Ulaanbaatar, July 31, 2025 /MONTSAME/. The year 2025 marks the 390th anniversary of the birth of Undur Gegeen Zanabazar, astute statesman, spiritual leader, artist, and scholar, who left an indelible mark on the Mongol state, culture, and religion. To explore the enduring legacy and craftsmanship of this revered figure, the First Bogdo Jebtsundamba Khutugtu and the father of Mongol fine arts, MONTSAME Mongolian National News Agency spoke with Dr. Baigalmaa Purevsukh, Director of Zanabazar Museum of Fine Arts.

-This year commemorates the 390th anniversary of the birth of a Mongol unequaled genius, Undur Gegeen Zanabazar. What notable works are preserved at the museum that bear this Holy Man’s authorship?

The Zanabazar Museum of Fine Arts holds a rich collection of masterpieces and handicrafts of the Undur Gegeen Zanabazar school. Among the most revered are original works by Zanabazar himself, including “White Tara,” four of the “Five Dhyani Buddhas,” “Bodhi Stupa,” “Maitreya,” “Manjughosha,” or “The Gentle Voice,” and “Portrait of Mother Khandjamts.” The Museum also displays numerous images of Zanabazar in various forms - clay, cast metal, thangkas, appliqué, and woodblock prints - a part of its treasured exhibits. In addition to creations of the great Master, we house pieces by his disciples, all created in the distinctive style of the Zanabazar school.

-When Zanabazar’s works were exhibited at the Louvre Museum in Paris, French newspapers hailed him as “The Great Zanabazar.” This highlighted his extraordinary talent on par with historical virtuosos like Leonardo da Vinci. What sets his artistic genius apart?

There is much to be said about the miracle of Zanabazar’s craftsmanship. In 1993, an exhibition of Mongolia’s finest artworks was held in France, where “Green Tara” by Zanabazar was put on display. At that time, the exhibition created quite a stir in the French press and drew reviews and evaluations from art critics and scholars. “Green Tara,” “Vajra Tara,” and “White Tara” by Undur Gegeen are considered not just masterpieces of Mongol art, but irreplaceable treasures of Buddhism’s global visual heritage. Following the Louvre exhibition, international experts dubbed his works the “Asian Madonna.” This attests to the fact that Zanabazar’s creations are not only treasures of Mongolia but masterpieces of Asian, Oriental, and even global art, comparable to the works of Renaissance legends like Leonardo da Vinci and Michelangelo.

There are special teachings on human body proportions in the “Tanjur” scriptures. Specifically, Ancient Indian treatises such as “Pratimalakshana” and “Chitralakshana” laid out the iconometric principles for depicting deities. Based on such treatises, Zanabazar followed the “Dashatala” or “Ten Palms” proportion system. This reflects that Undur Gegeen Zanabazar was not only a master of Mongol art but also of Oriental classical art principles. What truly distinguishes him is how he creatively transcended these canonical rules. Undur Gegeen Zanabazar reinterpreted classical Indian, Tibetan, and Nepalese art through a Mongol lens, infusing his works with the national artistic identity, customs, and aspirations of the Mongols. In doing so, Zanabazar laid the foundation for a distinctly Mongol school of Buddhist art. It is also fully justified to acknowledge him as the pioneer of bronze casting in Mongol craftsmanship.

-Could you give an example of the exquisite craftsmanship in Zanabazar’s works?

Every element of Zanabazar’s sculptures - body proportions, aesthetic qualities, facial expressions, hand gestures, elegance, attire, and ornamentation - is rendered with meticulous care.

Works such as “Green Tara,” “White Tara,” “The Five Dhyani Buddhas,” and “Vajra Tara” are rightfully considered among the rarest and finest examples of classical sculpture art worldwide.

His art is not just about form. Zanabazar’s sculptures radiate spiritual presence and emotional depth, which evoke reverence in spectators, inviting them to experience Buddhist philosophy through visual art. Undur Gegeen Zanabazar’s figures appear alive, with subtle movement and emotions. For this, Zanabazar is affectionately known among Mongols as the “Divine Sculptor.”

Furthermore, he introduced a distinct visual identity into Buddhist art, one that continues to attract scholarly interest worldwide. Today, sculptures attributed to Zanabazar are auctioned at high prices across the globe.

-How has Undur Gegeen Zanabazar’s artistic legacy been preserved over time?

Undur Gegeen’s works are not only housed at our Museum but also preserved at the Choijin Lama Temple Museum, the Bogdo Khaan Palace Museum, Erdene Zuu Monastery, Shankh Monastery, and Gandantegchinlen Monastery. In addition to preserving and promoting these invaluable works, it is also essential to uphold the artistic legacy and continuity of the Undur Gegeen Zanabazar school. Notably, the first disciples of the late “Buddhist Artist” Purevbat Gankhuu have studied this artistic tradition from its foundations. Through mastery of sacred proportions and Buddhist iconography, they are faithfully continuing the legacy of Undur Gegeen.

-Besides Zanabazar’s masterpieces, what other rare artifacts are part of your Museum’s collection?  

The Zanabazar Museum of Fine Arts has a collection of approximately 16,000 artifacts. While the masterpieces of Zanabazar are the centerpieces, the Museum also features exceptional works by Mongol artists from various periods, with many created by renowned craftsmen of Ikh Khuree (modern-day Ulaanbaatar) during the late 18th to early 20th centuries.

-When was the Zanabazar Museum of Fine Arts established, and how has its collection grown?

Our Museum will celebrate its 60th anniversary in 2026. In 1995, to commemorate the 360th anniversary of the birth of Zanabazar, the Government of Mongolia issued a decree officially renaming the Museum in his honor. This meaningful tribute ensured that the legacy of this brilliant and visionary artist would be preserved and celebrated for generations to come. When the Museum’s collection was first established, Zanabazar’s sculptures, traditional thangka paintings, and folk art pieces were officially transferred into the collection as part of a state policy. In addition to private donations, the Museum has also acquired artworks through collaborations with both international and local collectors during exhibitions.

We are introducing three highlight exhibits from the Zanabazar Museum of Fine Arts.

“White Tara”

Artist: Undur Gegeen Zanabazar
Dimensions: 69x45x45 cm
Weight: 53.83 kg
Material: Gilded cast bronze

Zanabazar’s “White Tara” is more than a religious icon - it is a pinnacle of Mongol artistry and a treasured asset of Mongolia's intellectual and cultural heritage. The “White Tara” a harmonious embodiment of artistic perfection, philosophy, and aesthetics.

“White Tara” is portrayed as a serene 16-year-old girl with a crystal-clear body. She holds a white lotus in her left hand and displays a protective mudra with her right, symbolizing her compassionate vow to liberate all beings from the forces of untimely death and free them from suffering. With three eyes on her face, two on her palms, and two on her soles, she is known as the “Seven-Eyed White Tara.” These seven eyes represent her boundless compassion across the three times - past, present, and future - through which she bestows blessings and loving-kindness upon all sentient beings.

-       This masterpiece holds a distinguished place in the history of Mongol religion, art, and philosophy, with several notable features of craftsmanship and artistic brilliance.

A living and breathing figure:

-       The “White Tara” by Zanabazar is not a mere sculpture but a traditional meditational deity. The symbolism of inner peace and salvation is expressed through finely detailed carving.

-       The lifelike gaze and subtle smile evoke deep reverence in devotees. It stands out for its sensitive portrayal of White Tara’s compassionate and peaceful expression.

"Manjughosha,” or “The Gentle Voice”

Artist: Khasgombo
Date: 19th century
Size: 100x72 cm
Medium: Silk, brocade, colored threads

Based on a black-and-white sketch by renowned artist Khasgombo of Zoogoi aimag in Ikh Khuree during the late 19th century, “Manjughosha,” or “The Gentle Voice,” is a highly intricate thangka made with finely woven horsehair threads. Exemplifying the classical tradition of Mongol painting, where the central figure is depicted on a large scale while surrounding elements are arranged in balanced composition, the artwork features a grand portrait of the yellow-hued “Manjughosha” at its center. Directly above her is a depiction of “Shakyamuni Buddha,” with “Green Tara” and “White Tara” flanking her on either side. In the lower left corner sits “Yanjinlkham,” the Goddess of Arts, while the lower right corner features “Vajrapani,” The Holder of Thunderbolt.

Ornaments of a Khalkha Woman

Artist: Unknown

The Khalkha are one of over 20 clans and ethnic groups in Mongolia, known for their distinctive attire and ornaments that preserve national traditions. From as early as the 16th century, Mongol women began styling their hair into a wide arrangement, embellished with intricately engraved, gleaming white silver ornaments.

Traditional Headdress: During the over-200-year period of Manchu Qing influence, Mongol women traditionally wore hairstyles characterized by large, horn-like structures, which projected their grandeur, pride, and beauty.

Headwear: The headwear is adorned with coral inlays and decorated with embossed ornamental patterns using silver threads, interwoven with traditional “ulzii” patterns.

Hair Clips: The hair clips are made in an elongated shape, featuring intertwined designs of “ever” ornament and “ulzii” pattern, intricately chased in silver and inlaid with coral.

Temple and Ear Pieces: The shanaavch (temple pieces) and shilevch (ear pieces) are crafted using silver filigree techniques, forming ornaments, “ulzii,” and “Khanan” patterns, and embellished with coral. These components match the patterns of the headband to maintain harmony in design.

A Khalkha married woman traditionally carried a set of the “Five Essentials,” which included a toothpick, tongue scraper, eyebrow plucker, ear pick, and nail cleaner. These reflect a Mongol woman’s sense of cleanliness, dignity, and the graceful demeanor expected of a queen.