Oldal 338 [338]
OCR
MARIA-KATHARINA LANG — TSETSENTSOLMON BAATARNARAN Mardsan Sharaw (B. Sharaw) followed the photo portrait.” After the revolution of 1921 Sharaw became a printer, designing the masthead for periodicals such as the army magazine Uriya (Call) as well as Mongolian paper currency, medals, and other works. He also painted portraits of Lenin in 1924 (the first in Mongolia) by the order of Damdinii Siikhbaatar (the leader of the revolution of 1921). Sharaw further produced revolutionary propaganda posters. He is considered as the founder of a modern line drawing style in Mongolia. Sharaw painted the portrait of Lenin after his photograph and he further depicted revolutionary elements such as a red star and flag, still the portrait kept effects of Buddhist artistic manifestation. Portraiture and photography constituted a new turn in the used perception and modes of depiction. The art of individual portraiture increasingly took terrain. Thangkas, the traditional Tibeto-Mongolian Buddhist scroll paintings had also obviously effected on the pictorial manifestation of the new political system and on the “communist symbolism.”'® The Mongolian People’s Republic established a centrally tuled system to reach the utmost periphery of the country. The Fifth Assembly of the Mongolian People’s Revolutionary Party issued a resolution as follows: “It is completely possible to copy line drawings in numbers and distribute them to remote peripheries of Mongolia, which has a vast territory and not-developed infrastructure. The party supported to guide drawings of artists in order to educate the public with revolutionary ideology, controlled widely established clubs under the party, and opened new ‘red corners’ (u/aan bulan) in every banner to prepare portraits."" There were further decisions and resolutions on new cultural institutions for fine art within the soviet-style modernisation. By the resolution of the Central Committee of the Mongolian People’s Revolutionary Party of December 1942, an Office for Paintings and Artcraft (Dsurag, urlaliin gadsar) which was expanded to the Office for Fine Art (Diirslekh urlagiin gadsar) in 1946 was established. The First Congress of Mongolian Artists, held on May 24 in 1955, decided to establish the Union of Mongolian Artists. In this way, modern Mongolian art was institutionalised. The School of Fine Art was already established in 1945 where the class for Mongol Dsurag was opened in 1971." Soviet-style Western fine art was introduced in the educational system of Mongolia: the education system from lama (monk) to pupil in the monastery changed to ‘Soviet specialists’ (ds6wlodltiin mergeljilten) teacher to school pupil or student at the School of Fine Art. How the changing imagery was perceived within society is an interesting question. ° Jlamamucypox, Lana: Osrex XKaMŐaJIBIH apHa. VIICBIH XJBJIDJIHŰH Tazap, Yıraanbaarap 1959, 14. '0 Zoltan, Nagy: Namo Buddhaya, Namo Dharmaya, Namo Sanghaya! Namo Lenina, Namo Ideologiya, Namo Partiya! In: Bolor-un Gerel. Ed. Birtalan, Agnes — Rakos, Attila. Eétvés Lorand University, Budapest 2005, 505. 1 Baracypox, V. — LHouxx, 1. (omx.): MAXH-aac yprar, yTra 30XHOJBIH Tajlaap rapracaH TOTTOON umänsspyyAa (1921-1966). YıcbIH X9BI9IHÜH Tazap, Yraan6aarap 1967, 15. 2 3argcypon, Y. — Urn, I. (amx.): MAXH-aac ypnar..., 128-130. 336
