Готові списки джерел за темами / Mongolian arts

Добірка наукової літератури з теми "Mongolian arts"

Автор: Grafiati
Опубліковано: 27 липня 2024
Оновлено: 28 липня 2024

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Статті в журналах з теми "Mongolian arts"

1

Хертек, А. С. "Tuva and Mongolia: cooperation in the fine arts." Iskusstvo Evrazii [The Art of Eurasia], no. 3(22) (September 30, 2021): 116–25. http://dx.doi.org/10.46748/arteuras.2021.03.010.

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Анотація:
Статья посвящена культурным связям между Республикой Тыва и Монголией в связи со 100-летием российско-монгольских дипломатических отношений. Автор приводит обзор ряда фактов из истории тувинского и монгольского изобразительного искусства, совместных выставочных проектов. Так, ключевыми событиями, повлиявшими на творчество мастеров, стали первая крупная выставка тувинских художников и Нади Рушевой в Монгольской Народной Республике в 1984 году, другие выставки в Монголии, Москве и Туве, групповые обменные поездки монгольских и тувинских художников в XX–XXI веках. Важными для сотрудничества стали выставки 2017 года: рисунков Нади Рушевой в Улан-Баторе и восковых фигур «Хаан хаанов» из Музея Чингисхана (Улан-Батор) в Национальном музее имени Алдан-Маадыр Республики Тыва. The article is devoted to the issue of cultural ties between the Republic of Tyva (or Tuva) and Mongolia in view of the 100th anniversary of the Russian-Mongolian diplomatic relations. The author gives an overview of a number of facts from the history of Tuvan and Mongolian fine art, joint exhibition projects. Thus, the key events that influenced the work of the masters were the first large exhibition of Tuvan artists and Nadya Rusheva in the Mongolian People's Republic in 1984, other exhibitions in Mongolia, Moscow and Tuva, group exchange trips of Mongolian and Tuvan artists in the 20th and 21st centuries. Exhibitions of 2017 became important for the development of Tuvan-Mongolian cultural relations: drawings by Nadya Rusheva in Ulaanbaatar and wax figures “Khaan Khaans” from the Genghis Khan Museum (Ulaanbaatar) in the National Museum named after Aldan-Maadyr of the Republic of Tyva.
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2

Norov, Batsaikhan, Binderiya Batsaikhan, and Batchimeg Usukhbayar. "Mongol Familiarisation with European Medical Practices in the Nineteenth–Twentieth Centuries." Inner Asia 22, no. 2 (November 4, 2020): 299–319. http://dx.doi.org/10.1163/22105018-12340152.

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Анотація:
Abstract It was primarily Russian activities in Mongolia between 1860 and 1921, reflecting its geopolitical interests, that introduced European medical practices to the Mongols. Competing alongside other European powers, the Russian Government capitalised on conditions within Mongolia to increase Mongolia’s dependency on Russia. Thus, the Russian government’s motives for medical intervention, like that of other European groups, were mainly political, economic and cultural. In the context of Buddhist dogmatism and the expansive territorial distances between the Mongols (a term this paper uses to encompass all people of Mongol ethnicity in northern and central Asia), the reluctance of Russian doctors to disseminate European medical knowledge prevented its spread into Mongolia. Medical intervention was primarily a method of colonisation justified through healthcare support. Ultimately the familiarisation of European medicine in Mongolia was the first crucial step towards the amalgamation of traditional Mongolian and European medical practices after the Mongolian People’s Revolution.
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3

Гантулга, Д., and С. Г. Батырева. "Basic Principles of Meaning Expression in the Applied Arts of Ancient Mongolia." Nasledie Vekov, no. 4(24) (December 31, 2020): 53–63. http://dx.doi.org/10.36343/sb.2020.24.4.005.

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Анотація:
В статье рассматривается проблема влияния концептов сознания, разделявшихся творцами древней культуры Монголии на образы, заложенные в произведениях декоративно-прикладного творчества. В качестве стержневой идеи такого смысловыражения принято учение арга билиг. Материалами послужили произведения древнего искусства Монголии и результаты исследований монгольских и российских археологов, искусствоведов и культурологов. Изучены традиционные принципы и символика монгольского декоративно-прикладного искусства. На многочисленных примерах (оленные камни, гуннское литье, печати ханов, стеганый войлок и т. д.) показаны основные образы, свойственные искусству древней Монголии, определены принципы создания символического изображения. Сделан вывод, что благодаря сочетанию принципов «арга» и «билиг» монгольское искусство во все времена являет собой органическое единство взаимосвязанных частей, сплетенное из элементов, по смыслу своему принадлежащих одному из двух противоположных полюсов мироздания. The authors consider the problem of the influence of the concepts of Mongolian ancient culture creators’ consciousness on the images inherent in the works of applied arts they created. The doctrine arga bilig, which proceeds from the understanding that harmony in the world is determined by the struggle and unity of two opposing principles, is accepted as the core idea of such meaning expression. The materials for the study were the works of Mongolia’s ancient art and the results of research by Mongolian and Russian archaeologists, art historians and cultural scientists. The methodology of the work was formed by the approaches adopted in the semiotics of space and the concept of “symbolic forms” developed by Ernst Cassirer and reflecting the properties of mythological consciousness. The essence of the concepts arga and bilig as the fundamental foundations of the worldview of ancient Mongolia’s nomads is revealed. The traditional principles and symbols of Mongolian arts and crafts are studied. The authors examine the symbolism of the deer stone culture, noting that it originated in Mongolia, and then spread to the territory of Eastern Europe. In the aspect of analyzing the symbolic meaning, the works of Hun casting (animal style), khans’ seals, quilted felt are studied. The main images inherent in the ancient and medieval art of Mongolia are shown, the principles of creating a symbolic image are determined. The principles that determine the meaning expression of the motives of the arga type (its images correspond to the Upper World in the structure of the Mongols’ mythological consciousness) are revealed. The principle of depicting symbolic motifs of the bilig type (according to the views of representatives of the nomadic culture, it belongs to the Lower World) is revealed. The mutual connections of the Upper and Lower Worlds, embodied in symbols, determine the semantic fullness and significance of the image. The authors point out that the main works, made according to the principle of depicting the mutual connection of arga and bilig, are bronze casting objects with animal style motives, as well as ornamental compositions. The authors conclude that, due to the combination of the principles of arga and bilig, Mongolian art at all times represents an organic unity of interconnected parts, woven from elements that, in their meaning, belong to one of the two opposite poles of the universe. This unity is the pivotal idea of the nomadic culture and determines its harmonious existence in the integral system of the macrocosm.
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4

Borjigin, Huhbator. "The History and the Political Character of the Name of ‘Nei Menggu’ (Inner Mongolia)." Inner Asia 6, no. 1 (2004): 61–80. http://dx.doi.org/10.1163/146481704793647207.

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Анотація:
AbstractAfter the independence of ‘Outer Mongolia’ in 1911, and especially after the founding of the Mongolian People's Republic in 1924, ‘Outer Mongolia’ (Wai Menggu in Chinese or Gadaad Mongol and Ar Mongol in Mongolian) became a historical term. Inner Mongolia, on the other hand, became the focal point of the so–called ‘Mongolian problem’, and its name Nei Menggu (C) or Dotood Mongol (M) remained sinocentric, denoting direct rule as it did in the Qing geographical– administrative demarcation of the Mongols. The question of naming Inner Mongolia in both Chinese and Mongolian has thus become significant not only for the Mongols in China, but also for Mongols in the independent state of Mongolia. The founding of the Inner Mongolia Autonomous Government in 1947 introduced a new name in Mongolian: instead of Dotood Mongol, it is now called Öbör (the sunny side of mountain) Mongol, thereby forming a geobody with Ar Mongol (formerly Outer Mongolia), and it no longer connotes internal administration within China. However, this change has not been reflected in Chinese translation, as Inner Mongolia continues to be called Nei Menggu and historicist Chinese continue to refer to Mongolia as Wai Menggu. In recent years, some Mongols began to call Inner Mongolia ‘Nan Menggu’, and with it came the change of English translation from Inner Mongolia to Southern Mongolia.
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5

Ahearn, Ariell, and D. Bumochir. "Contradictions in Schooling Children among Mongolian Pastoralists." Human Organization 75, no. 1 (January 1, 2016): 87–96. http://dx.doi.org/10.17730/0018-7259-75.1.87.

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Анотація:
Mongolian pastoralist households with children face an annual decision at the start of the school year—how to take care of both herds and children separated by long distances and resource needs. This article draws on twelve months of ethnographic research on rural work practices among mobile pastoralists in Mongolia to illustrate how children's access to primary education spatially transforms the organization of herder livelihoods. By prioritizing herder reflections and theoretical insight into their own lives and experiences, we show that educating children within the conditions of Mongolia's emerging market macroeconomic system is entangled in struggles over housing, finance, and labor and we highlight the spatial nature of these contradictions in everyday rural social production. This evidence supports our argument that the terms of inclusion in Mongolia's current schooling system pose challenges for pastoralist livelihoods and encourages reflection on the need for imagining innovations in education provision.
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6

Polyanskaya, Oksana. "Expeditionary Activity of Aleksey Pozdneev (1851—1920) with the Reference to the History of the Development of Scientific Mongolian Studies in Russia." ISTORIYA 13, no. 4 (114) (2022): 0. http://dx.doi.org/10.18254/s207987840021200-9.

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Анотація:
The article deals with the expeditionary work of an outstanding Russian specialist in Mongolian studies Aleksey Matveyevich Pozdneev. He can be characterized by a wide range of work, from collecting field materials, compilation of manuscripts in oriental languages and objects of the religious cult of Buddhists to the creation of fundamental works in the history of the development of scientific Mongolian studies and the organization of leading centers for practical Mongolian studies in Russia, whose tasks were to train specialists in the modern East. The author of the article gives details of the scientist's expeditionary activities, revealed both from his published works and manuscripts from the archives of scientific institutions of St. Petersburg as well as shows the importance of scientific trips in general for the formation and development of scientific Mongolian studies in Russia and obtaining objective knowledge about the Mongolian peoples of Inner Asia.Multiple scientific trips to the territory of Mongolia and China, to the nomad camps of the Trans-Baikal Buryats and Kalmyks of the Astrakhan steppes of Russia contributed to the formation of A. M. Pozdneev as an authoritative scholar of Mongolian studies. Knowledge of history, culture, language and experience accumulated during a long stay among the Mongolian peoples determined the direction of his work as a state and public figure who made decisions about organization of education in national schools and conducted surveys on the situation and role of Buddhist Church. He thoroughly collected materials about life and religion, the administrative structure and social structure of Mongolian society in the late 19th — early 20th centuries which allowed to create a comprehensive picture of Mongolia at that time. The richest collections of manuscripts and woodcuts, which make up “A. M. Pozdneev Fund” of the scientific library in St. Petersburg University, contributed to the formation of new directions in Mongolian studies - linguistic, comparative-historical.
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7

Ulziibadrakh, Zoljargal, and Zoltán Szakály. "Market landscape and the role of marketing in the field of Mongolian performing arts organizations." Anali Ekonomskog fakulteta u Subotici, no. 00 (2024): 40. http://dx.doi.org/10.5937/aneksub2400001u.

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Анотація:
Classical music is a formal music tradition of the Western world; an accepted genre having had many positive benefits on human and animal lives. The most common benefits of classical music are to provide an immersive live experience, support psychological and physiological needs, boost our health and brain functions, and improve productivity. Many countries have a well-developed history and achievement in this field, thus gaining an advantage; however, as classical music entered Mongolian culture comparatively late, it is a promising field in which to conduct research. This study aims to explore, determine, and gain insight into the marketplace as well as the role of marketing from past, current, and future perspectives as the field of classical music continues to develop in Mongolia. The study uses an in-depth interview approach with 21 interviewees including directors, marketers, managers, artists, researchers, and employees from two main Mongolian performing arts organizations, in order to gain a deeper understanding of this world. Based on the insights and experiences gained from these interviews, the results are identified and divided into two themes-market and audience profile, and the role of marketing within Mongolian performing arts organizations. Finally, the paper summarizes the main findings and concludes with a synopsis of key limitations and future research.
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Уранчимэг, Д., and Ян Гоу Чин. "The formation of the art of socialistic realism in Mongolia: the main stages, the role of the Russian art school." Iskusstvo Evrazii [The Art of Eurasia], no. 4(23) (December 29, 2021): 170–87. http://dx.doi.org/10.46748/arteuras.2021.04.013.

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Анотація:
Статья посвящена стилю социалистического реализма в изобразительном искусстве Монголии. Выделены основные этапы становления и факторы его формирования: революционные события и утверждение идеологии социализма; поддержка нового направления правительством Монголии, а также влияние российской художественной школы. Показана роль Российской академии художеств, Института им. И.Е. Репина, Института им. В.И. Сурикова в обучении и передаче художественных традиций и навыков монгольским художникам. Отмечено своеобразие монгольского варианта стиля соцреализма, синтезировавшего приемы и методы российской школы живописи с народными формами художественного творчества и буддийским искусством; показана непреходящая значимость и востребованность данного стиля в современном искусстве Монголии. Охарактеризовано творчество ведущих монгольских художников, и проведен искусствоведческий анализ ряда произведений. The article is devoted to the style of socialistic realism in the fine arts of Mongolia. The main stages of formation and factors of its formation are highlighted: revolutionary events and the establishment of the ideology of socialism; support of the new authorities of Mongolia, as well as the influence of the Russian art school. The role of the Russian Academy of Arts, the I.E. Repin St. Petersburg State Academic Institute of Painting, Sculpture and Architecture, the Moscow State Academic Art Institute named after V.I. Surikov in teaching and transferring artistic traditions and skills to Mongolian artists is shown. The peculiarity of the Mongolian version of the style of socialist realism, which synthesized the techniques and methods of the Russian school of painting with folk forms of art and Buddhist art, is noted; the enduring importance and relevance of this style in the contemporary art of Mongolia is shown. The work of leading Mongolian artists is characterized and an art history analysis of a number of works is carried out.
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Bikmaeva, Karina I. "Этапы языковой политики в Монгольской Народной Республике". Монголоведение (Монгол судлал) 14, № 2 (10 серпня 2022): 232–46. http://dx.doi.org/10.22162/2500-1523-2022-2-232-246.

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Анотація:
Introduction. The 20th century reform of Mongolian writing shaped the basis for wide transformations in the country’s culture, science, and education. It is noteworthy that the language policy in the Mongolian People’s Republic was not only reduced to the Cyrillic reform of 1941. Goals. The article attempts a variety of insights into multiple directions of language policy in the Mongolian Peo\ple’s Republic. The work distinguishes four main stages of the latter’s implementation, and also compares those to similar processes in the USSR. Materials and methods. The paper analyzes Russian and Mongolian language sources, primarily laws and regulations of the USSR and the Mongolian People’s Republic, special attention be paid to works titled ‘The Revolution and Writing’ and ‘Public Education, Culture, Arts, and Science [in the MPR]: Systematically Collected Decrees and Laws’. Results. It reveals the MPR’s language policy was being implemented in strict compliance with similar processes in the Soviets. And it was largely the language policy that served a key to the successful abolition of illiteracy nationwide, modernization of Mongolian society, and spread of Soviet and European cultures. However, certain aspects and consequences of the language policy — primarily the intensified ‘Russification’ — would give rise to rejection and criticism among the Mongolian intelligentsia. Conclusions. Subsequently, this very reaction led to a dramatic rethink of the language policy in the 1990s, which attests to the significance of analyzing the MPR’s policy in this realm for better understanding of the situation in contemporary Mongolia.
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Batmunkh, Mungunchimeg. "The Shugden-Controversy in Contemporary Mongolia." Inner Asia 23, no. 2 (November 18, 2021): 330–49. http://dx.doi.org/10.1163/22105018-12340177.

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Анотація:
Abstract Since the political upheavals in Mongolia in 1989, the traditional Tibetan-Mongolian protective deity Dorj-Shugden has been rediscovered. Today the Buddhist monasteries Delgeriin khiid, Amarbayasgalant Monastery and Tögsbayasgalant töv venerate him. This paper analyses the role of this deity with particular emphasis on Gungaachoilinig datsan in Gandandegchilin and the Amarbayasgalant Monastery in Mongolia, based on ethnographic fieldwork and semi-structured interviews with monks from six monasteries and visitors of Amarbayasgalant conducted in 2016, 2019 and 2020. The paper also outlines the current state of research, including recent Mongolian literature. Finally, it presents findings about him sourced from social media. By exploring pro- and anti-Shugden religious practices, this article sheds some light on the Shugden controversy in contemporary Mongolian Buddhism.
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Більше джерел

Дисертації з теми "Mongolian arts"

1

Munkhuu, Munkhsaikhan <1990&gt. "FUNDING OF MONGOLIAN ARTS AND CULTURE SECTOR IN A FREE MARKET ECONOMY (1990-2014)." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/5125.

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Анотація:
ABSTRACT During the seventy years of socialism in Mongolia, the state governed arts and culture sector (1921-1990) was established based on the European and Soviet models. The state arts organizations had full funding support with widely available human and material resources and well-established implementing structures. However, despite these advantages, the arts organizations and artists were limited by the socialist ideology, suffered from strong censorship, and restricted exposure to the international exchange platform. Conversely, Mongolia became a democratic country in the remarkable year in 1990, and made the shift from a government-centered economy to a free market economy. As a result, triplicate transitions of the economic, social and political sectors took place in the last twenty years. Through this transition period, the sector faced new challenges: limited funding and materials, poor human resource management, and poor implementation. Consequently, state organizations were forced to secure support from alternative sources, but due to outdated knowledge and skills, the Soviet-educated management was challenged to secure additional funding and respond to the supply and demand of the market. Nonetheless, the sector that once fully belonged to the state has now been transferred to non-profits and private ownership and has developed an effective legal system, enjoys freedom of creativity and ideological pluralism, has improved its skills in securing outside funding, has been exposed to a broader international exchange platform, and has become part Economic and Social Transformation; Cultural Policy; Funding; Mongolia; Government Control KEY WORDS of the Arts RESEARCH QUESTION From the establishment of the Soviet regime in Mongolia in 1921, the funding of Mongolian arts and culture sector solely based on government subsidy and censorship determined the organizational nature and aesthetic legitimacy of cultural programming. However, since the democratic revolution in 1990, a majority of arts organizations either closed down or experienced significant funding cuts. As a result, a private arts sector has emerged in Mongolia. Under what political, social, and economic circumstances these states, non-governmental and private arts organizations is funded? And what are their most significant institutional challenges and strategies in the post-Soviet transition?
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2

Curtet, Johanni. "La transmission du höömij, un art du timbre vocal : ethnomusicologie et histoire du chant diphonique mongol." Phd thesis, Université Rennes 2, 2013. http://tel.archives-ouvertes.fr/tel-00949955.

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Анотація:
Cette thèse est une étude ethnomusicologique à dimension historique portant sur la transmission globale du höömij en Mongolie. Pour expliquer l'évolution de cette technique vocale, sont explorés les légendes, les conceptions autochtones, l'histoire des années 1950 au début des années 2010 et la mise en patrimoine pour l'avenir.La première partie montre comment le chant diphonique prend forme dans sa culture. Perçu comme un art du timbre par ses détenteurs, il entretient des relations avec la nature, ainsi qu'un ensemble de techniques vocales et instrumentales issues des contextes rituel et pastoral. Ces fondements du höömij sont ensuite examinés à la lumière de l'histoire de la Mongolie. Entre les périodes soviétique etcontemporaine, la deuxième partie brosse les changements survenus dans la pratique, entre la scène et l'enregistrement. À côté de l'usage rural, se développe une nouvelle forme professionnelle. Tous ces apports ont façonné le chant diphonique mongol dans son état actuel. La troisième partie étudie la transmission à travers l'enseignement et la patrimonialisation. Les maîtres évoluent entre deux pôles : un village de l'Altaï perçu comme le lieu des origines, et une université d'Ulaanbaatar, qui académise la pratique et diffuse son modèle au niveau national. Tout cela participe au processus de patrimonialisation du höömij, desa constitution en emblème musical sous la période soviétique à son inscription sur la liste du Patrimoine Culturel Immatériel de l'Unesco. Le höömij mongol apparaît dans toute sa contemporanéité
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3

Berends, J. W. "Escaping the rhetoric : a Mongolian perspective on participation in rural development projects : a thesis submitted in partial fulfilment of the requirements for the degree of Master of Applied Science in International Rural Development at Lincoln University /." Diss., Lincoln University, 2009. http://hdl.handle.net/10182/1307.

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Анотація:
This thesis explores how stakeholders in Mongolian rural development projects interpret the concept of 'participation'. While previous research has provided an ethnographic snapshot of participation in rural development projects, none has yet focused on Mongolia – a post-socialist nation that receives significant amounts of foreign aid. To gain a holistic picture of 'participation', this study explores: how stakeholders understand participation; what stakeholders perceive and prioritise as the benefits of participation; and which factors motivate or inhibit participation. This study's methodology involved an inductive, qualitative approach with a multiple case study design. Three Mongolia rural development projects, each with objectives of poverty-reduction and participation, were selected from three different development organisations and interviews were conducted with different stakeholder groups: development organisation managers, field staff, and local people of the project sites (participants and non-participants). The results of this study revealed a dominant or 'Mongolian' understanding of 'participation' existed across the various stakeholders: 'Participation is local contributions of group labour and information for material benefits, within a top-down authoritarian structure (including local institutions)'. This understanding arose from development organisations' emphasis on efficiency and sustainable results and local people engaging with the project as a normative livelihood strategy. In this study, given the incidence and nature of rural poverty, stakeholders prioritised the tangible benefits of participation over the intangible and linked empowerment to tangible outcomes. Development staff prioritised the longer-term tangible benefits (food security and income), and to ensure their sustainability sub-benefits were provided sequentially, mental capital, then physical capital, with social capital built naturally through the project's formal and informal activities. In contrast, local people prioritised the manifest tangible benefits, which initially meant the physical capital gifted by the project, and then later the material outcomes of the new livelihoods. While development staff envisioned intangible benefits as important in their own right, for Mongolian participants they were a gateway to the project's tangible outputs. Four prominent intangible benefits emerged: knowledge/mental investment, 'power within', social connections, and involvement in groups – each uniquely valuable within the Mongolian context. The results also showed that the factors which shaped participation reflected the unique circumstances of rural Mongolia and each project's activities. Economic rationality appeared as the foundational incentive for participation, followed by social motivations that included: widespread, detailed, and positive information about the project; the perceived power, leadership, and organisational skills of the development organisation; a deep personal relationship between development staff and local people; and rurally-oriented seminars and workshops. The major barriers to 'Mongolian' participation included: a lack of opportunity or incentive to participate; the current situation of poverty and unemployment; Mongolia's governance structures, culture, and history; the geography of isolation; the development organisation‟s procedures; and the dynamics of project 'groups'. Moreover, the results indicated that projects which require higher levels of local participation, i.e. decision-making, may face more fundamental obstacles because of the cultural value placed upon top-down, authoritarian leadership and a prevailing mentality of dependence. Based on these results, this study concludes that interpretations of participation arise out of field-level realities, and thus the level of participation incorporated into development projects needs to reflect the local culture, context, and history.
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4

Light, Nathan. "Répertoire des pétroglyphes d'Asie Centrale. Fascicule no. 6. By Esther Jacobson, et al. : Mongolie du Nord-Ouest, Tsagaan Salaa/Baga Oigor." Bloomington : The Mongolia Society, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-201647.

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5

Blanchier, Raphaël. "Les danses mongoles en héritage : performance et transmission du bii biêlgee et de la danse mongole scénique en Mongolie contemporaine." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEP027/document.

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Au croisement de l’anthropologie sociale et des arts du spectacle, cette thèse est consacrée à la transmission dans les danses mongoles en Mongolie contemporaine. En abordant l’étude de la performance dansée sous l’angle de la transmission, l’objectif principal de ce travail est de comprendre le rôle des danses dans l’engendrement d’un sentiment d’appartenance national. Dans cette perspective, la Mongolie constitue un terrain d’investigation particulièrement fécond. D’une part le bii bielgee, danse des Oirad (Mongols de l’ouest), inscrit au Patrimoine Culturel Immatériel de l’UNESCO, est intimement associé, par ses évocations mimées, au mode de vie pastoral nomade. D’autre part, la « danse mongole scénique », qui en constitue la version professionnelle, donne à ces représentations stéréotypées une légitimité nationale et internationale. Mon analyse des gestes dansés ainsi que mon enquête sur les institutions, les réseaux et les pratiques de transmission et de performance montrent que l’efficacité des danses mongoles repose moins sur les représentations qu’elles véhiculent que sur les conditions relationnelles de leur performance. Les apprentissages formels et informels que j’ai observés, et auxquels j’ai parfois pu participer, visent moins la formation physique des danseurs que la sélection et la légitimation graduelle de ceux d’entre eux qui font montre d’un « talent » (av’yaas) remarquable à se produire en public. Au cœur des processus de transmission se trouve ainsi la distinction entre danseurs et non-danseurs. Capable, par son art de la performance, de susciter des modalités de participation spécifiques chez les spectateurs, le danseur apparaît alors comme un spécialiste quasi-rituel. Délégué du groupe dont il est l’émanation légitime, il déploie ainsi dans le même acte performatif la mise en danse de la culture mongole et la légitimation de celle-ci comme un des fondements de la « mongolité »
Drawing on both social anthropology and performing arts, this thesis deals with the transmission of Mongolian dances in contemporary Mongolia. By studying danced performance from the perspective of transmission, the main purpose of this work is to understand the role dance plays in building up feelings of national belonging. In this regard, Mongolia provides a particularly fruitful field of study. On the one hand, biy biyelgee, the traditional dance of the Oirats (Western Mongols), included on the UNESCO List of Intangible Cultural Heritage, is closely linked to the nomadic pastoral lifestyle by virtue of the mimed gestures it incorporates. On the other hand, what may be called ‘scenic Mongolian dance’, the professionalized version of biy biyelgee, confers national and international legitimacy on these stereotyped representations. My fieldwork study of the institutions, networks and practices underlying the transmission and performance of Mongolian dances shows that their efficacy stems less from the representations they convey than from the relational conditions of their performance. The formal and informal dance training I was able to observe, and sometimes take part in, is oriented less towards the instilling techniques than towards the selection and gradual legitimization of those who exhibit an outstanding ‘talent’ (av’yaas) for performing in public. Indeed, the distinction between dancers and non-dancers lies at the heart of the process of transmission. The dancer, on the strength of his performative abilities, is able to elicit specific modes of participation from the audience, making him/her into a quasi-ritual specialist. As the legitimate emanation of the group which he/she publicly represents, the dancer, in the same performative act, both embodies Mongolian culture through dance and establishes it as a constitutive element of “mongolness”
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6

Mohler, Sarah Lynn. "The Bones of the Horse: A Personal and Cultural History." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1587401648900525.

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7

O'Sullivan, Rebecca. "Landscape and connections : petroglyphs of the Altai in the 2nd and 1st Millennium BCE." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:0171a563-274b-4b02-9577-4c31dfe9f388.

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This thesis presents a holistic study of connections in the Altai Mountains of the eastern Eurasian Steppe, as shown by rock-art. Currently divided by four countries, pecked images (petroglyphs) and painted images from the 2nd-1st millennium BCE have been subjected to very separate research traditions, exacerbated by language barriers. This thesis focusses on the entire Altai Mountain range as a study area, integrating research published in Chinese and Russian, with supplementary literature in Kazakh and Mongolian consulted. To demonstrate the potential for connectivity and, consequently, movement, a map of accessibility was generated, showing that there are various optimal routes for movement throughout the Altai. The locations of rock-art sites relative to these routes indicate that movement was a key feature contributing to the creation of rock-art. Examining topographic features in the vicinity of rock-art sites of three regions (Mongolia, Russia, PRC) highlighted an association between watercourses and sites, whilst studying the micro-landscape within panels found that the creators of rock-art were not representing the tangible spatial relationship of figures to the landscape. More broadly, similarities between motifs at rock-art sites, as well as on portable art, demonstrate that the people making them, regardless of whether they were aware of it or not, were part of a wider understanding of how to depict subjects. Evidence of this understanding can be found even in regions with very different cultural backgrounds to the Steppe, such as the Chinese Central Plains, demonstrating that groups outside of the Steppe were aware of and using this way of representing. By combining analysis of motifs with that of the landscape, this thesis demonstrates that rock-art as a practice was inherently linked with to the landscape, whereas content and style are more indicative of a wide-ranging belief system amongst Steppe pastoralists, which was expressed aesthetically.
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"Höömii-Tsol-Thinking Computer: Applying Selected Ancient Mongolian Vocal Practices to Contemporary Computer Music Composition." Doctoral diss., 2016. http://hdl.handle.net/2286/R.I.41244.

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abstract: Mongolian overtone singing (höömii) and Mongolian wrestling songs (tsols) are vocal styles that evoke physical and mental strength in the vocalist through the accessing of nature. The phrase “höömii-tsol-thinking computer” conveys my end-goal while composing, performing, and researching for my original composition strong.mng. I wanted to create a work in which the computer would be informed by the performance methods and philosophies employed during Mongolian höömii and tsols. Strong.mng is a 25-minute production for dancer, live digital illustrator, and overtone singer with a laptop computer serving as both a fixed and interactive responsive musical instrument. The music draws upon themes from höömii and tsols through the lens of virtual fieldwork, which was the research method I used to inform strong.mng. Through the composing and performing of strong.mng, I arrived at the following three-part hypothesis: firstly, the development of a robust symbiotic relationship between höömii, tsols, and today’s electronic music technology may transform the technological devices used into agents of deep ecology and bodily interconnectedness. Secondly, this transformation may metamorphose the performer into a more courageous being who is strengthened both physically and mentally by the Mongolian belief that, when performing höömii and tsols, the musician is drawn into kinship with nature. Lastly, I believe some computer music is restrained in its potential by techno-somatic discreteness as well as anthropocentrism, and that applying philosophies from höömii and tsols can help move computer music more towards a physically embodying means of sonification; one that is also akin with the natural world.
Dissertation/Thesis
This document provides links to audio and video of the dissertation composition.
Doctoral Dissertation Composition 2016
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9

Enkhtaivan, Ochirt, and Ochirt Enkhtaivan. "Predicting the Influence of Relationship on Purchase Intention in Fine Arts Sector of Mongolia." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/vm2s9v.

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Анотація:
碩士
亞洲大學
經營管理學系碩士班
101
This study was an effort to determine the principles of Relationship Marketing (RM) on consumer behavior in fine arts sector. Specifically, the study examined the influencing factors that represent a significant impact for relationship marketing (RM) involving potential art purchasers and relationship building process. Mediating effects of perceived trust and perceived satisfaction were examined. This study proposed and tested a structural equation modeling (SEM) to7 explain how and to what extent each variable affects purchase intention using Statistical Product and Service Solutions (SPSS) v19 and Analysis of Moment Structures (AMOS) v19 software for data analysis. Paper based survey was conducted and analyzed 303 responses from students of art institutions of Mongolia. Five out of nine hypotheses were supported. Among the several findings, perceived relationship investment, customer satisfaction, and trust significantly influenced customers' purchase intention. The interactions among these constructs revealed important implications for art marketers interested in RM strategies and recommendations for further research.
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Книги з теми "Mongolian arts"

1

T͡sultėm, Ni͡amosoryn. Dekorativno-prikladnoe iskusstvo Mongolii =: Mongolian arts and crafts = Art artisanaux de la Mongolie = Arte decorativo aplicado de Mongolia. Ulan-Bator: Gosizdatel'stvo, 1987.

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2

I︠A︡damzhav, T︠S︡. Mongol ardyn khėė ugalzyn ėkh du̇rsu̇u̇d. Ulaanbaatar: Ulsyn Khėvlėliĭn Gazar, 1985.

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3

Sonomt︠s︡ėrėn, L. Du̇rslėkh urlagiĭn onol, tu̇u̇khiĭn asuudald. Ulaanbaatar: Ulsyn Khėvlėliĭn Gazar, 1987.

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4

(Organization), Visiting Arts. In the steppes of Genghis Khan: [art and artefacts from Mongolia: 6 May - 19 June 1993.]. London: Visiting Arts, 1993.

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5

Bayan. Ȯljei uġalja-yin tebu̇bu̇ri. [S.l.]: Śinjiyang-un Arad-un Keblel-un Qoriy-a, 1987.

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6

T︠S︡ultėm, Ni︠a︡mosoryn. Mongoru mandara bijutsu kōgei: Mongġol-un ġoyul cimeglel-u̇n uraliġ = Mongolian arts and crafts. Tōkyō: Shin Jinbutsu Ōraisha, 1988.

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7

Wickhamsmith, Simon. Politics and Literature in Mongolia (1921-1948). NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462984752.

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Politics and Literature in Mongolia (1921-1948) investigates the relationship between literature and politics during Mongolia’s early revolutionary period. Between the 1921 socialist revolution and the first Writers’ Congress held in April 1948, the literary community constituted a key resource in the formation and implementation of policy. At the same time, debates within the party, discontent among the population, and questions of religion and tradition led to personal and ideological conflict among the intelligentsia and, in many cases, to trials and executions. Using primary texts, many of them translated into English for the first time, Simon Wickhamsmith shows the role played by the literary arts — poetry, fiction and drama — in the complex development of the ‘new society’, helping to bring Mongolia’s nomadic herding population into the utopia of equality, industrial progress and social well-being promised by the Mongolian People’s Revolutionary Party.
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Tui︠a︡a, I︠A︡. Ardyn urlagiĭn ulamzhlal. Ulaanbaatar: Mongolyn Urlagiĭn Zȯvlȯl, 2006.

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9

Cultum. Bayanjiruke-yin. [S.l.]: Ȯbȯr Mongġol-un Baġacud Keu̇ked-un Arad-un Keblel-u̇n Qoriy-a, 1991.

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10

Batu, Qing, ed. Menggu min zu zong jiao wen hua. Beijing Shi: Wen wu chu ban she, 2008.

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Частини книг з теми "Mongolian arts"

1

Eizenhöfer, Paul R. "Accretionary Collision Between the Mongolian Arcs and North China Craton." In Springer Theses, 99–121. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-32-9200-0_6.

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Lent, John A. "The Embryonic Stage of the Transnationalizing of Mongolian Comics." In Transnationalism in East and Southeast Asian Comics Art, 129–36. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-95243-3_7.

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Miao, Wencai. "An Analysis of Traditional Mongolian Sports Game Bokh." In Proceedings of the 3rd International Conference on Education, Language and Art (ICELA 2023), 36–43. Paris: Atlantis Press SARL, 2024. http://dx.doi.org/10.2991/978-2-38476-214-9_6.

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Kelley, David. "Rare Earth Image Bank: Extraction Geology and Stock Photos, from Wyoming to Inner Mongolia." In American Art in Asia, 105–19. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003130284-9.

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An, Da. "A Comparative Study of the Music of the Turghut Mongolians and the Kalmyks of Russia." In Proceedings of the 2nd International Conference on Education, Language and Art (ICELA 2022), 508–15. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-004-6_63.

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D’evelyn, Charlotte, and Jennifer C. Post. "Music and Ethnic Identity in Inner Mongolia." In Mongolian Sound Worlds, edited by Sunmin Yoon and Charlotte D’evelyn, 61–84. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044373.003.0005.

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This chapter offers an introduction to music and the politics of ethnicity in Inner Mongolia, China. It focuses on the themes of regional sub-ethnic diversity and state arts policies—features that noticeably distinguish Inner Mongolia from the nation of Mongolia. It explores the complexities of Mongol and sub-ethnic Mongol categories in Inner Mongolia, categories that are less visible to the Han Chinese and to foreign outsiders, but with which locals are intimately familiar and aware. To illustrate the close intersections between ethnicity and regional musical style in Inner Mongolia, this chapter examines the career and repertoire of the famous ensemble Anda Union, a neo-traditional ensemble that emerged in the early 2000s and has profoundly influenced the urban music scene. Fusing a transnational ensemble form with locally distinct styles and genres from Inner Mongolia (and claiming to be the “voice of Inner Mongolia”), Anda Union clearly exhibits and celebrates the richness of Mongol sub-ethnic diversity, while also revealing the inconsistencies and idiosyncrasies of ethnic categories in the region at the same time.
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Yoon, Sunmin. "Mongolian Sound Worlds." In Mongolian Sound Worlds, edited by Jennifer C. Post, Sunmin Yoon, and Charlotte D’evelyn, 1–14. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044373.003.0001.

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The introduction offers the overall background and structure of the volume. Additionally, the chapter includes three short vignettes: Sharav, one of the contemporary composers; Mongolia’s first opera, Uchirtai Gurvan Tolgoi (Three Fateful Hills); and the context and changing performance style of the National Academic State Ensemble. Through these three snapshots, the introduction explores Mongolia’s musical history, reflecting the current musical scene in Ulaanbaatar, aspects of Western art music in Mongolia, and finally the fluid mobility of Mongolia’s culture.
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Jagchid, Sechin, Paul Hyer, and Joseph Fletcher. "Letters and Arts." In Mongolia’s Culture and Society, 197–243. Routledge, 2019. http://dx.doi.org/10.4324/9780429050855-5.

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Wickhamsmith, Simon. "Staging a Revolution." In Politics and Literature in Mongolia (1921-1948). Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462984752_ch02.

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Since the vast majority of Mongolia’s population was illiterate, its revolution was initially acted out upon the stage. Amateur actors and revolutionary youth groups came together – the former portraying the ideological material promoted by the latter – in an attempt to develop a new understanding of, and approach to, theatrical performance. In this way, small theater groups spread across the country, performing ideological education to show, through satire and through historical and social drama, the misery and inequality of pre-revolutionary Mongolia and the benefits the revolution had brought. The influence of Soviet agitprop led to more innovative, amateur productions, while the opening of a national theater in the late 1920s and the arrival of directors – and later actors – from the Soviet Union brought credibility to the theatrical arts and led to professionalized roles for actors, set designers, painters, singers and musicians.
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Jacobson-Tepfer, Esther. "Mongolian Rock Art:." In Rock Art Studies: News of the World V, 151–54. Archaeopress Publishing Ltd, 2016. http://dx.doi.org/10.2307/j.ctvxrq0fv.15.

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Тези доповідей конференцій з теми "Mongolian arts"

1

Belokurova, Sophia. "CREATIVITY OF THE MONGOLIAN ARTIST Z. UYANGA: ANALYSIS OF THE GRAPHIC SERIES "WOMEN OF MONGOLIA"." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s22.003.

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Li, Kun. "The Influence of Mongolian Students’ Emotional Factors on Language Acquisition." In 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.161.

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Zhang, Hong. "Research on Horqin Mongolian Traditional Sports Culture." In 2018 4th International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/essaeme-18.2018.87.

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He, Hongyan. "New Trend of Evolution in Modern Mongolian Costume Art." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.37.

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Yue, Junying, Guanglai Gao, and Min Lin. "Study on Root + Affix Form-Based Mongolian Information Retrieval Unit." In 3rd International Conference on Management Science, Education Technology, Arts, Social Science and Economics. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/msetasse-15.2015.155.

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"The Collapse of Yuan Dynasty from the Drinking Habit of the Mongolian." In 2018 2nd International Conference on Social Sciences, Arts and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/ssah.2018.004.

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Chen, Yugang. "The application of Mongolian costume elements in modern fashion design." In 4th International Conference on Management Science, Education Technology, Arts, Social Science and Economics 2016. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/msetasse-16.2016.25.

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Ma, Zhanxin, and Batbaatar Altantuya. "Research on the efficiency of Mongolian large and medium commercial banks." In Proceedings of the 2018 International Conference on Management, Economics, Education, Arts and Humanities (MEEAH 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/meeah-18.2018.8.

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Huo, Suyalema, Baojun Chu, and Luoxuan Zhou. "The Application of Mongolian Cultural Symbols in the Design of Dynamic Character Emoticons." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.119.

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Skobelev, Sergey Grigorevich. "FORTIFICATION OF THE MONGOLIAN NOMADS: CAMP ALTYN-KHAN 1652 ON THE HILL UNYUK (RIGHT BANK OF YENISEI)." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b31/s9.032.

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