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  Arts & Living
April Festival Seoul 2008 to Showcase Modern Paintings of Mongolia
April Festival Mongolia Seoul,2008 will be held in Seoul to showcase a wide variety of modern paintings

April Festival Mongolia Seoul,2008 will be held in Seoul to showcase a wide variety of modern paintings produced by prominent Mongolian artisans from April 17 to 24.

The event has been organized jointly by Mongolian Tourism Information Center to Seoul and Art Gallery Asia (AGA) in coordination with Institute of Fine Art Mongolia headed by Bumandorj Lkhagva.

Invited to join the Seoul exhibition, the first of its kind held in Korea, are such prominent Mongolian contemporary artisans as Mr. Tsagaandari ENKHJAR, Mr. Gombo-ichin LKHAGVASUREN, Mr.Tsultem MUNKHJIN.Mr. Tsultem ENKHJIN , Mrs. Tsultem NARMANDAKH and Mr. Shagdarjavin CHIMEDORJ.

The Seoul exhibition is expected to promote bilateral relations between Korea and Mongolia not only in cultural areas but also in economic areas as well as Mongolia is now emerging as a potential economic power house endowed with rich natural resources , Kichull Bae, chairman of Art Gallery Asia said.

While here, Mongolian artists will have a series of meetings with their Korean counterparts to exchange view on promoting two-way exchange of culture. They will also meet with Korean students who are majoring fine arts in universities here.

Mongolia Tourist Information Center opened in Seoul on May 8 to play a pivotal role in promoting tourism Mongolia in Korea with creative marketing activities through distribution of promotional materials and digital CDs to the public to woo more Korean tourists to visit Mongolia, the ancient realm of Genghis Khan, which has emerged from the shadow of Communism and is now open to the world

The opening ceremony joined by about 40 prominent members of local travel trade business community was followed by signing of a formal contract for the opening of the office by Dr. YONDONGOMBO G of Ministry of Road, Transport and Tourism of Mongolia and Woog Jin Suh, president & CEO of Winnerstel/Alzza Tour Co., Ltd of Korea at the Scandinavia Club in downtown Seoul.

Thousands of years of nomadic life and the destruction of Mongolia's Buddhist monasteries in the 1930s have greatly limited the survival of pre-twentieth century Mongolian visual art. Still, the earliest examples of Mongolian painting, petroglyphs, date to more than two thousand years ago. Significant paintings also remain from the Uighur people, who lived in the 8th century.

Mongolian art experienced a sort of renaissance beginning with the flowering of Buddhism in Mongolia during Zanabazar's time, 1635 - 1723. From this time until the shift to socialism in the early 1920s, much of the subject matter in Mongolian art was Buddhist. The work of artists, who were generally also monks, was used as objects of worship. The most common media in religious two-dimensional art were mineral pigments on cloth and appliqu¬Û (pieces of cloth stitched together and embroidered to form an image.) Applique was especially suited to Mongolian life, as it was easy to transport and held up well in the dry climate, as opposed to paintings, which might be damaged by the climate and the wear and tear of frequent rolling and unrolling. In addition, many monasteries were engaged in printing sutras and religious texts by woodblock.

With political and social changes beginning in the early 20th century, some artists began to move away from purely religious art and focused more on people and everyday life. B. Sharav, who was educated as a monk, was a painter who adjusted as his world changed and linked the old with the new in his art. The Mongolian way of life is depicted in his famous work "One Day in Mongolia,"which combines traditional Buddhist art aesthetics with secular subject matter.

With the support of the Soviets, the People's Republic of Mongolia was established in 1924, and in this year B. Sharav painted a portrait of Lenin. This adaptability of Sharav's illustrates a huge shift in Mongolian art: works created during the period under Socialism were dedicated to publicizing the new system. In the 1930s, Stalinist purges destroyed most monasteries and killed many monks in Mongolia. Also, in the early 20th century, a new aesthetic was introduced, as Mongolian artists were exposed to Western-style oil painting. In order to develop Mongolian art systematically, specialized artists were trained and specialized agencies were established in Mongolia. In the 1940s, the Mongolian government began sponsoring art students' travel and study in the Soviet Union. During this time, Socialist Realism and 19th century Impressionist styles dominated art produced by Mongolians.




 

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