Handicrafts are not merely decorative or utilitarian items; they represent a profound expression of the history and culture of a particular ethnic group. We spoke with E.Gan-Erdene, a Master Artisan and Honored Cultural Worker, who has inherited this tradition and is developing it in ways that align with contemporary forms. He inherited the craft of metalwork from his grandfather and father and has created numerous works using gold, silver, wood, and bone, promoting his homeland’s name internationally through his artistry.

You are the third generation of craftsmen in your family.

My grandfather was a highly skilled and renowned artisan in his region. From him, my father inherited the craft, and from my father, I learned the techniques and methods of our trade. That makes me a third-generation artisan. From a young age, I loved traditional handicrafts and enjoyed making things with my hands. I have always been fascinated by folk handicrafts and traditional designs, which I have studied extensively. Since then, I have devoted more than 30 years of my life, heart, and soul to this craft. Today, I create a wide variety of works in the traditional nomadic style, particularly using wood, gold, and silver.

Looking at your works, I notice many saddles and complete sets of the Mongolian ger. Is that the main focus of your work?
 

As a child, I observed my father’s carpentry work and his tools, and I began following in his footsteps, particularly in wood carving. Wood carving is unique in that it requires manual skill, time, and patience. My primary focus is on creating saddles, saddle sets, and Mongolian gers. I also make gold and silver bowls of various sizes, different chains, bracelets, knives, and dombo (traditional insulated tumbler). Additionally, I create jewelry and decorative pieces. I also work with both domestic and international organizations involved in tourism, assisting with the design and planning of resorts and tourist bases. I execute decorative and landscaping work that aligns with their projects’ objectives.

What is most important in wood carving?

Tools are the most important. If you don’t use properly dried iron, the blade will not cut properly and will dull quickly. Therefore, it is essential to work with thoroughly dried iron. Achieving this took a significant amount of time. Generally, becoming skilled with good tools requires many hours learning how to process and handle the iron. Perhaps this was the starting point for my journey as a traditional artisan.

Are there certain innate abilities or skills that a master craftsman must have?

Teacher, People’s Artist and Honored Art Worker L.Chavuuchimed once said that a true artist must possess the skill of the eye, the skill of the hand, and the skill of the heart for their work to flourish. I believe that talent accounts for one percent, while dedication and effort make up 99 percent, enabling an artist to create works with a unique character that touch people’s hearts and cannot be replicated. Patience, precise sensitivity, and manual dexterity are extremely important.

In today’s world, as technology develops, many tools have emerged to make the artisan’s work easier. Learning to use them properly has become essential. In our country, due to traditional customs and nomadic lifestyle, many patterns, unique designs, and techniques exist. In fact, even regional differences can influence the methods used by artisans. Not a single pattern is created randomly. For example, cloud motifs symbolize heavenly protection, yaks represent resilience, and certain designs convey protection of nature and spirits. Each pattern carries its own meaning and symbolism, so the artisan must devote their full heart and focus to the creation process. Sometimes, when creating a unique piece, one must internally plan how to embellish it or how it will fit into the production process. Only by internally combining uniqueness and meaning can a carefully planned and envisioned work truly come to life.

What do you consider to be the distinctive features of Mongolian craftsmanship?

The art of metalwork is a very broad concept. In other words, it is an inseparable part of the nomadic civilization and has continued to develop uninterruptedly to this day. It is characterized by the Mongolian people’s originality, traditional way of thinking, and aesthetic symbolism. In short, it is the art of processing various metals such as gold, silver, iron, and copper into both household and precious items, transforming them into final works of art.

Mongolian artisans create items based on a deep understanding of nature, focusing on objects that are essential for daily life. In doing so, they frequently incorporate traditional patterns and motifs that carry the cultural and historical heritage of the nation.

I understand that you built a 25-meter diameter Mongolian ger at the “Chinggisiin Khuree” tourist base. Is this one of your major works?

I have created several works that remain close to my heart. Among them, the large Mongolian ger with a 25-meter diameter at the “Chinggisiin Khuree” tourist base immediately comes to mind. The decoration inside the ger required a significant amount of time. Another notable work is the set of five saddle-shaped saddles I crafted in 2009, which embodied values highly esteemed in Mongolian culture. This particular piece was commissioned by a real estate businessman from Singapore. I also created Mongolia’s first staircase with an erotic theme.

Having devoted over 30 years to this art, have you managed to train apprentices?

Since 2002, I have trained more than 30 artists and carvers in gold and silver metalwork, wood carving, leather, and bone crafts. Among them, E.Davaajargal, an Honored Cultural Worker, has excelled and continues to create successful works. Beyond my family, there are others devoted to this craft who dedicate themselves to teaching and mentoring, passing on the art of traditional metalwork to the next generation.

Traditionally, the items passed down through generations were durable and intended to last. However, in recent times, many factories produce gold and silver jewelry using molds and technological processes.

A one-of-a-kind piece created by an individual artist is distinct from mass-produced items in many ways. It is important that clients who acquire such works understand and appreciate these differences. There are artisans who have developed their own techniques and unique designs, but more attention needs to be paid to teaching these methods to future generations.

This art requires a lot of time and financial resources. Have there been moments when you felt like giving up?

As a human being, of course there are moments of discouragement. On one hand, you are creating art, but on the other hand, you are living in a market-driven society, so challenges are unavoidable. Crafting even a single work takes an enormous amount of time. Additionally, to meet the client’s requirements, one must employ every possible method, including raising the necessary funds. There have been many instances where I had to borrow from multiple sources just to complete a project and deliver it to the client. In general, financial considerations are crucial to creating a truly excellent piece.

What advice would you give to young people planning to pursue this profession?

My advice to young people, especially those who have decided to become master artisans, is to dedicate your heart, soul, belief, and wisdom fully to what you are doing. If you do that, there is nothing that cannot be accomplished. The person who works hard and perseveres holds the key to success. Therefore, it is essential to make persistent efforts, to develop yourself in many ways, and to carefully understand and absorb the guidance and advice given by those who teach you.

What are your future goals and plans?

My aim is to teach as many people as possible in this craft and to write a basic instructional manual that will be useful for beginners. I am beginning this project with like-minded artists. I also hope to create short video tutorials and eventually open a small training center. My goal is to preserve our traditions and pass them on to future generations.

Additionally, I dream of constructing the world’s largest Mongolian ger with a diameter of 50 meters, equipped with a sliding door, in the United States—specifically in Niagara, Buffalo, a major tourism region. The climate there is similar to ours. During the tourism season, the region receives five to seven million visitors, while the winter season is relatively quiet. Creating a structure that showcases nomadic culture and lifestyle would be ideal for this area. For the past five years, I have been conducting research and coordinating with local organizations to make this project possible.

I also envision hosting events that demonstrate the nomads’ food, drink, and lifestyle traditions. The facility would be able to accommodate around 1,000 people at a time and provide cultural and artistic services that incorporate traditional handicrafts and the essence of nomadic culture. In addition, I plan to form a family ethnic ensemble to present daily activities that introduce guests to nomadic culture.