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TSERENTULGA TÜMENBAYAR
It is the first work designed for western symphonic orchestra by keeping the melody
and canon as Khanchin deg” (Tib. mKhan chen gyi sgrigs)*° which were created by
Lamiin gegeen Luwsandandsanjantsan (Tib. Blo bzang bstan ’dzin rgyal mtshan)*!
Erdene Pandita Khutagt (1639-1703), who was respected as one of three holy high¬
nesses of Mongolian Buddhism together with Ondér Gegeen Dsanabadsar and the
Khalkha Dsaya Pandita. Lamiin Gegeen developed the canon Khanchin deg”? by
naturalizing religious rituals, religious service orders and religious tunes and melo¬
dies called yan dan (Tib. dbyangs) being followed in famous monasteries of Tibet,
for example, Tashilhunpo (Tib. bKra shis Ihun po) Monastery, and he made the canon
be commonly followed in /kh datsan*® ... which is the basis of his monastery and
other monasteries in the area under his subordination.
Simultaneously, it is the first example of developing that tradition?" which had its
own specific composition with beginning, culmination and ending. Birwaa adapted
it to western symphonic orchestra by renewing the tune and melody of reciting
the mantra which is so gentle as the spread of juniper and incense smoke, and as
melodious as alluring the people to be fascinated with it, and recited by monks
spreading from the centre to all sides as creating waves when throwing a stone to
the river.
There are also many documents proving that G. Birwaa himself had attended reli¬
gious service at Lamiin Gegeen’s monastery as a disciple for five years during which
he learnt many ritual texts and saw several rites. For example, as D. Tserensodnom
mentioned in his book, * “At the end of the song, Praying of White Tara, the Third
Lamiin Gegeen wrote that the song was dedicated to religious service and should be
sung according to melody of 8 oblations. The notebook written with bamboo pen is
3 Birwaa, G.: Ekh oron gedeg ..., 26-27: As it is mentioned that ... according to canon and style,
many melodies for religious services and activities at over 700 monasteries, for example, there were
about 200 melodies for religious service at the monastery of Erdene Pandita. Yiindenbat, S.: Lamiin
gegeenii shawiin tüükh, 135: Many sütras as Khanchinchoigilin Lkham ya — yeg, rol — yeg, Damjin¬
choigil ya — yeg created by Khanchinchoigil, Khanchinchoigil ya-yeg, rol-yeg created by Shalsh,
Nojinbaraw, Namsrai, Jamsran, Ode for 10 powerful Khanchinchoigil spirits which had been stored
by late Gonchigdorj, umdsad of Güshig datsan of Lamiin Gegeen Monastery (now Bayanlig district,
Bayankhongor province) are the works made by Luwsandandsanjantsan concerning music and melody
and those are the proof that Mongolians themselves created and composed music and melody for
religious service.
30 Stikhbaatar, O.: Mongol khelnii khar' ügiin tol’. Monsudar, Ulaanbaatar 2014, 114, 221.
31 Dashbadrakh, D.: Dundad dsuunii tiyeiin Mongoliin tiitikh sudlal, 149: Luwsandandsanjantsan
was born in the family of Loyag Erkh Tsökhür who was the son of the fourth son of Tümenkhen
(1558-1640) who was the fourth son of Onokhui üidsen, the third son of Gersends Jalair khun taij
(1470-1517) the youngest of Batmönkh Dayan Khan (1470-1517). Therefore, as to paternal line, he
is descent of Chinggis Khan, and as to maternal line — descent from Khawt Khasar from Khoshuud
aimag, and in this sense, he is khiad toin of Borjigon clan which belongs to a very powerful and
influential political faction.
Yündenbat, S.: Lamiin gegeenii shawiin tüükh, 133.
Yündenbat, S.: Lamiin gegeenii shawiin tüükh, 133.
Yündenbat, S.: Lamiin gegeenii shawiin tüükh, 28.
> Tserensodnom, D.: Mongoliin burkhanii shashnii uran dsokhiol. T&U Printing, Ulaanbaatar 1997,
370, 376.
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