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MARIA-KATHARINA LANG — TSETSENTSOLMON BAATARNARAN In her work, B. Nomin also uses pages of Buddhist sütras as symbols of the past in connection with the present. (Fig. 3.) In September 2019, Boldiin Nomin and her husband Batjargaliin Baatardsorig opened a joint exhibition entitled Tamlaga (Invocations) in the Fine Arts Dsanabadsar Museum in Ulaanbaatar. In this exhibition they dealt with questions of body and soul, spirits and consciousness. Both B. Nomin and B. Baatardsorig are graduates of Mongol Dsurag under the teacher Tstiltemin Narmandakh who was trained in Germany. The teacher was in line with the “national cultural revival” after the collapse of the socialist system. Uranchimeg notes that Ts. Narmandakh’s aim in training was “to implicitly urge to creatively rethink the well-informed of ‘Mongolness’, of what it really means to be a Mongol in the contemporary area.” B. Baatardsorig points at the interesting combination of techniques in Mongol Dsurag: “The class of Mongol Dsurag is very interesting. In the socialist time, this style represented socialist construction. Our teacher taught us a style that was based on thangka painting but also was in intersections of different cultures such as Xiongnu, Tang, Mongol Empire and more. One could identify it as a new way within the Mongol Dsurag style. Her students became artists who could practice both contemporary and traditional styles.” (B. Baatardsorig, Interview, Ulaanbaatar, 19 September, 2019) With his technique based on Mongol Dsurag, B. Baatardsorig reaches out on political, economic, environmental and social issues that Mongolia faces today. B. Baatardsorig critically challenges the changes occurring during the transformation period, and ironically examines tensions between traditional culture and global consumerism juxtaposing contemporary icons with fragments of Mongolian history. ?! In his artworks, B. Baatardsorig reacts on the “alarming the situation of neoliberalism, a state of being that has brought our Earth and nature into direct confrontation with environmental apocalypse.”” He also has a critical view towards the loss of the tradition and cultural identity in the era of globalisation. (Fig. 4-5.) Conclusion Mongolian art has always been characterised by its permeability for multiple elements, various flows from different regions, and the freedom to choose which elements to incorporate. Art in Mongolia took its course of being diffused and flourished in different ways under various historical conditions. The Buddhist art tradition and techniques, which had been practiced since Dsanabadsar’s time and earlier, were 0 Uranchimeg, Tsiiltemin: Political Ecology in Baatarzorig’s art: Mongolia Js in Business. In: Five Heads (Tavan Tolgoi) Art, Anthropology and Mongol Futurism. Eds. Empson, Rebecca — Spriggs, Hermione. Sternberg Press, Berlin 2018, 13. 2! https://www.qagoma.qld.gov.au/whats-on/exhibitions/apt8/artists/baatarzorig-batjargal. 2 Uranchimeg, Tsiiltemin: Political Ecology ..., 18. 344
