Spuren - Gan-Erdene Tsend

хий ертºнцийн тухай ººрийн сэтгэгдэл,
¿зэл бодлыг зургаар улам нийцтэй, тºгс
тºгºлдºр илэрхийлэх арга барилыг одоо
ч гэсэн хайсаар явна.
Ренате Борманн
Ашигласан материал
M. Ринчен – Хабаева: “Мºнх хºх тэнгэрийн орны
д¿рслэх урлаг” Улан-Удэ, 2005 он (орос хэл дээр)
“Цаг ¿е, Уран б¿тээл”, хэвлэн нийтл¿¿лсэн О.Сосор,
Улаанбаатар хот, 2000 он (монгол хэл дээр)
“Д¿рслэх урлаг”, 7-р дэвтэр, 314-350-р тал, Берлин хот,
1979 он, (Герман хэл дээр)
Ц. Уранчимэг: “Монголын Орчин ¿еийн урлаг” Беркелей,
2006 он (англи хэл дээр)
Ц. Нармандах: “Соёл, Урлагын Их Сургууль дахь Орчин
¿еийн монголын уран зургийн хичээл” Улаанбаатар хот,
2000 он (Монгол хэл дээр)
Tsultemiin Enkhjin: “Art is the greatest
and most tender emotion”
Tsultemiin Enkhjin, born in Ulaanbaatar in
1953, unites rationality and emotion like
few other modern Mongolian painters in artworks
of great expressiveness and elegance.
His earlier works reflect a “Mongolian” view
of the world, but one that never becomes
folkloristic, and his subsequent works increasingly
transformed into expressionistic
works of art that were specifically situated
in their time and place and were both
sensuous and mysterious at the same time.
Enkhjin shifts nimbly between abstract
and figurative compositions. The colouring
fluctuates between strong, rich, warm reds
and yellows and cool blues. White is present
in all his pictures, and black symbolises pure
strength.
As the son of Nyam-Osoryn Tsultem (1924 –
2001), one of Mongolia’s most famous 20th
century painters, and Ch. Ichinkhorloo, a
geography teacher, he, his twin brother
Munkhjin and his younger sisters, Narmandakh
and Uranchimeg, were surrounded from
birth by art, artists and more or less heated
discussions on the state of the world, art and
politics. Munkhjin and Narmandakh became
painters like Enkhjin; Uranchimeg became
an art historian and scholar. They grew up
in an atmosphere of tension between the
artistic and cultural scene of those times
and the socialist-communist cultural policy
of the People’s Republic. And they grew up
knowing the long artistic traditions of the
peoples who have populated Mongolia for
millennia. Testimonies to the earlier visual
artists range, on the one hand, from rock
paintings through 14th century Persian-
Mongolian painting, Buddhist-Lamaistic
images of saints and pictures on temple
banners, with their evocative and meditative
message, all the way to, on the other hand,
traditional Mongolian painting (“Mongol
Zurag”), which as well as scenes of nomadic
life, depict fight scenes, animals, demons,
magic invocations and ritual sacrifices.
Open compositions that show many people
shepherding, slaughtering, making felt,
hunting, celebrating and in domestic scenes
in large two-dimensional forms, often portrayed
from a humorous point of view, predominated
until well into the 20th century.
B. “Marsan” Sharav (1869 –1939) stands at
the beginning of realistic modern Mongolian
painting, although stylistically he adhered
to traditional Mongolian art until his death.
His drawings turned to nature early, portraying
real faces and events. However, Sharav,
the “mocker”, was not just a painter; he was
also a graphic artist, putting his posters,
which were designed in the tradition of
Tibetan religious woodcuts, at the service of
the Revolution and the power of the people.
At first sight, “Ein Tag im Leben der Mongolen”
(“A Day in the Life of the Mongols”),
the most famous painting by Sharav and of
Mongolia, and Enkhjin’s ‘window paintings’,
for example, seem to have little in
common. Here, the people and animals are
portrayed in a representational way in front
of “yerts” (round, felt-covered structures)
on the steppe; they are seen in panorama
in a composition that is completely based
on colours and forms. Still, this impression
of a flat expanse with clearly-contoured
lines unites both artists. Nomadic art, which
is dominated by decorative elements, was
gradually transformed into professional, realistic
art. If the main initial influence came
from revolutionary Russian artists who were
followers of Abstraction, Suprematism and
Constructivism, by 1932 at the latest, socialist
realism was also regarded as the only appropriate
artistic genre for Mongolia. Only
after Stalin’s death in 1953 was the pressure
on artists somewhat relaxed. Nevertheless,
Mongolian painters – from Sharav through
Namkhaitseren, to Tsultem and Gavaa – still
succeeded to a large degree in maintaining
their aesthetic standards and passing them
on to their successors.
Just as Namkhaitseren and his fellow students
set out for Europe in 1926 to acquire
the knowledge, technology and culture of
a world foreign to them, Mongolia sent
its young people abroad after the Second
World War. They went primarily to Eastern
European countries, such as Bulgaria,
Czechoslovakia, Hungary and GDR as well
as, of course, to the Soviet Union, to study
practical subjects. But they also went to
study the fine arts.
81 Tsultemiin Enkhjin