Ulaanbaatar, October 28, 2025 /MONTSAME/. We spoke with Amirdaabazar Gavaa, who has inherited and spread the nationally acclaimed Uyanga Design ger and promoted Mongol ornaments and patterns to the world. Amridaabazar not only played a key role in securing the Mongol ger’s inscription on the UNESCO World Heritage List, but also manufactured and delivered the Mongol ger with 25 khanas for a tourist camp, providing the vital support that helped it be named one of the leading eco-lodges in the world.

You are the only artisan who authentically crafts luxurious and ornate Mongol ger with Uyanga Design. When did you begin learning this craftsmanship?

My father wore many hats. He was the head of the woodworking artel, a herder, and even a quality supervisor at a factory in Uyanga soum of Uvurkhangai aimag. Back in the 1970s, when I was a child, I loved to draw. Driven by this, I often visited the artel and helped its artists out. I’d do small tasks like sanding, painting, or flattening surfaces. The artists liked having me around, and when they got paid, they would give me 1 to 3 tugrugs. That was a lot of money for a kid at the time.

During the Great Repression of 1937, many lamas from Uyanga Monastery were secularized and made to work in factories as carpenters, painters, tailors, or patternmakers. Some of them played a notable role in shaping and developing the artel of Uyanga soum. Their work went beyond simply painting the wooden frames of Mongol gers. They created truly original, one-of-a-kind works of art.

At what age did you start ornamenting the wood of a Mongol ger on your own? And how many years have you been doing this work?

I started painting patterns and ornaments on my own in 1987. The first time I painted was back in the 8th grade when I helped decorate my brother’s ger with traditional patterns. My father encouraged me, saying, “Good job, my son,” and even bought me a cute little hat for 15 tugrugs. He used to remind me, "Keep the tradition of embellishing the wooden parts of a Mongol ger with the Uyanga Design alive, preserving its original patterns and classical form."

The Mongol ger you craft is said to be of excellent quality and design. How many gers do you produce per year?

We have four core employees and hire additional workers when orders increase. We produce around a dozen complete gers each year, along with their other parts, such as toono [roof], bagana [support pillars], and doors upon request. We source planks with a certificate of origin from Khuvsgul aimag for our Mongol ger. The durability of the ger depends largely on how well the wood is stored and dried. Each piece is carefully sanded and then painted. We specialize in producing high-quality tsuulbar khanas [wooden framework made from split wood]. The combination of colors and patterns is also thoughtfully chosen to achieve a beautiful and harmonious design.

You probably get a lot of orders. Have you ever made a unique Mongol ger?

In 2000, when the Three Camel Lodge was being established in Bulgan Soum of Umnugobi aimag, its management approached me with a request to craft 35 Mongol gers. At that time, the Khujirt Wood Factory had recently shut down, and its skilled workers were available. I got in touch with them, and together we successfully produced all 35 gers.

Later on, I crafted a Mongol ger with 25 khanas for the Lodge. The Lodge went on to be selected as one of Mongolia’s top tourist camps multiple times and was also recognized as one of the world’s 50 best eco-lodges.

A Mongol ger with 25 khanas? Wow, that must be huge!

It’s truly grand. From west to east, the ger measures 18 meters across. It has a double toono and eight baganas. The diameter of the toono alone is 8 meters. For comparison, the floor diameter of a standard five-khana ger is about 6.3 meters. The total height of this spacious ger is 3 meters.

It is said that you played a major role in having the Mongol ger inscribed by UNESCO. Could you tell us about your involvement?

In 2011, we produced a short documentary film here to support the inscription of the Mongol ger on UNESCO’s list. It accurately demonstrated each step of the traditional technology. For instance, when creating the punched embroidery, one first sketches the pattern on paper and then pierces it with a needle. In general, we take part extensively in major conferences and exhibitions, proudly representing our aimag’s name and reputation.

What are the key distinguishing features of a Mongol ger crafted by Uyanga Design?

The foremost characteristic is its base color, a warm, vibrant burnt orange that radiates energy. In recent years, we have also introduced white and blue finishes. However, for those less diligent with maintenance, a pale white finish may begin to look dull and lifeless after roughly three years.

Another notable feature is the iron door. Our forebears believed that embedding iron into the ger’s primary structure could attract lightning during certain natural conditions. To retain the authentic Mongol character of the nomadic ger – lightweight, secure, and easily transportable – it is essential to preserve its traditional form. Safeguarding and transmitting this cultural heritage of compact, resilient design remains a central priority for Uyanga Design.

Could you explain the distinctive characteristics of Mongol patterns and meanders?

Traditional Mongol ornamental patterns fall into five main styles: Geometric, Natural Phenomena, Botanical, Animal, and Object-derived. For example, the Naiman Takhil [The Eight Auspicious Symbols or Ashtamangala] motif incorporates all five styles.

Natural designs include lotus flowers, while animal motifs feature argali [ovis ammon] horns, yangir [Siberian ibex] horns, the khamar [nose] pattern, and fish. Geometric patterns range from the alkhan [hammer] pattern to the tumen nast [eternal age] patterns. These designs are not mere line drawings but arise from nomadic life on the steppe.

Take the alkhan pattern, for instance – it mimics the hide of a foal or calf. Known as zeliin chagt [wooden yoke used to tie foals and calves], it resembles the letter T, and by offsetting its shadow, the alkhan pattern emerges. Each design carries its own symbolism: the alkhan pattern represents eternal motion and indestructibility; the tumen nast stands for infinity, permanence, and eternity; the ulzii pattern embodies wealth, joy, and long life.

These motifs are never applied at random. The arslan [lion] pattern, symbolizing protection, appears only on chest panels. The lotus pattern, which thrives in mud yet remains pure, is reserved for sacred rituals and never for everyday items such as stools.

Mongol patterns and ornaments seldom repeat, each imbued with deep philosophical meaning. They are also classified as masculine or feminine, and even their colors carry familial symbolism: red is the etseg [father] color, white the ekh [mother] color, and blending the two yields pink as the khuu [son] color.

Thank you. I wish you great success in your future creative endeavors.