Mongolian Buddhist art is a long overdue project. In the 1970s and 1980s, Nyam-Osoryn Tsultem’s lavishly illustrated publications broke ground for the study of Mongolian Buddhist art.1 His five-volume work was organized by genre (painting, sculpture, architecture, decorative arts) and included a monograph on a single artist, Zanabazar (Tsultem 1982a, 1986, 1987, 1988, 1989). Tsultem’s books introduced readers to the major Buddhist art centers and sites, artists and their works, techniques, media, and styles. He developed and wrote extensively about his concepts of “schools”—including the school of Zanabazar and the school of Ikh Khüree—inspired by Mongolian ger- (yurt-) based education, the artists’ teacherdisciple or preceptor-apprentice relationships, and monastic workshops for rituals and production of art. The very concept of “schools” and its underpinning methodology itself derives from the Medieval European practice of workshops and, for example, the model of scuola (school) evidenced in Italy. Tsultem borrowed the term and the concept from Russian art-historical literature.