Kh.Khadkhuu has pursued his artistic path with remarkable dedication since graduating from the Secondary School of Fine Arts in 1991, where he specialized in ceramics and pottery. Over the decades, he has become one of the leading figures reviving and redefining porcelain art within Mongolian fine arts. His work not only reintroduces a distinctive tradition of porcelain craftsmanship but also demonstrates how Mongolian artistic heritage can resonate with audiences far beyond the country’’ borders. Working primarily with porcelain, he creates both functional and sculptural pieces. His portfolio includes finely crafted cups, plates and traditional airag (fermented horse milk) bowls, each reflecting a deep respect for form, balance and cultural symbolism. Alongside these everyday objects, he produces highly detailed sculptural works that carry profound spiritual and historical significance. Among his most notable creations are porcelain sculptures inspired by the legacy of the great Mongolian spiritual leader and artist Zanabazar, as well as representations of the revered “21 Tara”. In this interview, we explore the artistic journey of Kh.Khadkhuu and the defining characteristics of his work.
Your work is closely connected to the artistic legacy of Zanabazar. What aspects of his work inspire and influence you the most?
Zanabazar, one of Mongolia’s most revered historical figures, was himself a child of the nomadic steppe. Celebrated not only as a spiritual leader but also as a remarkable artistic genius, he is often described as working under the inspiration of Yanjinlkham, the goddess of art and wisdom. The divine images he created are distinguished by a profound sense of compassion, toward people, animals and the natural world, reflecting both spiritual depth and a deep sensitivity to life on the Mongolian steppe. Art historians in Mongolia and around the world widely agree on one defining aspect of Zanabazar’s legacy: the extraordinary originality of his artistic vision. The enduring power and beauty of his works stem from his ability to unite the aesthetic sensibilities of nomadic Mongolian culture with the philosophical foundations of Buddhism. In doing so, he established an entirely new artistic school, one that was deeply rooted in Mongolian identity while remaining connected to the broader traditions of Buddhist art. In settled civilizations such as Nepal and China, depictions of deities often embody the visual ideals and cultural sensibilities of their respective societies. Their sculptures reflect the elegance, architecture and lifestyles of settled cultures. Zanabazar, however, infused Buddhist iconography with the spirit of the nomadic world. Today, the significance of Zanabazar’s creations extends far beyond Mongolia. His sculptures and artistic legacy continue to attract international attention, frequently appearing at prestigious auctions where they command remarkable prices. More importantly, they remain a source of admiration for collectors, scholars, and art lovers worldwide, who continue to be captivated by their timeless beauty and profound spiritual presence.
Your recent exhibition, “Zanabazar Works in Porcelain Art,” was organized to mark the 390th anniversary of his birth. What inspired you to create and present this exhibition?
The exhibition presents approximately 60 works in total, offering visitors a comprehensive look at the artist’s creative vision and craftsmanship. Among the highlights is a porcelain sculpture inspired by Zanabazar’s celebrated “21 Taras,” a piece that reflects both spiritual symbolism and technical mastery in porcelain. The collection includes sculptural representations of historical figures spanning from the First Bogd to the 10th Bogd, creating a visual narrative that traces the continuity of the country’s Buddhist tradition. Through these works, the exhibition not only honors important religious figures but also bridges history, spirituality and contemporary artistic interpretation.
When creating works based on the designs of Zanabazar, are there any principles or guidelines that you carefully follow?
Zanabazar was unique in that he created deities for the Mongolian people in a way that reflected the nomadic worldview. For me, some of his most remarkable works are the White Tara, Green Tara and the Five Deities of the Primordial Origin. Through these images, he expressed the essence of compassion and the idea that a person can move toward enlightenment by recognizing their true inner nature. Before creating my own works, I make it a principle to carefully study the forms and fine lines of Zanabazar’s sculptures. As someone born into a nomadic culture, I have always been interested in learning more about the traditions and aesthetics of nomadic life. It is inspiring to see how new works can still be created by studying and applying Zanabazar’s classical designs and techniques. This is the essence of Mongolian classical art, and it is something that deserves continuous study and appreciation.
Every artist’s journey has its own story. I understand that your grandmother and your teacher had a significant influence on the path you chose. Could you tell us more about that?
I have loved working with clay since I was in kindergarten. My grandmother had a great influence on this interest. Her brothers were also very talented craftsmen, and I was fascinated by their carvings, carpentry and woodwork. I often tried to imitate the things they made by shaping them out of clay, and I became deeply curious about the history behind their craft. After finishing the eighth grade, I took the entrance exam for the Fine Arts Secondary School. At that time, the ceramics class had just been established. It was an exciting environment, not only did we learn pottery, but we also saw fascinating museum exhibits, including traditional ceramic roof tiles and even artifacts from the Hunnu period. My teacher, G.Sereeter, played a crucial role in guiding me along this path. Thanks to him, I learned about porcelain and its raw materials during my very first year of study, which became the foundation of my journey in ceramics.
You had the opportunity to study at the Repin or Surikov Academy, yet you chose not to pursue it. Turning down such a prestigious opportunity is quite remarkable, could you share why you made that decision?
At that time, there was a common path for students who graduated from the Fine Arts Secondary School. Many continued their studies at the Repin or Surikov Academies in the USSR, now Russia. I also dreamed of studying there, especially because no one in my family had ever pursued fine arts education in the Soviet Union. However, teacher G.Sereeter gave me different advice. He told me, “Times are changing. You don’t necessarily have to study at the Surikov or Repin Academy. What’s more important is to learn Mongolian traditions and techniques, especially the extraordinary art of Zanabazar. Wait for one or two years and gain experience here first.” At first, I found it difficult to decide to create the deities of Zanabazar. I had not intended to become a religious sculptor because I wanted to study realistic art and become a great sculptor. But my teacher was very farsighted. He encouraged me, saying simply, “You just need to study.” After more than half a year, I began copying the deities created by Zanabazar. Gradually, I became drawn to the work and started to understand its depth and beauty. It was then that I realized how remarkable these classical works truly are and how uniquely Mongolian they are. At the same time, I felt a sense of regret that more Mongolians had not studied and learned from them. From that moment on, I fully understood how fascinating and extraordinary these works really are.
I couldn’t let our conversation end without asking about your “21 Tara” series. Approximately how long did it take you to create it?
I have been working exclusively with porcelain since 1990. Over the years, I have created many pieces that required great patience and dedication. However, the work that demanded the most time and effort was my porcelain interpretation of Zanabazar’s “21 Tara”. In this piece, I brought together the experience, technical knowledge, and skills I had accumulated over many years. The process itself is highly complex, involving more than 10 careful stages, from preparing and refining the clay to making multiple molds, casting, cleaning, firing, glazing and finally applying color. Because of this demanding process, the creation of this series can truly be seen as the result of 10 to 15 years of continuous study, experimentation and hard work.
It is said that it took nearly 30 years for you to complete the White Tara in porcelain. Can you elaborate on this?
Some artists are able to complete a work in just a few hours with a single stroke of the brush, while other creations take decades to reach their final form. For me, detailed and intricate works require a great deal of time. I first began studying and creating the White Tara when I was still a student, but I only completed it in porcelain about seven or eight years ago. In other words, I spent nearly 30 years working toward perfecting that single piece. During that time, I experimented with many different techniques and materials, including plaster, before realizing that porcelain was the most suitable medium. In general, the process, from the moment an idea comes to mind to the moment the work is fully completed, can take anywhere from 21 days to an entire year.
As an artist, inspiration plays an important role in the creative process. In your opinion, what exactly is inspiration?
It is not easy to express this in words. From my understanding, when an artist has truly mastered technique, inspiration can quickly take form as a finished work. But if the technique is not fully developed, even the strongest inspiration or feeling can be difficult to bring into reality. During the more than 40 years I have spent working in ceramic art, I have come to understand this very clearly. Sometimes I can shape a beautiful deity with sculptural clay, but when it comes to transferring that form into ceramics, there are moments when I feel uncertain about how to proceed. This usually happens because certain technical skills or technological knowledge are still lacking. I have experienced this many times. For that reason, I believe it is essential to first study the techniques and methods of the craft. When those skills are developed, inspiration can truly come to life in the material. Only by learning and understanding the technology of the craft can an artist fully realize the beauty that inspiration brings.
Ceramics is a craft that requires great precision and skill. What kind of inner spirit and personal qualities does an artist need in order to bring a work to life and achieve true mastery?
Before I began working with porcelain, I had a very strong temper. I would become angry easily and often felt frustrated when things did not go the way I wanted. However, when I started creating images of deities, I noticed a change within myself. The process gradually softened my character. The person who once reacted quickly with anger became calmer and more composed. Even my dreams and sleep seemed to change in a positive way. Some people say that working with sacred images brings a sense of spiritual transformation, and in many ways I feel that this is true. Instead of reacting quickly, I have learned to become more attentive, patient and thoughtful. I have also learned to listen to others more carefully and to reflect on myself. In general, a visual artist must develop great patience. Only through patience and careful dedication can truly meaningful works of art be created.
I understand that your wife is also an artist. Have the two of you ever collaborated on any projects together?
Ceramics is a very delicate craft, and when I am deeply focused on my work, I sometimes become completely absorbed in the process. At such times, I lose track of everything around me. Hours pass without my noticing. My child may be crying, or my family may be going about their day, and before I realize it, it is already late. My wife is a monumental artist. Although this field is somewhat quiet in our country at the moment, she has a deep interest in Mongolian painting and Buddhist sculpture. She also sings traditional long songs beautifully. Most importantly, she supports me in every way, both artistically and emotionally. Without the support of my wife and my family, it would have been impossible for me to create these works. It is very difficult to produce new and meaningful art while being fully occupied with family responsibilities. When I organized my 12 ceramic exhibitions, the encouragement and support of my family, especially my wife, played a very important role.
Some people say that interest in porcelain has declined in recent years. Do you agree with that observation?
Not exactly. It is true that many porcelain factories closed as Mongolia transitioned to a market economy. However, if you look closely, the community of porcelain enthusiasts and collectors has been steadily growing each year. Sometimes people expect works of art to cost the same as an ordinary porcelain cup and ask, “Why is it so expensive?” Yet porcelain art involves far more time, skill and craftsmanship. To my knowledge, there are now more than 100 collectors who are interested in antique and artistic porcelain. Among them, about three to five collectors actively acquire works in large quantities with the intention of preserving Mongolia’s cultural heritage. As people’s quality of life improves, their interest in collecting art also grows. In many ways, it is thanks to the support of these enthusiasts and collectors that I am able to continue creating my work.
One of the reasons porcelain production has not developed strongly in Mongolia is that some companies and individuals import Mongolian-style porcelain produced in China and sell it locally. This shows that many consumers are still unfamiliar with the value of domestically produced porcelain. In reality, producing porcelain locally is extremely labor-intensive and expensive. Although the raw materials exist in Mongolia, they are scattered across different regions, and the lack of infrastructure makes transportation and processing costly. During the socialist period, porcelain production was treated as a major industry, involving many workers and multiple stages, from preparing the clay to the final firing. It is a complex and expensive process. Despite these challenges, as an individual artist I continue to work with porcelain because I genuinely love the craft.
If you don’t mind sharing, how do you usually determine the value of each porcelain piece you create?
The price of each piece varies depending on its size, design and function. In my experience, the highest price one of my works has reached was for a 36-centimeter porcelain sculpture of the Ochirdari Buddha, inspired by the work of Zanabazar. That piece was sold for 25 million MNT.
