Uranchimeg Tsultemin
Biographic Data
| ID | 5660384 |
|---|---|
| NAME | Uranchimeg Tsultemin |
| GIVEN NAMES | Uranchimeg |
| FAMILY NAME | Tsultemin |
| SIGNATURE | TSULTEMIN U |
| AFFILIATIONS | Icelandic and Comparative Cultures, University of Iceland, Reykjavik, Iceland |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 1 |
A Monastery on the Move
In 1639, while the Géluk School of the Fifth Dalai Lama and Qing emperors vied for supreme authority in Inner Asia, Zanabazar (1635-1723), a young descendent of Chinggis Khaan, was proclaimed the new Jebtsundampa ruler of the Khalkha Mongols. Over the next three centuries, the ger (yurt) erected to commemorate this event would become the mobile monastery Ikh Khüree, the political seat of the Jebtsundampas and a major center of Mongolian Buddhism.…
A Case of Allegoresis
Mugi’s Self-Portrait and Maternal Bodies in Post-Socialist Mongolia
This article discusses the work of contemporary Mongolian artist Jalkhaajavin Munkhtsetseg (b 1967), commonly known as Mugi. Focusing on her mixed-media series Silence, it explores her subversive approach to the female body as the site of a private exploration, previously discouraged by Mongolia’s socialist regime, and discusses the ways Mugi’s art responds to the questions of feminism, initially a Western concept, and its applicability to Asian …
Mongolian Art and the Dilemma of Himalayan Affiliation
In 1995, a Mongolian art exhibition opened at the Asian Art Museum in San Francisco. The exhibition was initiated and organized by the curator of the Himalayan art gallery, Terese Tse Bartholomew
Zanabazar (1635–1723)
The chapter focuses on the Buddhist artistic expression of the First Jebtsundamba Khutugtu (1635–1723), one of the most celebrated persons in the history of Mongolian Buddhism, who is believed to have single-handedly brought the tradition of Vajrayāna Buddhism to late medieval Mongolia. Buddhist rituals, texts, temple construction, Buddhist art, and even designs for monastic robes are all attributed to his genius. He also introduced the artistic …
The Power and Authority of Maitreya in Mongolia Examined Through Mongolian Art
The chapter focuses on Maitreya, the future historical Buddha, one of the most important deities in Buddhism throughout Asia. Believed to reside in the Tuṣita heaven as a Bodhisattva, Maitreya became particularly important in the Vajrayāna Buddhist traditions of Tibet and Mongolia. This chapter explores Maitreya’s preeminence in late Mongolian Buddhist art by examining the images of Maitreya, Maitreya iconography, depictions of Maitreya Processio…
A Monastery on the Move
In 1639, while the Géluk School of the Fifth Dalai Lama and Qing emperors vied for supreme authority in Inner Asia, Zanabazar (1635-1723), a young descendent of Chinggis Khaan, was proclaimed the new Jebtsundampa ruler of the Khalkha Mongols. Over the next three centuries, the ger (yurt) erected to commemorate this event would become the mobile monastery Ikh Khüree, the political seat of the Jebtsundampas and a major center of Mongolian Buddhism.…
Zanabazar (1635–1723)
The chapter focuses on the Buddhist artistic expression of the First Jebtsundamba Khutugtu (1635–1723), one of the most celebrated persons in the history of Mongolian Buddhism, who is believed to have single-handedly brought the tradition of Vajrayāna Buddhism to late medieval Mongolia. Buddhist rituals, texts, temple construction, Buddhist art, and even designs for monastic robes are all attributed to his genius. He also introduced the artistic …
The Power and Authority of Maitreya in Mongolia Examined Through Mongolian Art
The chapter focuses on Maitreya, the future historical Buddha, one of the most important deities in Buddhism throughout Asia. Believed to reside in the Tuṣita heaven as a Bodhisattva, Maitreya became particularly important in the Vajrayāna Buddhist traditions of Tibet and Mongolia. This chapter explores Maitreya’s preeminence in late Mongolian Buddhist art by examining the images of Maitreya, Maitreya iconography, depictions of Maitreya Processio…
A Case of Allegoresis
Mugi’s Self-Portrait and Maternal Bodies in Post-Socialist Mongolia
This article discusses the work of contemporary Mongolian artist Jalkhaajavin Munkhtsetseg (b 1967), commonly known as Mugi. Focusing on her mixed-media series Silence, it explores her subversive approach to the female body as the site of a private exploration, previously discouraged by Mongolia’s socialist regime, and discusses the ways Mugi’s art responds to the questions of feminism, initially a Western concept, and its applicability to Asian …
Mongolian Art and the Dilemma of Himalayan Affiliation
In 1995, a Mongolian art exhibition opened at the Asian Art Museum in San Francisco. The exhibition was initiated and organized by the curator of the Himalayan art gallery, Terese Tse Bartholomew
A Monastery on the Move
In 1639, while the Géluk School of the Fifth Dalai Lama and Qing emperors vied for supreme authority in Inner Asia, Zanabazar (1635-1723), a young descendent of Chinggis Khaan, was proclaimed the new Jebtsundampa ruler of the Khalkha Mongols. Over the next three centuries, the ger (yurt) erected to commemorate this event would become the mobile monastery Ikh Khüree, the political seat of the Jebtsundampas and a major center of Mongolian Buddhism.…
Art (5 works) · Ancient history (4 works) · Eurasian Exchange Networks (4 works) · History (4 works) · Art history (3 works) · Chinese history and philosophy (3 works) · Geography (3 works) · Archaeology (2 works) · Buddhism (2 works) · Cultural and Sociopolitical Studies (2 works)