We spoke with doll artist Ch.Enkhtuvshin, Founder of the brands “N’ Coosh Doll” and “The Hun Art”. He is best known for creating works that preserve and embody traditional Mongolian culture and lifestyle.

You successfully organized the very first exhibition of Mongolian doll artists. What work did you present at this exhibition?
 

I worked as the chief organizer of the first unified exhibition of Mongolian doll artists. During this event, I realized that there are actually quite a number of doll artists in Mongolia. In total, 25 doll makers presented their own meaningful and unique creations. From now on, we plan to hold this exhibition every year. As for myself, I participated in a work titled “The Bronze Treasure Monster”. This creature is one of the lords of the heavenly realm described in “Jangar”, a Mongolian intangible cultural heritage epic. Therefore, this work should be seen not merely as a doll, but as part of our cultural heritage. My long-term goal is to develop it further into a PlayStation game.

The dolls you create have unique forms and styles, almost like characters from myths and legends. How do you find ideas for your designs?
 

I create my works in six categories: animation dolls, master dolls, fashion dolls, toy dolls, commercial dolls, and cyber dolls (semi-robotic). There is a difference between creating a work and when a work is born. Creating is connected with skill, while the birth of a work comes not from skill but from the heart and soul. A doll only comes alive when infused with essence and spirit. Personally, I am deeply fascinated with Mongolian traditional culture. Because I have understood its philosophy and essence, I will continue making dolls in this direction.

The “Jangar” epic spread more widely in Western Europe, while “Geser” became more prominent in Asia. Our ancestors used myths, legends, and epics to pass on history to future generations. When children grew up and matured, they would eventually realize that these were in fact their own history. That is why I sometimes take inspiration from such epics.

Today, the band “The Hu” has risen to international fame through their artistry, proving that out of eight billion people in the world, we Mongols are not lacking in awareness or intellectual depth. In the same way, why couldn’t “Jangar” be turned into a video game? With that idea, I founded the “N’ Coosh Doll” brand and “The Hun Art”.

The word “hun” in “The Hun Art” is linked to the fact that in ancient times, the Huns were referred to as “Hun” or “Khuchuud” (people of strength). In that sense, the name symbolizes human-centered, human-connected culture.

My main goal is to bring intangible cultural heritage into circulation internationally through tangible forms, and in doing so, promote Mongolian nomadic culture while conveying the deeper meaning of human existence. Today’s younger generations are not very interested in epics, myths, or legends. That is why I chose to spread them through tangible culture such as dolls.

With the aim of producing national-scale content, I created the “The Bronze Treasure Monster” game doll and model design. This project will continue to evolve. However, in order to create it on a national scale and bring it into the international market, we must work as a team. There needs to be specialized groups–artists, marketing professionals, investors, and those in charge of international operations. The global gaming industry generates enormous financial turnover, so I see doll-making, through model design, as a potential gateway to creating national-scale content and entering the global market.

After reading how many versions of the “Jangar” epic did “The Bronze Treasure Monster” come to life?
 

There are different versions of “Jangar” available. Some are very difficult to understand, full of archaic words. For example, the Blue Book translated from Kalmyk by Ts.Damdinsuren and T.Dugersuren is hard to read because of its many old expressions. On the other hand, the two Brown Books published later by P.Khorloo, and the Green Series by T.Galsan, are more accessible and feel very alive.

It is important to preserve the vitality of the epic in writing because every word carries historical significance. These words stand apart from our contemporary language. After repeated readings, the characters begin to vividly appear before your eyes.

The “Khurel Erdene Mangas” was cast from polymer sculpting material, with many metal inlays, which makes it weigh around 30 kilograms. Its height is 88 cm, width 94 cm. If one were to continuously work on it day and night, it might take less time. But in my case, it was a very hands-on process–I first made the original model, then cast it in bronze, and finally assembled it, which altogether took about two to three months.

I started the “Jangar” project five years ago, working alone. I spent almost three years struggling on my own, which made me realize that this is in fact a task that must be done with a team. While researchers and scholars can explore and present the philosophy and essence of “Jangar”, we as artists will continue to create tangible works based on it.

How would you describe the significance and value of this epic?
 

As I mentioned earlier, our ancestors passed down their history to future generations through myths, legends, and epics. When children grew up and matured, they would eventually understand that these were, in fact, their own history. Mongols were a curious people in that, even when they conquered a land and later moved on, they would carry their culture with them. After moving, nothing remained at their campsite but the marks of the ger. This is because they knew that culture was the most important treasure of a people.

That is why I often tell children: “You can become a doctor, or a programmer if you wish. But no matter what, you must read ‘Jangar’. Reading ‘Jangar’ will unlock your mind. At first, it will be difficult and incomprehensible, but over time it will become clearer, and eventually you will even be able to visualize it.” Through games, I want to instill this understanding in their consciousness. As for myself, I strive to capture only the “soul” of the character.

The way you research your characters is very intriguing. Could you tell us more?
 

When it comes to “Jangar”, I simply read the epic. I cry, I sing, I rejoice while reading. As an artist, I read in search of my characters. For instance, I explore what kind of temperament Jangar has, and even what his physical anatomy might look like. One of the most honorable heroes on Jangar’s left flank is Khongor. The epic says: “You, my noble friend who saved my life, shall be the foremost hero of the left wing.”

Mongols have worshipped the sun and the moon since ancient times. That is why the east, the direction of the rising sun, was considered most sacred. Even today, wrestlers fight over who will stand on the left side, which is connected to this tradition. Thus, the east, the sunrise, was regarded as the light and brightness of all things.

You have tried your hand in many different fields—as a builder, a ballet dancer, and a sculptor. Why did you ultimately remain in doll-making?
 

I worked on the construction of the “Mongol Lifestyle and Culture” complex (XIII Century Complex) in 2005. I also took part in three historical films, making armor and costumes for the characters. Through this, I realized one essential truth: lifestyle and culture must come before the state. Without lifestyle and culture, there can be no people. Without people, there can be no state. Surely, there cannot be a single ruler without a people.

Therefore, if we Mongols do not understand our own heritage and culture, we will be absorbed into the cultures of others. This is simply a principle of humanity. On the other hand, a person who knows and feels their own culture will never blindly idolize or imitate the culture of others.

With this realization, I understood that it was necessary to create a brand infused with the essence of Mongolian existence and nomadic culture. That is why I founded the “N’ Coosh Doll” brand in 2005. Later, in 2006, I presented an exhibition of 208 dolls, each one unique, representing Mongolian daily life. That was when I truly fell in love with this art.

In the end, I became “addicted” to myths, legends, and epics. I believe that from a strong character, a story is born. Just as a poem can give birth to a painting, and a painting can give birth to a poem, everything is interconnected.

How is a game doll different from your other types of dolls?
 

A game doll must have a storyline. The characters are created according to that storyline. One has to carefully study all the elements—events, movements, techniques. For instance, before creating “The Bronze Treasure Monster”, I had to examine how it fights, what skills and techniques it uses. In the epic, the “The Bronze Treasure Monster” takes Naranmandakh as his junior queen, collects tribute from Jangar, and is described as having one half of his body asleep while the other remains awake. So he is a monster with his own distinctive traits and magical powers.

Meanwhile, Jangar has 12 or 13 generals, such as Khongor on his left flank and Altan Tseej on his right. Each general is described as commanding an army of eighty thousand soldiers. In my view, an epic is like a mystical riddle with the power to unlock the human mind.

It is said that shamans often take interest in your works. But you are not a religious person, are you?
 

I always try to infuse life into my creations. When something is alive, people talk to it and entrust it with their beliefs. Some who have seen my works have even been moved to tears. Many spiritual experiences occur. But I don’t believe I possess shamanic spirits. Perhaps, instead, I carry the spirit of creativity itself.

What challenges do dollmakers and artists face today?
 

Our country’s social and economic situation is not good. To be frank, many of the major institutions labeled “national” do not treat our heritage with much care. Abroad, however, cultural creators often strive to invest in their own heritage, because they understand that culture is what carries a nation forward. Sadly, here it is the opposite. Besides me, many artists are creating from the strength of their own hearts alone. But truly, the concept of national interest cannot be measured in money.

What are your future goals?
 

As an artist, I wish to bring Mongolian intangible heritage and the unique characteristics of the Mongolian people to the world in the form of national content. Human life is finite. That is why I try to ensure that the name I leave and the path I walk will cast shade in the sun and bring light in the dark. It would be tragic if no one knew you were ever born or died.

I think of the brain as the stomach of the heart—a digestive organ. Consciousness of the brain and consciousness of the heart are separate. The brain will always think that two plus two equals four; it will never think five. But the heart can add two plus two and make it four billion. In other words, the heart is consciousness working in the realm of infinite space, and the brain processes what the heart creates. That is why the brain is the stomach of the heart. So I say: guard your heart and soul. Everything begins from the heart.