Culture of Mongolias

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Cave paintings from the Khoud Tsenker region

Mongolian culture has been heavily influenced by the Mongol nomadic way of life.
Other important influences are from Tibet and Tibetan Buddhism, and from China.
Since the 20th century, Russian and, via Russia, European culture have had a strong
effect on Mongolia. Nomadic peoples have also had an influence on Mongolian fine
arts.[1]

Contents
 [hide] 

 1 Traditional values
 2 Yurts(Ger)
 3 Religion
 4 Customs and Superstitions
 5 Festivities
 6 Literature
 7 Fine arts
 8 Music
 9 Cinema
 10 Cuisine
 11 Clothing
 12 Games
 13 See also
 14 References
 15 External links

[edit] Traditional values

Among the topics that are mentioned from the oldest works of Mongolian literature to
modern soft pop songs are love for parents and homesickness, a longing for the place
where one grew up. Horses have always played an important role in daily life as well
as in the arts. Mongols have a lot of epic heroes from the ancient time. Hospitality is
so important in the steppes that it is traditionally taken for granted. The Mongolian
word for hero, baatar, appears frequently in personal names, and even in the name of
Mongolia's capital, Ulaanbaatar. The word was introduced in the Middle Ages to
many non-Altaic languages by conquering Mongol-speaking nomads, and now exists
in different forms such as the Bulgarian language, Russian, Polish, Hungarian,
Persian, North Indian and Georgian.

Gers in the Mongolian Countryside

[edit] Yurts(Ger)
The Yurt(Ger) is part of the Mongolian national identity. The Secret History of the
Mongols mentions Genghis Khan as the leader of all peoples who live in felt tents,[2]
and even today a large share of Mongolia's population lives in yurts, even in Ulan
Bator. The Mongolian word for yurt, ger, also means home, and a number of other
words are derived from its word stem. For example, gerlekh means to marry.

[edit] Religion

Amarbayasgalant Buddhist Monastery

In the 17th century, Tibetan Buddhism, became the dominant religion in Mongolia.
Traditional Shamanism was, except in some remote regions, suppressed and
marginalized. On the other hand, a number of shamanic practices, like ovoo
worshiping, were incorporated into Buddhist liturgy.

Tibetan Buddhism is a ritualistic religion with a large number of deities. This inspired
the creation of religious objects including images in painting and sculptures.[3]

After the Stalinist purges in the 1930s, both Buddhism and shamanism were virtually
outlawed in the Mongolian People's Republic. In Inner Mongolia, traditional religion
was heavily affected by the Cultural Revolution.[4] Since the 1990s, a number of
Christian sects are trying to gain a foothold in Mongolia. About 4% of the Mongolian
population is Muslim.
[edit] Customs and Superstitionss

Mongolian Child

Mongolians traditionally were afraid of misfortunes and believe in a variety of good

and bad omens. Misfortune might be attracted by talking about negative things, or by
persons that are often talked about. They might also be sent by some malicious
shaman or enraged by breaking some taboo, like stepping on a yurt's threshold,
desecrating waters or mountains, etc.[citation needed] The most endangered family members
were children, and that's why they would sometimes be given non-names like Nergui
(Mongolian: without name) or Enebish (Mongolian: not this one), or boys would be
dressed up as girls.[5] Before going out at night, young children's foreheads are
sometimes painted with charcoal or soot in order to deceive evil spirits that this is not
a child but a rabbit with black hair on the forehead.

When passing ovoos on a journey, they are often circumambulated, and some sweets
or the like are sacrificed, in order to have a further safe trip. Certain ovoos, especially
those on high mountains, are also sacrificed to in order to obtain good weather, ward
off misfortune and the like.

For a child, the first big celebration is the first haircut, usually at an age between three
and five.[5] Birthdays were not celebrated in the old times, but these days, birthday
parties are popular. Wedding ceremonies traditionally include the hand-over of a new
ger to the marrying couple. Deceased relatives were usually put to rest in the open,
where the corpses would be eaten by animals and birds. Nowadays, corpses are
usually buried.[5]

[edit] Festivities

Naadam Festivities in Ulaanbaatar

The most important public festivals are the Naadams (English: games). The biggest
one is held each year on July 11–13 in Ulaanbaatar, but there are also smaller ones on
aimag and sum levels. A naadam involves horse races, wrestling, and archery
competitions.

For families, the most important festival is Tsagaan Sar (English: white month), which
is roughly equivalent to Chinese New Year and usually falls into January or February.
Family members and friends visit each other, exchange presents - very popular
presents for all opportunities are khadags - and eat huge quantities of buuz.

[edit] Literatures

Letter from Arghun, Khan of the Mongol Ilkhanate, to Pope Nicholas IV, 1290

The oldest completely passed down work of Mongolian literature is probably also the
most well-known abroad: The Secret History of the Mongols. It does, however,
contain passages of older poetry. Otherwise, few examples of Mongolian literature
from the time of the Mongol Empire have come down in written form: fragments of a
song about the mother and the area where one grew up were found in a soldier's grave
at the Volga river in 1930, 25 manuscript and block print fragments were found in
Turpan in 1902/03, Pyotr Kozlov brought some fragments from Khara-Khoto in 1909.
[6]

Other pieces of literature have long been orally traded and typically consist of
alliterative verses, and are known as Üligers, literally meaning tales. They include the
proverbs attributed to Genghis Khan, and the epics around the Khan's life, or the one
about his two white horses. Other well-known epics deal with Geser Khan. Famous
Oirad epics are Jangar, History of the four Oirad's Victory over the Mongols, Khan
Kharangui, Bum Erdene, and more

Beginning from the 17th century, a number of chronicles have been preserved. They
also contain long alliterative passages. Notable examples are the Altan Tovch by
Luvsandanzan and another anonymous work of the same title, Sagang Sechen's
Erdeniin Tovch, Lomi's History of the Borjigin clan (Mongol Borjigin ovgiin tüükh),
and many more.

Already at the time of the Mongol empire, samples of Buddhist and Indian literature
became known in Mongolia. Another wave of translations of Indian/Tibetan texts
came with Mongolia's conversion to Tibetan Buddhism in the late 16th/ early 17th
centuries. Beginning in the 1650s, copies of religious texts like the Kanjur and Tanjur
and also of epics like Geser Khan began to be appear as block prints. These prints
were mainly produced in Beijing, but also in some Mongolian monasteries.
In Mongolia's time under the Qing dynasty, a number of Chinese novels were
translated into Mongolian. At the same time, social discontent and an awakening
Mongol nationalism lead to the creation of works like Injanash's historical novel Blue
Chronicle or the stories about "Crazy" Shagdar.[7]

Beginning with the works of Tseveen Jamsrano and other Buryats in the 1910s, many
important works of Russian and European literature, or at least those that were not
politically incorrect, were translated into Mongolian in the 20th century.[citation needed]

This section requires expansion.

Religious theatre plays about the Tibetan hermit Milarepa were already performed in
the 18th and 19th centuries. The oldest Mongolian drama known today, "Moon
cuckoo" (Saran khökhöö) was created by Danzanravjaa around 1831. The play got
lost in the early 20th century,[8] but in the meantime other theatre groups had
developed. The first professional Mongolian theatre was founded in Ulaanbaatar in
1930.[9] In the socialist period, every aimag got its own theatre. Since the 1990s, a
number of small privately owned theatre companies, like Mask or Shine üe prodakshn
have been founded. They heavily focus on light comedies and skits, and also regularly
produce clips that are distributed on DVD or the internet.

[edit] Fine arts

19th Century Mongolian distemper

Sita (White) Tara by Öndör Gegeen Zanabazar. Mongolia, 17th century

Before the 20th century, most works of the fine arts in Mongolia had a religious
function, and therefore Mongolian fine arts were heavily influenced by religious texts.
[10]
Thangkas were usually painted or made in applique technique. Bronze sculptures
usually showed Buddhist deities. A number of great works are attributed to the first
Jebtsundamba Khutuktu, Zanabazar.

In the late 19th century, painters like "Marzan" Sharav turned to more realistic
painting styles. Under the Mongolian People's Republic, socialist realism was the
dominant painting style,[11] however traditional thangka-like paintings dealing with
secular, nationalist themes were also popular, a genre known as "Mongol zurag".

Among the first attempts to introduce modernism into the fine arts of Mongolia was
the painting "Ehiin setgel" (Mother's love) created by Tsegmid in 1960s. The artist
was purged as his work was censored.

All forms of fine arts flourished only after "Perestroika" late 1980s.

This section requires expansion.

[edit] Music

Morinhuur:Mongolian Horsehead Fiddle

Main article: Music of Mongolia

Mongolia has a very old musical tradition. Key traditional elements are throat-
singing, the Morin Khuur (horse head fiddle) and other string instruments, and several
types of songs. Mongolian melodies are typically characterized by pentatonic
harmonies and long end notes.

In the 20th century, western style classical music has been introduced, and mixed with
traditional elements by some composers. Later on the full palette of Pop and Rock
music has also been adopted by younger musicians.

The Mongolian Waltz is a dance unique to Mongolia. Typically, one mounted

horseman and one mounted horsewoman circle each other in time to a traditional
song, which speeds up as it progresses. The three step gait of the horses as they circle
gives the dance its name.[12]

[edit] Cinemas
Main article: Cinema of Mongolia

In socialist times, movies were treated as a propaganda instrument by the Mongolian

People's Revolutionary Party. The first topics were popular legends and revolutionary
heroes like in Sükhbaatar. In the 1950s, the focus shifted to working class heroes, as
in New Year. The 1970s saw many documentaries and everyday life stories as in The
Clear Tamir.

After democratisation, filmmakers turned to international partners for support, as in

the Japanese-Mongolian co-production Genghis Khan. Independent directors like
Dorjkhandyn Turmunkh, and Byambasuren Davaa created movies that connected
ancient traditions and mythology, and how they may relate to life in a modern world.
Byambasuren's The Story of the Weeping Camel was nominated for an Academy
Award as foreign documentary in 2005.

[edit] Cuisine
Main article: Mongolian cuisine

The Mongolian cuisine is primarily based on meat and dairy products, with some
regional variations. The most common meat is mutton, supplemented in the desert
south by camel meat, in the northern mountains by beef (including yak). Dairy
products are made from mare's milk (Airag), from cattle, yaks, and camels (e.g.
clotted cream). Popular dishes include buuz (a type of meat dumpling), khuushuur (a
meat pastry), khorkhog (a meat stew, usually a special meal for guests), and boortsog
(a sweet biscuit). The meal commonly known as Mongolian barbecue is not
Mongolian at all, but Taiwanese in origin.

Starting in the second half of the 20 century, vegetables are increasingly becoming a
part of the Mongol diet as well. In the capital city of Ulaanbaatar, there is a wide
range of imported food available.
[edit] Clothing

Mongolian deels for a man (left) and a woman (right)

Mongolian dress has changed little since the days of the empire, because it is
supremely well-adapted to the conditions of life on the steppe and the daily activities
of pastoral nomads. However, there have been some changes in styles which
distinguish modern Mongolian dress from historic costume. The deel, or kaftan, is the
Monglian traditional garment worn on both workdays and special days. It is a long,
loose gown cut in one piece with the sleeves; it has a high collar and widely overlaps
at the front. The deel is girdled with a sash. Mongolian deels always close on the
wearer's right, and traditionally have five fastenings. Modern deels often have
decoratively cut overflaps, small round necklines, and sometimes contain a Mandarin
collar.

Depictions of Mongols during the time of the empire, however, show deels with more
open necklines, no collars, and very simply cut overflaps, similar to the deels still
worn by lamas in modern Mongolia. In addition to the deel, both men and women
might wear loose trousers beneath, and women might also wear underskirts. Skirts of
the same style are still worn in part of Mongolia and China today; they have plain
front and back panels with closely pleated side panels. Paintings of Mongols from
Persian and Chinese sources depict men, and often women, wearing their hair in
braids. The hair would be divided into two pigtails, each of which would be divided
into three braids. The ends of the braids would then be looped up and bound to the top
of the braid behind the ears. Men also shaved the tops and sides of their heads, usually
leaving only a short "forelock" in front and the long hair behind. The famous boqtaq
headdress worn by women seems to have been restricted to married women of very
high rank.[13]

Each ethnic group living in Mongolia has its own deel design distinguished by cut,
color and trimming. Before the revolution, all social strata in Mongolia had their own
manner of dressing. Livestock-breeders, for example, wore plain deels, which served
them both summer and winter. The priests wore yellow deels with a cape or khimj
thrown over it. Secular feudal lords put on smart hats and silk waistcoats.[14]

[edit] Games
Popular board games are chess, and checkers. The chess figures are noyon (noble) =
king, bers (cp. bars "tiger") = queen, temee (camel) = bishop, mori (horse) = knight,
tereg (cart) = castle, khüü (boy) = pawn. The rules used today are the same as in
European chess. Dominoes are also quite widespread. Indigenous card games existed
in the 19th century, but are now lost. One of the popular card games that is played is
Muushig.

Sheep anklebones, or Shagai, are used in a number of different games, as dice, or as

token. "Rock, Paper, Scissors"- and Morra-like games are also played.[15] Wood knots
and disentanglement puzzles have traditionally been popular.

[edit] See also

The Soyombo symbol used as a tattoo

 Architecture of Mongolia
 Goyol Fashion Festival
 Long-song
 Music of Mongolia
 Society of the Mongol Empire
 Traditional Mongolian medicine

[edit] References
1. ^ K. Youso (1995). "Introduction to the Mongolian Exhibition".
asianart.com. http://www.asianart.com/mongolia/intro.html. Retrieved 2008-
02-10.
 2. ^ Erich Haenisch, Die Geheime Geschichte der Mongolen, Leipzig
1948, p. 91 (= section 202, after Jamukha's death)
3. ^ Terese Tse Bartholomew (1995). "Introduction to the Art of
Mongolia". asianart. http://www.asianart.com/mongolia/introduct.html.
Retrieved 2008-02-10.
4. ^ Rudolf Kaschewsky, Die Religion der Mongolen, in Michael Weiers
(editor), Die Mongolen, Beiträge zu ihrer Geschichte und Kultur, Darmstadt
1968, p. 87-123
5. ^ a b c Slawoj Szynkiewicz, Geburt, Hochzeit, Tod - Der menschliche
Lebenszyklus im Brauchtum der Mongolen, in Walther Heissig (editor), Die
Mongolen (exhibition catalogue), Innsbruck 1989, p. 196ff
6. ^ Walther Heissig, Die Mongolen. Ein Volk sucht seine Geschichte,
München 1978, p.270 ff
7. ^ Walther Heissig, Mongolische Literatur, in Michael Weiers (editor),
Die Mongolen, Beiträge zu ihrer Geschichte und Kultur, Darmstadt 1986, p.
70-85
8. ^ A manuscript was rediscovered by Academician Damdinsüren in
1959/1960
9. ^ Walther Heissig, Die Mongolen. Ein Volk sucht seine Geschichte,
München 1978, p.246-269
10. ^ Terese Tse Bartholomew (1995). "Introduction to the Art of
Mongolia". asianart.com. http://www.asianart.com/mongolia/introduct.html.
Retrieved 2008-02-10.
11. ^ Veronika Ronge, Kunst und Kunstgewerbe, in Michael Weiers
(editor), Die Mongolen, Beiträge zu ihrer Geschichte und Kultur, Darmstadt
1986, p. 125-148
12. ^ The Lost Country: Mongolia Revealed, by Jasper Becker
13. ^ Mongolian Dress
14. ^ Asia-planet.net Mongolia information
15. ^ Slawoj Szynkiewicz, Sport und Spiele, in Walther Heissig (editor),
Die Mongolen (exhibition catalogue), Innsbruck 1989, p. 205ff

[edit] External links

 Ministry of Education, Culture and Science
 National Museum of Mongolia
 AsianArt.com, Mongolian art exhibit

[show]v · d · eCulture of Asia

[show]v · d · e  Mongolia topics
 [show]v · d · eInner Mongolia topics

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