Art has the power to bring history to life, transforming stories of the past into tangible forms that speak to the present. For Sculptor B.Ochirsuren, this connection between art and history lies at the heart of his creative practice. Through bronze and steel, he reimagines the lives and legacies of historical figures, particularly historical figures, whose wisdom, strength and contributions have shaped the nation’s history. His exhibition, The Legend of the Queens, brings together years of historical research, archaeological study and artistic craftsmanship. Drawing on historical chronicles, archaeological artefacts and traditional material culture, he seeks to portray these women not merely as royal consorts, but as influential individuals with distinct identities and enduring legacies. 

Having spent more than five years living and working in Austria and previously worked at the Chinggis Khaan National Museum, he combines international artistic experience with a deep engagement with Mongolia’s cultural heritage. Through his sculptures, he hopes to encourage younger generations to rediscover their history and appreciate the richness of their ancestral legacy.

 

The exhibition has been in public since October 2 at the Khaan Gallery. What has the response been like so far? How have visitors received your work?

 

The exhibition has been open for several days, and I am delighted to see that more and more people are coming to view the sculptures. It is encouraging to see growing interest in the exhibition, and I am very happy with the response so far.

 

What inspired you to study sculpture? Was there a particular teacher or artist who had the greatest influence on your decision to become a sculptor?

 

The person who influenced me the most was a sculptor named Erdenesaikhan, who has since passed away. He was a student of my own teacher and came to our school as a teacher when I was in 10th grade. He was the person who illuminated the path toward becoming a sculptor for me and gave me the inspiration to pursue this profession. His influence played a significant role in shaping my artistic journey.

 

Sculpture encompasses a wide range of materials, techniques and artistic approaches. Which do you primarily work with? For example, your sculpture of Sorkhugtani Bekhi appears to have been made using the bronze-casting technique.

 

All the works displayed in this exhibition are cast in bronze. Not a single piece is made from a different material, which is one of the exhibition’s distinctive features. The sculptures themselves are made of bronze and steel, while all the bases are crafted from natural marble.

Another defining characteristic of the exhibition is that every work is grounded in historical research. The series celebrates the lives, appearances and enduring legacies of queens who left their mark on history. The sculptures draw on the historical periods and empires associated with Mongolia, including the Mongol Empire, the Golden Horde, the Yuan Dynasty, the Hunnu Empire and the Khitan Empire, spanning different periods of history up to the 19th century.

Through these works, I seek to honour the queens who played significant roles in these historical periods and bring their stories into a contemporary artistic form.

 

How did the opportunity to exhibit your work at Weltmuseum Wien in Vienna, Austria, come about? 

 

I lived and worked as an artist in Austria for more than five years. The exhibition at Weltmuseum Wien was a group exhibition, rather than a solo show. I received an invitation to participate in an exhibition organised with the support of the Embassy of Mongolia in Vienna, Austria. Following that invitation, and with the embassy’s support, I presented approximately 10 sculptures at the museum.

Living and working in Austria gave me the opportunity to experience a different artistic environment and engage with an international audience. Exhibiting my work in such a setting was a valuable experience, allowing me to share Mongolian history and culture through sculpture.

 

Have you noticed differences in how international audiences, such as those in Vienna, and Mongolian audiences respond to your sculptures?

 

Of course. People from different cultural backgrounds can respond to art in different ways. In Western European countries, where art has a deeply rooted presence in everyday life, people tend to have a strong appreciation for artistic expression. In Europe, art is everywhere, from sculpture and architecture to the design of public spaces. There is a close relationship between people and their artistic surroundings, and audiences have responded very warmly to my work.

At the same time, I believe Mongolia has made considerable progress in its appreciation of art. Compared with the past, Mongolian audiences have become much more receptive to and knowledgeable about artistic expression. I also see Mongolian artists continually improving their skills, developing their individual styles and striving for a high standard in their work. It is encouraging to witness this growth in Mongolia’s artistic community.

 

How did the idea for the series “The Legend of the Queens” first emerge? How many years of work went into creating it?

 

The idea began to take shape in 2019, during the COVID-19 period, when I returned to Mongolia and received an offer to work at the Chinggis Khaan National Museum. At the time, the museum was still undergoing major construction and development work. Over the course of a year, I gained practical experience and training in the extensive work of conservation and restoration. I then spent more than three years working with archaeological artefacts.

Being surrounded by historical objects and working alongside specialists gave me a deeper understanding of the importance of preserving and presenting the past. During that period, I began to feel that certain historical figures and stories deserved to be represented more vividly and prominently through my own artistic work. That was when the idea for this series began to develop, around three or four years ago.

For this exhibition, I created seven sculptures, several of them quite large in scale. These works were specifically conceived and produced for the exhibition over a period of three years. It has been a long process of research, reflection and artistic development, bringing together what I learned through my museum work and my own interpretation of Mongolian history.

 

When creating sculptures based on historical records and archaeological discoveries, what kind of research do you undertake? For example, how do you use sources such as Rashid al-Din’s Jami’ al-Tawarikh (Compendium of Chronicles), particularly when interpreting facial features and physical appearances?

 

Research is essential to my work. Having previously worked at the Chinggis Khaan National Museum, I had the opportunity to work in an environment surrounded by scholars, archaeologists and researchers. I listened carefully to their discussions and learned a great deal from their knowledge and expertise.

I also draw on archaeological artefacts from Mongolia dating to the imperial period, seeking to incorporate details from these discoveries into my sculptures. These objects provide valuable clues about the clothing, equipment, material culture and ways of life of people in different historical periods.

Rashid al-Din’s Jami’ al-Tawarikh is another remarkable source. It is an exceptionally comprehensive historical work and an invaluable legacy documenting the Mongol Empire and its era. The text contains detailed descriptions and historical depictions that can help inform my understanding of the people and periods I portray. There are times when I turn to these sources to guide my work.

When interpreting the appearance of historical figures, I try to bring together the available written records, archaeological evidence and my own artistic understanding. My aim is to create sculptures that are visually compelling while remaining connected to the historical record.

 

Historical records often leave gaps, particularly when reconstructing the appearance of people who lived centuries ago. What principles guide you when using artistic interpretation to fill those gaps?

 

Among the works I have created, I found that relatively few archaeological materials survive from the Hun Empire period that can provide clear references for reconstructing historical appearance. Well-preserved examples of horse equipment, clothing and everyday objects from that era are particularly limited.

Nevertheless, I spent a great deal of time thinking carefully about how to approach these gaps. After reflecting on the available evidence, I drew on my own artistic judgement to develop the sculptures. Of course, when working with historical subjects, research must always come first. There is not a single work in this exhibition that I created entirely out of imagination without any historical research or reference.

That said, not every sculpture follows the same approach. One work, titled Eternal Existence, is more abstract and reflects a contemporary artistic direction. It allows me to explore the subject beyond a strictly representational form. Ultimately, I believe historical sculpture requires a balance between evidence and artistic interpretation. Research provides the foundation, while the artist must find a way to give that history a tangible form. My responsibility is to respect the historical record while using my artistic vision to bring these figures and their legacies to life.

 

In your sculpture of Sorkhugtani Bekhi, what artistic choices did you make to convey her political wisdom and inner strength? For instance, how did you approach details such as her bortgon headdress, known as gugu hat, and the flowing robes?

 

Sorkhugtani Bekhi is a remarkable figure whose legacy is clearly preserved in numerous Mongolian historical sources. The records describe her as a woman who accomplished a great deal and played a significant role in history. She was Chinggis Khaan’s respected daughter-in-law, and all four of her sons went on to become great kings. She was also a woman who valued harmony and sought to prevent bloodshed in Mongol politics.

When designing her clothing, I drew inspiration from ceremonial robes worn by noblewomen that are preserved at the Chinggis Khaan National Museum. One such robe was discovered at Nartiin Khad in Dalanjargalan soum of Dornogovi Province. I studied the garment and incorporated its details into my sculpture.

The dragon motif on her robe is also based on historical evidence. I reproduced a dragon design found on a fragment of a noble person’s garment discovered at a mountain known as Khorig in Khuvsgul Province. The small dragons depicted on her arm symbolise her four sons.

In the illustrations accompanying Rashid al-Din’s Jami’ al-Tawarikh (Compendium of Chronicles), noblewomen are depicted carrying a silver bag. I incorporated a similar design into Sorkhugtani Bekhi’s sculpture. I understand that an example of this type of bag is now on display at a museum in Qatar.

 

Could you tell us more about your sculpture “Pazyryk”? Is it also featured in this exhibition?

 

Yes, it is one of the highlight works of this exhibition. It draws inspiration from the Pazyryk culture, an archaeological culture associated with the Bronze Age in the Altai Mountains of what is now Mongolia and the surrounding region.

I have heard that Tuvans often use the name “Bajrag” rather than “Pazyryk” when referring to this culture. The sculpture combines steel and bronze, bringing the two materials together in a single work. Its distinctive material composition and historical inspiration make it one of the notable pieces in the exhibition.

 

Your sculptures portray women not simply as the wives of kings, but as independent figures who influenced the course of society. You have also said that you want audiences to reconsider the historical roles of Mongolian queens from a new perspective. Why do you think this subject matters in contemporary society?

 

Our society has traditionally been relatively patriarchal. However, the great empire was not built by kings alone. Behind these rulers were the mothers who raised them, the queens who helped shape their character, and the women whose wisdom and support contributed to affairs of state.

Through this series, I want to show the dignity, resilience, endurance and beauty of these women, and how they navigated the many challenges and turning points of history. I also wanted to portray them through a sculptural language that communicates strength, movement and independence, rather than presenting them as passive figures standing beside powerful men.

Each queen had her own destiny and story. By studying historical sources, I try to understand the character of each woman and express it through the sculpture. I pay particular attention to the gestures of the hands, the direction of the gaze and what these details might communicate about her personality and state of mind. At the same time, I draw on the principles and conventions of traditional sculpture.

 

What are the main challenges and advantages of pursuing a career as a sculptor in Mongolia?

 

Mongolia is a wonderful place to create art. There is considerable artistic freedom, our country has a rich history, and archaeological discoveries continue to provide valuable material for artistic exploration. Working in my own country also gives me an advantage because I can engage directly with its history, cultural heritage and historical artefacts.

In Europe, however, the cost of materials can be extremely high. Even basic supplies, such as plasticine modelling clay and metal armature materials, can be expensive. For my own work, I took all my sculptures intended for bronze casting to a foundry in Hebei Province, China, where the bronze-casting process was carried out.

In my view, one reason Mongolia does not have a well-established artistic bronze-casting industry may be the relatively small domestic market. Fine-art casting requires substantial investment and specialised facilities, but demand may not be sufficient to sustain such businesses throughout the year.

Sculpture is a spatial art form. You have to consider a work from every angle, which requires a strong artistic sensibility as well as excellent technical skills. An artist must thoroughly master the craft. It is an exceptionally demanding discipline that requires enormous amounts of labour, dedication and sustained creative ability.

Being a woman in sculpture can bring additional challenges, too. The work often involves physically demanding tasks and extensive manual labour. Bronze casting is also expensive, which creates significant financial difficulties for artists who want to realise ambitious projects.

 

Will “The Legend of the Queens” continue? Are there other historical figures you hope to include in the series?

 

I have another concept in mind for the period following this exhibition. I am considering creating a series that celebrates the glory and legacy of the Mongol Empire. I may pursue that idea through future sculptures, although I have not yet settled on the exact direction or form it will take.

 

What advice would you give young artists who want to create works inspired by history and archaeology?

 

My advice is to conduct thorough research. It is essential to work with accurate information, historical facts and verifiable evidence. Creating art based on history is particularly challenging because an artist must understand the subject deeply before translating it into a visual form.

Young artists should also work to develop their own artistic language and approach. There is a saying that there are no shortcuts in art. Sculpture, in particular, demands an enormous amount of hard work. Talent alone is not enough; you need knowledge, technical mastery, patience and the determination to keep improving.

 

Finally, what do you hope visitors will take away from this exhibition?  

 

I want young people to feel a sense of pride in their ancestors and to reflect on how they lived, the historical periods they endured and the remarkable individuals they were. I want them to recognise the depth of our history and the distinguished heritage we have inherited.