Mongolian Calligraphy

Mongolian Calligraphy The Mongolian script has a thousand-year history. It is a phonematic script like those that formed the basis of the Greek and Latin alphabets in the West and which spread through Armenia, Syria, and Sardinia to ultimately become the basis of the Uyghur and subsequent classical Mongolian script. The classical Mongolian script has developed into a unique, traditional calligraphic art form. Mongolian Calligraphy is a brush-performed art which expresses traditional ancient literary culture, knowledge, intellectual education, and innate internal human sensuality with the stroke of each Mongolian letter. Mongolian Calligraphy has become a national symbol and represents the literary and intellectual pride of Mongols. Mongolian Calligraphy, reflecting nomadic life and the nature of nomads, is written from the top downward and in a clockwise direction. It consists of few characters, each having three different forms for when they appear at the beginning, middle, or the end of a word. The strokes of each character connect to form a word. The most ancient material evidence of Mongolian Calligraphy that has been found to date is the five lines of inscription, engraved on a stone with ancient decorations called Stone Encryption of Genghis. According to researchers, the inscription was engraved in 1224 in commemoration of the occasion when Isunge Mergen accurately hit a target with a bow and during the Great Ikhnadam Festival. Ancient memorial letters written in classical Mongolian script have been found and are being kept in some foreign countries include the letter of Abagh Khan written in 1267 and the letter of Argun Khan written in 1289 and the letter of Uldzid Khan currently in the French archers. These letters are considered to be very rare and precious. A letter meticulously written by brush in 1911 on yellow silk with a red stamp on it, written in Soyum, classical Mongolian, and square scripts, which has been preserved until today, is a very rare calligraphic memorial and beautiful composition. In the history of Mongolia, particularly in the 12th century, there are many renowned calligraphers such as Qinwei, Tatatunga, Shihhotug, and Yeluchutse. Throughout Mongolian history, several writing systems have been used, such as the Khitan script, this grass script invented by in 1269, this clear script invented by in 1648, the Soyum script invented by and the horizontal square script both begun in 1686, the Vagindra script invented by in 1905, and most currently, the Latin script and Cyrillic script. Mongolian literary scholars have a centuries-old tradition of learning to write Mongolian classical script with a brush calligraphically and with great diligence. It is said that in the early years of Bogdan's Mongolia, the prince Dashniyum for Sitsinhan province wrote an letter for delivery while galloping on horseback. Ancient Mongolian calligraphers developed the rare skills such as writing the next lines before the ink of the previous lines became dry, regulating their breathing to write with one breath, writing many pages continuously in even tempo, writing with many colors, and writing several lines with one drop of ink. Basic types of calligraphy include meticulous scribbling, quick, folded, and stamp patterns of writing. Mongolian calligraphy faced difficult challenges during the 20th century, including its very survival. The great suppression and killings of Mongolian noble intellectuals and scholars which took place during the 1930s resulted in grave danger and damage to vitality of the tradition of Mongolian calligraphy and the script itself. Further, in 1946, the official change of script from classical Mongolian to Cyrillic put the tradition in danger of disappearing and becoming forgotten. With the transition of Mongolia to an open society in 1990, a decree was issued to use classical Mongolian script and Cyrillic script in combination and to include classical Mongolian script in programs of general education. In addition, non-government organizations such as the Ask Calligraphy Center, the Federation of Mongolian Calligraphers, the Association of Modern Mongolian Calligraphy, and the Script and Culture Center were established with the aim of reviving, safeguarding, and developing the traditional Mongolian calligraphy. Since 2007, an annual exhibition of calligraphy called Shintas or New Snow has been held since 2007 for young calligraphers and practitioners with the aim of promoting their skills. Literary and cultural activities including batbayar, kantumur, gambatar, elbugdaya, and akim have played a significant role in disseminating the art of Mongolian calligraphy among public. Since 1992, through the weekly newspaper called Kumumbichig, readers have been provided with educational information and research articles in calligraphy, notices of exhibitions, articles in learning methodology, and interviews with people all in classical Mongolian script. A calligrapher from the Ask Calligraphy Center, Mr. Jalair Batbayar first held an exhibition in 1991 called With One Drop of Ink. He has held several exhibitions abroad since then including in Japan, the United States of America, and Canada. Mr. Batbayar has published a book on the subject with verses about Mongolian written in German, English, and French alongside the classical Mongolian script using calligraphy. In 2001 to 2009, calligrapher Mr. Hishik Suen held exhibitions of his calligraphic works in European countries including the Federal Republic of Germany, Spain, Italy, and Belgium. Mr. Batbayar held five exhibitions of his calligraphic works in Ulaanbaatar. Even though a new era for the revival of classical Mongolian script and calligraphy has begun, there's still a lack of proper state policy and a lack of favorable economic and financial support for its development. There's a need for proper planning, implementation, management, and human resource development to maintain this tradition and ensure the future usage of classical Mongolian script and calligraphy. Thus, because Mongolian calligraphy is considered as a part of the intangible cultural heritage of humanity, there's an inevitable and urgent need to safeguarding this tradition.