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10:50-11:20
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PROGRAM OF THE CONFERENCE

Khar Khorum, Mongolia
09.July.2012
09:00-09:20

Opening speech
Sonintogos E, President of MSUAC, Prof.

PRESENTATIONS
09:20-09:50

In search of traces of nomadic tribes and their secrets through Shamanism (),
Martial Arts (), and Dance ()
Kang Joon Hyuk, Sung Kong Hoe University
Performances:
Lee JinHo, Yook TaeAn, Kim WoonSun
09:50-10:20
Ancient culture of the Huns and contemporary esoteric: problem of interaction
Pshenichnikova,R.I , President of East Siberian State Academy of Culture and Art, Prof.
10:50-11:20
Symbolism of music thinking of the Huns
S.Soronzonbold, Academic secretary of MSUAC, Acc.Prof.
11:20-11:50
In Search of Wisdom from the Ancient Hunnu State to the Present day: Shamanism ( ),
Martial Arts ( ), and Dance ( ) in the Education of Ancient Korean Leader Groups
Choo, Mee-Kyung, Executive Director of Daum Adjunct Prof, Sung KongHoe University
12:00-13:00
Visiting Khar-Khorum sum Naadam site
15:00-15:30
15:30-16:00
16:20-16:50

16:50-17:20
17:20-17:50

Some issues of expression in animal featured art of the Huns

B.Bayartur, Academic secretary of MRICA, Acc.Prof.
On worshipping the sun by Mongols
Sh.Erdenetsetseg, Professor of Culture Study Team of MSUAC, Acc.Prof.
Xiongnu and Ancient Korea - some evidences of interactions between nomad and sedentary
nations
Kang, In-Uk, Prof of Pukyong National University
Spiritual culture of Huns in the context of the historical development of civilization
I.B. Batueva, Dean of ESSACA, Prof.
Esoteric knowledge of stone image at the Baga Ereen
L.Purevlham , Officer of DCA of Kharkhorin

CONFERENCE CLOSING SESSION

17:50-18:20

18:20-18:30

Closing remarks by
Sonintogos E
Kang Joon Hyuk
Pshenichnikova R. I
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42

IN SEARCH OF TRACES OF NOMADIC TRIBES AND THEIR SECRETS

THROUGH SHAMANISM( ), MARTIAL ARTS ( ) AND DANCE ( )

Kang, Joon-Hyuk
Cultural Project Director
Dean of Graduate School of Culture & Communications, SungKongHoe University
Prologue: An era when there was no distinction between shamanism, martial arts, and dance
Human beings are, indeed, social animals. Since tens of thousands of years ago, or since the time to
which the earliest human traces can date back, humans have lived in a community. They hunted and gathered
things together, and they have lived together. Aside from the practices needed for survival like hunting, they
would play games together in a cave, either in the evening or when it was cold. Humans were created as social
animals, just like ants or bees.
Communal living requires leadership, as any group needs a leader who helps prevent unnecessary
energy use. In the world of animals, physically stronger animals usually have priority to propagate their genes,
whereas in human society, that is not always the case and there are a lot more factors at work than other parts
of the natural world. Of such factors, the most important are the energy systems specific to the human body.
In human society, unlike animals, physical strength alone does not guarantee survival. Human beings
are smart, and have individual energy systems and ways to survive. The energy of those who are exceptionally
sensitive and talented takes on a unique form, and their magnetic power to attract other individuals is
undeniable. Any individuals who were able to communicate with an invisible and intangible world defying the
laws of time and space would have qualified as leader of his/her own group. In the early period of tribal
nations, where leaders of certain groups emerged, such individuals who had mysterious power became the
group leaders.
The era of theocratic societies lasted for a very long time, but mostly belonged to prehistoric times.
Thats why most of us remember it as only a small part of mankind history. However, those who had to keep in
touch with the unknown world because they were always on the movie, or those who settled down physically
but wanted to wander spiritually, might have longed for highly spiritual leaders. In that sense, it can be said
nomads are prolonging the period of theocracy. Their constant moving and subsequent changes made them
yearn for the prophetic power, or a way to protect them against uncertainty. Such yearning necessitated
guidance and wisdom for them to assimilate with nature.
Nomads whose long lives involved moving across vast stretches of North Asia were most aware of the
aforementioned energy systems specific to humans. Therefore, they appointed as their leader a person who had
considerable physical, mental, emotional and spiritual energy. Such a leader must have had wisdom, charms,
strength, and prophetic power. Such was the era when there was no distinction between shamanism, martial
arts, and dance.
Our gestures and nomadism
While Western dance is based on stretching movements that require muscle relaxation, Korean dance
involves a lot of inward motion and bending. Since South Asian dances incorporate sign language gestures and
facial expressions, they basically need thick makeup (including white foundation). The dances of North Asian
nomads, including Koreans, however, consider body lines, especially those of arms and shoulders, a very
important form of expression. These dances never compel attention to fingers or facial expressions, but
incorporate the use of a robe, a stick, or any other special tools (fans, swords, or small bells) to accentuate the
extended line of an arm.
43

If arms and shoulders play an important role in direct expressions in Korean dance, feet and legs are
used to express inner rhythms such as swelling and a sense of space with the speed and scope of dance
moves. The swelling move that can easily amuse any viewers without other movements originated from the
Ogeumjil of dancers, who convey inner rhythms by concealing most part of the body in skirts or (Korean)
robes.
Such ogeumjil was the most essential part of physical exercise for horseback nomads because it
helped ride horses (jumping on horseback, preventing a fall off a horse, etc.). It was also a basic dance move
that allowed a dancer to express a horse riders amusement.
Other moves, such as yeonpungdaedolgi and jabanduijigi, which can be seen in pungmulpangut
(exorcism) or seungmu (Buddhist dance), were also most effective at jumping on horseback. These are also
basic movements for kicking or back-kicking in martial arts.
A dance movement in which a leading gong player in pungmulpangut alternates feet, whips, and
moves forward while seated was also shared by the North Asian nomadic tribes.
A movement that a shaman practices by jumping in Korean exorcism and the soseulsang (a leaping movement
while hitting a small drum) practiced by the beokkujabi also originated from the dance of the North Asian
horse nomads. Pungmulgut (a sort of exorcism), which had been called pungjang, pungmul, and dure, but
renamed nongak by the Japanese under Japanese rule, was characteristic of the reserve forces of North Asian
cavalry. When they marched to the beat of gilgunak (military marching music), the cavalry was required to
practice all the necessary dance moves. Their dance composition was similar to that of a military unit,
consisting of a flag bearer, a leading gong-player, a second gong-player, a third gong-player, a leading drum
player, a second drum player, etc., who were all clad in military uniforms. Pungmulgut native to Samcheonpo,
Gyeongsangnamdo, which was designated as Intangible Cultural Property 11 and named 12th Nongang Garak
in 1966, consists of military techniques, such as gilgunak, ssangjingut (or ssangjinpuri), godongjin (conchshaped movement), gangmajin (in which sinjang is sung), hwanghwajin (which expresses victory or defeat),
unmujin (which stirs up dust at the front), and geumsaejin (which forms a circle), and they were all named after
the terms used by an army on the offensive. Loud shrill sounds and the visual signals of a sangmo (hat)
constitute an appropriate signalling system for wide-field use, characteristic of the culture of North Asian
nomads.
In Korean dance, shamanism, and martial arts, swords are commonly use. Swords were symbols for
kings and warriors and represented the jurisdiction of a certain leader in a certain time (e.g., the mandolinshaped dagger (bipagyeong donggeom)). Swords were also important weapons, along with small bells and
donggyeong. It is, however, very rare to use a sword in ordinary dance movements. Korean sword dances have
been well preserved, though the shapes of swords have changed a lot. These are also traces of the North Asian
nomadic tribes, and the salpuri cloth used in shamanism was also allegedly used in the same way as swords.
While the aforementioned external elements are important, it is the broad-mindedness commonly
characteristic of Korean shamanism, martial arts, and dance that deserves more attention. As said earlier,
nomads created dance moves that did not needed stages because they were constantly moving, but they
eschewed detailed moves that were characteristic of South Asian dance, as well as light moves. North Asian
movements were always heavy and broad, whether they were used in exorcism, dance, or martial arts. Their
dance steps were always weighty because feet always landed on heels. Whether it be cheoyeongmu or salpuri,
dancers move heavily as if warriors moved holding swords. Since these nomads did not dance on a stage,
which would have limited the scope of movement, their moves were always flexible. Their dance moves
surrounding a bonfire could be only seen by the spectators. No matter how close the spectators tried to get to
the dancers, the dancers would not use their fingers. Thats because the energy that emanated from the dancers
was at one with nature that surrounded them.

44

Epilogue: The era of balance between shamanism, martial arts, and dance
We are living in an age where powerful kings do not need to threaten shamans; where dancers just
dance, dancers without prophetic power are no longer despised, and there is no shamanism in the traditional
sense. Now is the time when people just envy each other. Shamans should train themselves with martial arts
and develop their core strength; dancers will become excellent dancers when they develop the stability,
balance, and power of a martial artist. If dancers moves are beautiful and meaningful (so that their inner
energy can be cultivated and they can communicate with nature), then the age of automated machines would
not reduce their value. As long as our traditional perspective persists that the three elements (shamanism,
martial arts, and dance) share common characteristics, then we will one day fix the errors of the era of analysis
in which everything has to be fragmented.

45

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48

A CONNECTION BETWEEN THE MELODIES OF MONGOLIAN SHAMANIC WORSHIP AND THE

MUSIC OF HUNNIC SHAMANISM

S.Soronzonbold
Mongolian State University of Arts and Culture
Summary:

This paper concerns the connection between the poems and songs of worship to Ogedei Khan
and the eight family households of the Yuan Dynasty known as the The Twelve Songs Of
Heaven as well as the The Heavenly Language and the emphatic zee particle of
Mongolian long-songs to the shamanist beliefs of the ancient Hunnu.

Key words:

line teaching, shaman, worship, spirit, Twelve Songs of the Heaven, heaven language, zee,
Long-song, huumii, tsuur.
Introduction:

Currently Mongolian shamanic rituals and worship have been restored to their original form; everything
related to them has developed in accordance to their surroundings. Believers and non-believers alike make a
fuss about the rituals and beliefs of Shamanism. Shamans are considered wonder-workers who can make
video cameras stop recording when they want and cure the ill with their supernatural powers all before our
very eyes. They carry out these miracles with the assistance of their spirit guides and act according to their
advice. The steeds ridden by their spirit guides is the drum and the ecstatic melody of the ritual. So it is quite
likely that the music of the ancient Hunnu has been transmitted through these rituals of the spirit. Moreover
both male and female shamans are often known to transmit the wisdom of ancient philosophy. Some shamans
communicate with spirits from the period of Chinggis khan as well as spirits of the Hunnu period. The rituals
of shamanism are connected to the worship of Great Khans at the State and civil initiatives. The following
sources present a background to explain the music culture of the Huns.
Song of the worship of the khans
There are some attractive lines found in volume 69 of The History of Yuan Dynasty. An example is
the song of worship second Household of Taicu:
At the honored place of Kherlen
The city of Heaven, palace of the earth
(In other words: The city of Tngri and the navel of the earth)
Came from south and north equally
(This means that the past and future are equal and perfect)
And were established in divisions.
Teachings of ancestry were made precious
(Chinggis Khan was not mentioned here and it is said that teachings of the family line and the power of the
ancestors will be developed) The line teachings is sure to lead us to the Huns if we track the tradition from The
Great Khan. Historians note that Chinggis Khan took the tradition of military organization from the Hunnu.
The power of the ancestors was developed
The learned and reincarnated ancestor is honored.
Is the learned reincarnated ancestor mentioned above Yesukhei, the father Chinggis and grandfather
of Ogedei? The thought of who this learned and reincarnated individual was is made apparent. There is
information that over 20 skill were inherited by members of the Golden line of Chinggis khan. A magical
ability to change the weather is among these skills. The song in praise to Ogedei mentioned that Ogedei khan
49

carefully observed the teaching of these abilities. But it is an established fact that the teaching of ancestry and
magical knowledge were performed
through a spirit medium. Therefore it is necessary to clarify whether the City of Heaven or the Palace
of Earth was Kharkhorin or was a town at an honoured place on the Kherlen river which is known today as a
sacred place. It is taught that the ancestral teachings of the learned and reincarnated ancestor are an aspect of
the guardian spirit that was carefully observed and kept. So it is correct for us to interpret the knowledge of the
ancestors mentioned in the lyrics of the song of Ogedei khan through the legends and customs related to longsongs, wooden tsuur, and khuur of the ancient Huns. The time has come to study and explain the intangible
culture of our ancestors.
The Great Prayer or The Twelve Songs of Heaven
The micro rhythms and their meaning of the melody of The Twelve Songs of Heaven, prayer to the
Mongolian khans consists of incomprehensible poems. When The Twelve Songs of Heaven was sung a
great melody appears. The great song was begun with the khokhchin yam, later adding the chirkhi and darkhad
yams which became the main performers of this type of worship, jonons, lords and nobility were permitted to
join them. The song was called the great song. Some khokhchid including Bat-Ochir sing in the following
way.
Zee kho ilillaize,
Zeolorlakhileem
Iliikhai khui olorlokh ililaize
Ze-ee olorlokh ileem umbalyakhau ulgerle.
The Twelve Songs of Heaven have such calls and phrases. They are known as the language of
Heavern.
In other words it is the language of Heaven in which Chinggis khan used to communicate with tngri.
The above-mentioned twelve songs are called Great Mongol, Small Mongol, Ansukhun, Uilbilian,
Alalba, Viilenzugui, Niyanla, Khui, Zeba, Jirge, Shirejilo, and Zumerso and these
incomprehensible names are thought to be very ancient words. Only one word which we know among them is
zee. It is impossible to understand Mongolian long-songs without zee. The zee of Mongolian long-song
could be considered to be connected with the language of heaven. Mongolian long song is connected to the
khans worship by this zee. Academician D.Tserensodnom explained that the minu zee of Mongolian longsongs means to become more plentiful than frogs . The Twelve Songs of Heaven have this zee particle at
the beginning and end of the line of each poem. So it is quite Probable that zee has meaning to become more
plentiful. There is, however, no firm understanding of the origin of zee among our scientists and researchers.
(2)
When singing the great song is finished several yam including the khokhchin yam sing a great prayer.
The Yam kneeled on the ground and quickly read words in unison using glottal stops. (the rules of worship
demanded a quick reading)(3) Such separation of great prayers from small prayers corresponds to the law of
worship, but the reading of the prayer could properly be reflected on the worship of relative time to the first
half of the 20th century. The Twelve Songs of Heaven is also connected to the worship of the khans. If the
language of heaven is the language of a shamans spirit assistant can be translated, but there has never been a
man who has the actual knowledge and cognitive ability to explain the language of heaven. The shaman
Damdinbazar has clearly stated that it is very difficult for some shamans today who perform their rituals to
understand the name of the places where the spirit dwelt over 500 years ago. Sukhbat, director of the Centre of
Mongolian shamanism spoke of are the high heavens who rules the shamans. In other words there is a
powerful spirit which communicates with the spirits of the shamans. Chinggis Khan could communicate with
the high heavenly spirit. the twelve songs for the worship of the heaven could be inherited. It is said that the

50

last shaman to take their spirit began to speak in an unknown language. The reason for this explanation of it is
an alternative reading of the heavenly language.
The shamanist worship of the Huns
Ch.Dalai mentioned in his book A Brief History of the Mongolian Shamanism: During U Di, a king
of The Han Dynasty, there were many shamans among the prisoners of war. King U Di highly believed in
Hunnu shamanism and built a monastery Jin Lu for the worship of Hunnu spirits. He tried to attract
shamans,considering the military power of Hunnu maybe, was connected to shamanism. Ch.Dalai mentioned
that in the Chinese sources it was stressed that their shamans divined before the beginning of a war. (2.18,19)
Then the above-mentioned evidences proved that the worship of the khans, Twelve Songs of Heaven and the
shamanist worship of the Huns are connected to each other in any way because. A Great Prayer of Chinggis
khan mentioned: Three mergets made flour, being passed over Gua Dov (hill). a text on shamanism also
mentions: The Nine were fully scattered at Gua Dov.(4) According to it the Mongolian shamans have
revered in Gua Dov from very ancient times. (5)
G.Sukhbaatar mentioned in his book Prototypal Mongols that according to the information of Shi zhi
when the Chinese military general Ho Cui Bin attacked the Hunnu he took over the flag and khuureg of the left
dazhyan king. The khuureg was called a drum in Secret History of the Mongols. This year the Chinese
soldiers took over the flag and drum of the left setsen wang of Hunnu. According to it each military leader of
Hunnu had his flag and drum. (6) It is clear that the drum was equal to the flag in Hunnu.
The khuur inherited from In the ancient time the khuur has been considered as it could restore humans,
animals, plants and visible and invisible everything and eliminate a death and epidemic. It is said that there are
much quarrel, anger, childrens cry and fear at a place without the khuur. There was an interesting custom
that the khuur was performed To CLOSE the DOOR of the SKY and to prevent a misfortune when a good
horse and animals of the herders died. Here it is the question what will happen when the door of the sky closes
or the door of the sky is open. However the view and custom of the relation of the song and music with the
sky has been inherited.
The Uriankhai had the tradition that they performed the tsuur for three days beginning the first day of
the new year to prevent a loss of the coming year. At last it is concluded that there are two stories of the
legendary heroes with culture and the work of ordinary people.
The sourse of the origin of the Mongolian hoomii is also connected to the Hunnic period. There is a legend
which the origin of the Mongolian hoomii is related to the sound of the currency of the Eeven river. The legend
has been a root of the origin of the Mongolian hooumii. Scientist L.Tudev made an interesting conclusion that
the origin is connected to the area of yaks because the yaks produce the sound similar to the hoomii. The
hoomii performer B.Odsuren considers that the hoomii was an instrument the signal of war. I consider right
that the hoomii was originated from meditation because during the meditation a meditation person performs a
specific sound which is similar to the hoomii. Professional hoomii performers have several special features.
For example for the famous Mongolian hoomii performers they have almost no blood pressure and on the
contrary they have low blood pressure. The low blood pressure is connected to peculiarity of their profession.
It is impossible to deny the origin of the huumii from the high mountainous area or the other reason. But for
the mankind in the present tensioned society the huumii is a way to reduce blood pressure without medicine.
Conclusion
The zee of the poem of Twelve songs of Heaven is connected to the Mongolian long-song. So it is
considered that the worship of the khans, Twelve Songs of Heaven and worship of the shamanistic spirit are
originated from the spirits of the Hunnic shamanism and their melodies and rhythms. The system of the
melodies of Ikh Mongol from Twelve Songs of Heaven and the other melodies from Baga Mongol
51

consist of three and four sounds. It is an evidence that for the theory of their music it is the very ancient
melody.It is a special feature of the melodies of the ancient worship before pentatonics. The melodies of Ikh
Mongol and Baga Mongol which are called as a national anthem of Mongolia were composed after XIII
century.
In the recent years several shamans appeared in each family and the worship is carried out everywhere.
The melody of the spirit of a shaman mostly has been transmitted and in some cases it is based on folk song.
So it is quite possible that the melodies and music of the ancient Hunnu have been inherited through the
custom of shamanism. There is the other reason that the custom of shamanism which was interrupted for many
years was restored, but the research of the origin of the melodies of the spirits of shamans is not carried out. In
the recent year the archealogical findings are popularly found on the territory of Mongolia. It is not case. Thus
the opening of the door of the ancient spirits gives us a chance to carry out research of the related time.The
heaven language will decide how to use the open door of the heaven.

52

IN SEARCH OF WISDOM FROM THE ANCIENT HUNNU STATE TO THE PRESENT DAY,
SHAMANISM( ), MARTIAL ARTS( ) AND DANCE( ) IN THE EDUCATION OF ANCIENT
KOREAN LEADER GROUPS

Choo, Mee-Kyung
SungKongHoe University
Introduction: Tree of Culture and the Huns
Tree of Culture is a cultural project aimed at delving into the common roots of culture and arts of
North Asia and combining them with mankinds long-standing wisdom and values. Since its launch in 2008 at
the 3 Rectors Meeting held around Lake Baikal among Mongolia, the Republic of Buryatia, and South
Korea, this future-oriented international cultural cooperation project has been carried out for five years.
The theme of this years 2012 Tree of Culture is Esoteric Knowledge within the Ancient Culture of
the Hunnu State. The theme is considered an extension of the Study on the Common Roots of Culture and
Arts of the North Asian Nomadic Cultures and into the Interest in the Roots of Human Cultures in Ancient
North Asia.
The Hunnu State (4th century BCE to AD 1st century), which has recently started being recognized as
the first nomadic state in mankind history, gave way to the Hunnic Empire (4th to 5th century), and has thus
gained international attention as an ancient nomadic state broadly called the Hunnic Empire, despite very little
objective, historical evidence. There is, however, a growing international interest in the Hunnic Empire, which
had a global impact on the formation of ancient human cultures, and more countries believing that the empires
cultural roots have been passed to the present day have shown an increasing interest in and expanded their
imagination about the culture of the Hunnic Empire.
Tree of Culture is an open cultural project conducted in search of the common cultural and artistic
roots of North Asia. As a comprehensive cultural project or interpretation, it requires cultural imagination
through multidisciplinary communication and collaboration.
In light of the above, this presentation presupposes that the project is based on cultural imaginations
rather than academic research.
1. Why the Educational Systems of Ancient Leader Groups?
The 21st century has witnessed the birth of digital nomads as radical changes in communication and
mobility have led to fast time-space compression. These results point to the era of continued environmental
changes and uncertainty, in which forecasting the future will be even more difficult. Despite the given physical
conditions of settlement, peoples minds will inevitably wander in the chaos of information overload, and they
will be compelled to develop flexibility to cope with unpredictable environmental changes, just as the ancient
nomads had been.
To cope with such changes, the focus has been socially on developing nomadic creativity and, in
terms of education, on creating new competencies as comprehensive life skills. The approaches used to
develop nomadic creativity, however, have been biased towards superficial forms and quantitative results,
instead of producing mental and attitude changes. Approaches to educational innovation have also overlooked
each nations own traditions and culture, while blindly following the Western-centric modern/contemporary
civic education models that have only been around for two or three hundred years. The narrow-mindedness of
methods for communicating with the world, stuck in narrow fields of expertise, has prevented us from tackling
effectively with the complicated, unpredictable changes of our time.
Under such circumstances, it is necessary to take a look at the educational systems of ancient leader
groups because the wisdom that they applied to leading their own societies and developing human resources is
53

expected to offer valuable insight in contemporary settings. It is also because the cultural heritage of the
Hunnic Empire, the leading ancient nomadic state of North Asia, was connected with that of ancient Korean
states, and because the empires historical, cultural effects also resonate with the 21st-century Korean society.
Now is the time to predict and prepare for the future using the wisdom that has been passed down from our
own historical and cultural roots, in spite of insufficient evidence and research.
2. Trends in the Education of Leader Groups in Ancient Korean States
Before the formation of ancient states, in prehistoric times, there were no educational institutions like
schools anywhere in the world, let alone Korea. There were, however, educational practices in which older
people passed on to younger ones the knowledge and wisdom needed to survive. During these times, learning
was directly linked to survival, so they had a clear purpose for learning, practiced needs- and interest-driven
learning, and consequently reaped highly satisfactory results.
In the age of ancient states, education became an institution, but it is widely understood that
educational institutions during the nascent stages of ancient states were complex social systems for producing
human resources that would become the backbone of their nations, rather than specialized institutions. Such
social systems acted as a complex framework for human resources development, within which students were
trained to achieve the unity of knowledge and action through ritual(or spiritual) training (communicating with
Heaven through moral/religious training), social training (cultivating knowledge, virtue, and physical strength),
and military training. Within this framework, the ancient peoples wisdom incorporated the practice of a
comprehensive understanding of the world, their nation, and themselves, and of an understanding of their
social roles.
It is widely believed that, at the root of those ancient states human resources development and
mentality, there were the Singyo Nangga system of the ancient Hwanguk era (7,000 BCE to 4,000 BCE) and
the Gukjarang system of the Dangun-Joseon era (2,000 BCE to 200 BCE) included in the mythological
narratives of Korean history. The Singyo Nangga system of the ancient Hwanguk era originated from
Jesehaekrang of the Baedal nation. The first Nangdo who founded the Baedal nation (another name that refers
to ancient Joseon) and a group of 3,000 followers that came to Korea with Hwanung, Jesehaekrang was
allegedly a military group armed with the religious mentality of singyo and a youth group that trained the spirit
of Nangga. According to History of the Three Kingdoms (Samguk Sagi) and History of Dance in Ancient
Korea (Hanguk Sango Moyesa), Gukjarang of the Dangun-Joseon era refers to young men and women, who
trained themselves to protect their nation and people with Mountain Baekdu watching over them in ancient
Korea (Gojoseon), and to the educational system used to train the nations leaders. Sodos (sacred place) for the
Gukseon (civic educational organizations) were established in the best places in renowned mountains so that
those young and unmarried (youth) learned to read and shoot bows (archery) and were called Gukjarang
(
). The Gukjarang always wore cheonjihwa (the flower of heaven and earth) when they went out, so
people would call them Cheonji Hwarang (
).
The Gukjarang system was connected with the Nangga system and a precursor to the Joeuiseonin of
Goguryeo, Sodomusa of Baekje, and Hwarang of Silla, as the ancient kingdom was separated into the
three kingdoms.
3. Wisdom from the Education of Ancient Leader Groups
3.1. Shamanism ( ), Martial Arts ( ), and Dance ( ) of the Joeui Seonin of Goguryeo
Goguryeo (37 BCE to AD 668), an ancient Korean state, assigned the position of Seonin (
national governor or a leader group in society. Seonin (
54

or

) to a

) is the Idu transcription of Chinese

characters of Korean word Seonbae. It means Seonin wearing a black silk suit, and the Joeui Seonin
system was created during the years of King Taejo and King Cha in early Goguryeo.

<Painting of Guest Greeting in Muyongchong (ancient tomb), Goguryeo>

*It is presumed that guests in black clothes were Joeui Seonin.

At the nations annual harvest ceremonies, such as Dongmaeng ( ), winners of hunting games,
dance contests, and martial arts competitions were called Seonbae (Seonin), and they were responsible for
transmitting martial arts and academic knowledge to ordinary people. In Goguryeo, each region had an
educational institution called Gyeongdang () where the Seonin were appointed to teach and train ordinary
people.
Their education centered on liberal arts, history, and martial arts, and on training a whole person
proficient in literary and martial arts. Those who attended Gyeongdang, followed in the footsteps of the
Seonbae, and contributed to national security and local economies were called Hubae (
; followers). The
Seonbae organized themselves into units living in the same place and went to great lengths to memorize
ancient history once seated, study arts and sciences, explore mountains and waters, build fortresses, maintain
roads, teach the public, or dedicate themselves to their nation and society. Of the Seonbae, those who
excelled in moral, academic, and technical achievements were appointed as masters. The ordinary Seonbae
shaved their heads and wore Jobaek (
) around their waists, while the masters made clothes out of the
Jobaek. The highest-ranking of those masters was called Sinkmari, Dudaehyeong, or Taedaehyeong, the
second highest ranking of them were called Mari-Daehyeong, and the lowest-ranking were called
Sohyeong. Once a war broke out, the Sinkimari summoned all Sunbae and organized a group to fight on
a battlefield. If they were defeated, those who came home dead were honored, whereas those who returned
home alive were despised; the Seonbae were the bravest at war.
A variety of ranks that existed in Goguryeo were bestowed through the Golpum (Bone-Rank) system,
so people of lowly status were not allowed to climb the rankings ladder, but the Seonbae organizations were
able to gain their status solely through their academic and technical achievements, so most talented people
were among the Seonbae.
The Joeui Seonin system was an institution for producing leaders, which laid the foundation for
Goguryeos prosperity. The system focused on developing all-around talent as national leaders, who not only
studied arts and sciences but cultivated their spirituality to achieve the truth of Nature and became virtuous,
respected leaders. Today experts are selected from different fields, whereas in the Goguryeo period, the best of
warriors proficient in multiple areas, both artistic and scientific.

55

Goguryeo had an army of warriors consisting of the Seonbae and Hubae not just because they had
traditionally been nomadic warriors on horseback, but also because Seonbae groups made consistent efforts to
pass on and develop their tradition. The Seonbae were truly the best of warriors; as true warriors, they were
nationally admired. Their pivotal role in consolidating the nation and preserving their tradition paved the way
for Goguryeos prosperity and helped the state rule the Northeast Asian continent.
3.2. Shamanism ( ), Martial Arts ( ), and Dance ( ) of Silla Hwarang
The Joeui Seonin system of Goguryeo was culturally succeeded by the Hwarang system of another
ancient Korean state, Silla(57 BCE to AD 935). Historical books passed down from ancient states, such as
Memorabilia of the Three Kingdoms, History of the Three Kingdoms, and Chronicle of Hwarang, state
that there are misunderstandings about the origin and operations of the Hwarang system due to Confucianist
distortions and prejudices, but in his Joseon Sangosa (Ancient History of Joseon), modern historian Shin
Chae-ho stresses [Sillas] succession of Goguryeos Joeui Seonin system. In other words, the Hwarang system
was not an institution specific or unique to Silla, but should be considered important for its role as a youth
group that followed the ancient tradition of national human resources development.
According to Joseon Sangosa, the Hwarang system was modelled by King Jinheung of Silla after the
Seonbae system of Goguryeo. To distinguish their talent from Goguryeos Seonin (
), the trainees were
called Gukseon ( ) and became known as Hwarang (
) since they were decorated with flowers by the
Seonbae, unlike Goguryeos Joeui (black silk suit
). Like Goguryeo, the Silla people were also the
descendants of the Gima (Horse-riding) nation and developed the Wonhwa system (women-centered youth
group system), a group of female priests, into a youth organization consisting of male Hwarang and Nangdo
() who followed the Hwarang system. History of the Three Kingdoms ( ) revealed that there
was something similar to the Hwarang (
) even before the creation of the Hwarang-do (
), and that
the social climate was less affected by gender inequality. This implies that the transition from the Wonhwa
system to the Hwarang system was a natural one and the Wonhwa system and the Hwarang organization
shared a few common characteristics.
The Hwarang system constituted an organization comprised of noble Gukseon Hwarang, the high
command, and the Hwarang or ordinary Nangdo. The system bridged the gap between Sillas nobles and
commoners. The ideological background of the Hwarang system was the profound Do () called pungryu
(artistic taste) as written on the Nakrangbi foreword by Choi, Chi-won. In Joseon Sanggosa, Shin Chae-ho
places interpretative emphasis on the edification of the human world through music and poetry since pungryu
does not just have the literal meaning of its Chinese charactersplay and have funbut also refers to
music.
The Hwarang system, which is considered to have laid the groundwork for Unified Silla, was based on
the ideology unique to Silla, centering on the principles of Confucianism, Buddhism, and Taoism, and
dedicated to developing human resources focused on the study of morals, emotional training including poetry
and music, and cross-country trip-based physical education. The traditions of shamanism, martial arts, and
dance embedded in the Hwarang system sought to achieve a balance between the warrior-centered moral
principles, the principle of profoundness through artistic creation and natural explorations, and the principle of
reconciliation in pursuit of sacred blood, while the Hwarang cemented their status as a leader group pursuing
all-round development through communal living and training.
4. Contemporary Reinterpretations of the Cultural Values of Ancient Education
The virtues and abilities to execute of the Joeui Seonsin and Hwrang were practiced up until the
Joseon period (AD 1392~1897). The Seonbi of Joseon maintained its status as the societys leader that had
56

high mentality and spirituality, aesthetic sophistication, military power, and virtue. Their mentality was passed
on as a source of power for the Koreans to fight national crises in modern Korean history. The Seonbi
mentality might well have influenced the Independence and cultural movements of a wide range of activists
under Japanese rule. Their wisdom now continues in our contemporary society.
It is important to re-adapt the wisdom passed down from the ancient cultures of North Asia to the
contemporary environment. Clinging to individualist interests and fragmentized expertise makes it more
difficult to live proactively and independently in this age of rapid change. The wisdom held by the leader
groups of ancient society, who created and established new cultures even under the harsh living conditions of
nomads, has practical implications for contemporary society. The values lost in the contemporary society
fragmentized and specialized by materialist civilizationthe unified value of shamanism, martial arts, and
dance pursued by the ancient educational systems and their horizontal, practical educational traditionsshould
be reinterpreted and applied to our 21st-century society.
This is not a backward trend but the most future-oriented approach. Instead of the Western-centric
educational traditions and methods, using this approach will allow us to discover the philosophical foundations
of our traditional culture and secure national uniqueness, creating the conditions of plurality under which to
communicate with the world.

57

SOME ISSUES OF EXPRESSION IN ANIMAL FEATURED ART OF THE HUNS

B.Bayartur
head of the department of art studies of the
Research Institute of Arts and Culture
The Huns strongly rose from many tribes which existed on the territory of Mongolia and established
their State in IY-III centuries B.C. So the Huns played a considerable role in the development of culture and art
of the peoples of the continent of Asia. It was mentioned in the history.
A great progress has been made in the research, understanding and introduction of the thought, style
of the culture and art and method of the artistic creation of the Huns from the beginning of XX century to this
time of XXI century. I therefore would like to bring to your notice that I have studied the change,
development, the technical method of creation and symbol of the style of animal shape from the feature
point of the decorative art of the metallic material works including golden and silver works of the rich cultural
fund of the Huns and their representation and expression.
Thousands of monuments and archeological objects related to the economy, settlements, customs,
religion, faith, art and culture of the Huns have been found on the territory of Mongolia. The gold, silver,
bronze, iron, copper and brass objects of the domestic consumption including hunting, weapons for battle,
horse and animal fittings have popularly been found. It shows that craftwork and decorative art were efficiently
developed. A system of the original style, ornaments and symbols of building, ger, ornaments of the costume,
painting, wood, stone and leather art, felt embroidery, applique were formed during the Hun State. But a
proper system of the specific style, representation and expression and the animal style with symbol which
appeared during the bronze age and spread over the vast territory of Eurasia were developed at the high level
during the time of Hun State. The example of their decorative art properly shows it. Especially, the original
method and thought of the majestic and enthusiastic representation of animals by the payment of special
attention to their horns, hoofs, mouth, nails, eyes, ears, noses were widely spread during the rise of the Hun
State.
As V.V.Volkov wrote that the inheritor of the specific animal style which developed in Mongolia during
the square grave was the Huns42. But during the development of the Huns the image, representation, subject of
the traditional art of the animal style were considerably changed. For example if the images of wild beasts
were popular on the wares of the Bronze age and early iron age the images of cow, yak, horse, wild sheep and
goat and tiger were dominant in the decorative art of the Huns. S.I.Rudenko said: The dominance of the
representation of animals in the Huns art made it the relation with the art of the ancient Eurasian herding
people. For the kind of animals there were a few local and domestic animals in the Huns art43. Especially the
different images of horse, yak, deer, wild goat and antelope are rich in the culture and art of the Huns. For
example the bronze casting and silver chasing animals which were created in an unusual magic, mighty and
beautiful composition were found from the grave 20 of Gol Mod, NoyonUul, grave 6 of NoyonUul, grave 7 of
Tsaram and grave 2 of DuurligNars. For the subject, representation, style and method of creation the Hun
decorative art was changed. It is observed by the research. In particular it is expressed by the monuments
which represented human, domestic and wild animals standing in one or several numbers and fighting against
each other in rectangular, circle, and oval frames.
We can mention the examples including a bronze ornament with the image of fighting horses ,found near
Darkhan, a bronze ornament with two tigers fighting with dragon from Transbaikalia, a bronze ornament with
snake image from the settlement of Ivolgy, a bronze ornament with two horses and wrestlers and a bronze plate
42
43

V.V.Volkov. Bronzovyi I ranniijeleznyivekSevernoiMongolii. Volume V, F.1, UB., 1967. p.45

S.I.Rudenko. KulturakhunnovI NoyonUulskiekurgany. M-L., 1962. p.113

58

with two bulls from Ordos, a golden ornament with three deers from a grave near the city of Ulaankhad, Inner
Mongolia, chased silver decorations of carts from the graves of the Gol Mod, NoyonUul, Tsaram of Buryatia,
RF, Nanan of Korea, Han dynasty, China. It is different from the representation of the animals in their full
shape, head, chest and neck images in three dimensions on the knife or sword handle or their cap in the Bronze
Age or early Iron Age.
Dr.D.Enkhdavaa mentioned: If in the Bronze Age the melt metal was pressed into the half or two
halves mould and there is a fact that the framed and pierced work was highly developed in the Hunnu crafting
art.44
G.A.Fedorov-Davydov considered: When an animal image was represented in a frame, in separation
from the material a real situation of an animal was expressed in the specified approach. It is basically
connected to the Huns. So a new method of the representation of an animal appeared with the frame and
circle.45 Scientist G.Sukhbaatar said: If there was the open or spiral representation of animals instead of
the restricted representation now the image of an animal was represented in its standing situation in a suitable
circle and its rest space was filled with the related natural scenery. This new style was rectangle, sometimes
circle. It is a feature of the Huns.46
S.I.Rudenko said: For only ideology the Huns received the same artistic method and composition
from west Siberia and mountainous Altai. For example the different method of the representation of the shape
of animal body in dot, comma, and half circle was strange for them. The signs on the animal body which was a
special feature of middle Asia as well as TransAsia is very rare for animals and such representation was very
special.47 P.B.Konovalov said: The art of the Huns is a complex which is connected by the combined feature
of its subject, composition and style. So it is possible to distinguish the Huns subject from the general sphere
of the art of the animal style in the Eurasian art48.
If D.Maidar considered that the animal style still exists in Mongolia49, E.A.Novogorodova considered
that the perfect and specific feature of the Mongolian art has kept for thousands of yeas50. According to this the
burial shuttering, rectangular form of tomb, rectangular frame of the animal style art of the Huns are a tradition
connected to the past and future time.
The art of the Huns shows that they are the Mongolian tribe by its feature. The culture of the Huns has
the class feature and is a specific culture, belonging to the related tribe51. L.L.Borkova52 and D.G.Savikov53
considered that although the Huns were known for their weapons, animal style and cart harnesses in II century
B.C. and the change and reform were occurred in the method, giving their seat for the bronze and iron
weapons.
There is a considerable part of the method used by the present Mongolian smiths in the gold, silver and
black smithing art of the Huns. For example the faith, customs, consumption created a very original crafting
thought. It gave more possibility for crafting including gold and silver chasing, raise, beating, covering, gilding
and cutting and it is clear difference from the bronze casting. Chasing is not cast in mould, but it is more
convenient crafting for chasing or correcting a shape and cutting on the basis of possession of bitumen feature
44

D.Enkhdavaa.Mongoldarkhlakhurlalynargaukhaanygbarimtjuulansudlakhynuchir. Dissertation for doctoral degree.UB.,

2011. p.29
4
. G.A.Fedorov-Davydov. Iskusstvokochevnikov I ZolotoiOrdy.M., 1976.pp.38, 39, 54.
5
. G.Sukhbaatar. Mongolchuudynertniiovog.UB., 1980. p. 146
47

S.I.Rudenko. Kulturakhunnov I Noinulinskiekurgany.M-L., 1962. p. 113

P.B.Konovalov. Issledovaniyapogrebalnykhpamiatnikovkhunnu v Buriarii. Research of history and philology of central
Asia. Issue YI. Ulan-Ude. 1976. p. 22
49
D.Maidar. Zverinyistili v iskussveMongolii. Volume IY./12/. UB., 1976. pp. 63-75
50
Roli of kochevykhnarodov v tsivilizatsiiTsentralnoiAzii. UB., 1974. p.224
51
G.Sukhbaatar. Mongolchuudynertniiovog.UB., 1980. pp. 148, 149.
52
L.L.Borkova. Pogrebeniyakonei v kurganeShibe.ASTE. No 20. 1979. p.198.
53
D.G.Savicov. Narody yujnoi sibiri v drevnetyurkskyu efohu. L., 1978.198
48

59

(ash, resin and animal oil recipe) for making mould. Before the Huns, in the Bronze Age and early Iron Age
the different images were not made by chasing and stretching gold and silver.
But the Huns crafted the unique objects for the offering, khans and aristocrats by stainless precious
metals. For example over 200 gold, silver and bronze objects were found as a result of the excavation of two
graves of the Huns at the ArTsaidam, Ordos in 1972. The gold crown of the Huns shanyu has a special fine
craft among the objects. The ornament sheep and wolf were represented on the crown with chased golden
eagle with the turquoise head and neck. It is an expression of the environment of the nomadic people and a
meaning of totem. The wild sheep and horses were crafted on the golden belt and it also contains the same
meaning. The golden crown and belt were crafted in pure gold by its chasing and the gold was thoroughly
colored in special recipe and technology in order to keep the natural light of the gold for a long time.
When the Hun crafters created the gold and silver jewelry they developed the method of chasing,
correcting, cutting and coloring, knowing stretching and beating feature of gold and silver. They gilded bronze,
silver and iron objects.
They are proved by the chasing silver and bronze casting articles of the Huns aristocrats, found from
the graves of NoyonUul, Gol Mod and DuurligNars. The chased and gilded ornaments of crupper are circle or
vertical arrow-head shape and for the symbol the yak, deer, wild goat, dragon, one-horn antelope, clouds and
tree, plant ornament, represented on them are the expression of aristocrats.
When the Huns crafted the decoration for a thing it was created by piercing and close method. Crafting
which combined connecting and soldering method with ball decoration was popular. Inlaid precious stones on
the chased objects and making edging on them are nor observed in the art of the pre-Hun time. The method of
crafting the ornament by sticking the golden thread and small golden balls on the plate of gold was
considerably spread among the Huns. It is proved by the findings including the golden earrings from the Huns
grave of Tevshmountain, the golden necklace and golden button with the inlaid turquoise from the grave 2 of
DuurligNars.
Scientist D.Tseveendorj wrote: The Huns used the color clashing and ball method in their art.54
The huns used the gold which was worked out and made thin for the ornament of the belt and for burial. For
example If the iron belt ornament, the face side of which was covered with the thin gold was found from the
grave 3 of DuurligNars the coffins with the thin gold ribbon(1cm wide) with gold flower ornaments with four
petals on its outside wall were found from the graves 2 and 4.
The Huns founded and developed many methods of the gold, silver and iron crafting including iron
soldering. Its edivence is the bronze cauldrons with a bowl bottom which were found from EgiinGol and
Ulaankhoshuu of Tamir. Its body was cast in bronze and its bottom was made from iron and they were
soldered. It is an evidence that during the Hung State many types of soldering and recipes were spread.
The representation of the fighting animals in their decorative art as a pride of the might of their
animals by the Huns shows that it sometimes is an artistic abstraction and exaggeration, but it generally is a
real representation. Some scientists who studied their craft said: All their ornaments served magic power
and prevention of a harmful soul. The conditional spirit with the animal image changes the powerful things and
phenomena of the world by its muttering. So it is distinction that it has a majestic representation and a secret
magic power. So the formation of their ornament in the exaggeration meaning in the decorative art of the Huns
may contain the idea which concealed an omen to serve the magic power of hunting.55
The animal images on the objects and in the art are connected to the legend subject which has a trace
from the totemism. Since the primitive times the humankind has created different cults and has worshipped
them. Their most ancient and most popular cult is the faith of wild animals or totem. A special worship of an
animal is the most ancient form and a result of the human thought. Scientist G.Sukhbaatar said on the basis of
the historical sources: The Toba, one of the Hun tribes and the later Mongols had the totem symbiosis which
54

D.Tseveendorj. Ungu horshmol altan urlal. Shinjleh uhaan amidral 1978 4, 89-91
D.Enkhdavaa. Mongol darkhlakhurlalynargaukhaanygbarimtjuulansudlakhiinuchir.A dissertation for a doctoral
degree (Ph.D).UB., 2011. pp 11, 43

55

60

appeared in connection with the collapse of the clan structure.56 When Chinggis khan went to conquer
theTangut State an animal with the deer body, one horn and horse tail urged57 and such mythical animal was
explained as belegtgoroos(a symbolic antelope) or Everleg(One horn antelope) in the
GuchinZurgaatTailbarToli58(GuchinZurgaat Dictionary) and Ya.Tsevel59 wrote that the male of the
khilengoroos(khilen antelope) is called the Beleggoroos(Symbolic antelope).
The animal image of the silver crupper of the saddle which was found from NoyonUul and the grave
20 of the Gol Mod is the BelegtGoroos, a mythical animal and it was represented in the clouds. It may
express that for symbol its owner was a khan with the heaven origin or not a simple person. The scholars and
researchers also wrote: if we imagined that a horse cart was accompanied by the Huns to bring the soul of
their dead khan or aristocrat to the other world the belegtgoroos on the crupper means that the antelope will
take the buried person to the other world, defending his soul.60
At last I would like to conclude that the bronze, gold and silver decorations of the Huns have the
feature of the representation of human and domestic and wild animals in casting in three dimensions and
chasing. When they represented such beasts as tiger, leopard, grass eating wild animals including sheep, goat
and deer and domestic animals such horse and yak in one, pair or in three they created them alone in standing
or fighting against each other in a rectangular or oval frame or circle. It was one of the representation features.
When the special feature, style, development and spreading of the decorative art of the Huns are
recalled the original and indirect derived methods and difference of the representation are observed. According
to the studies the animal style of the Bronze Age has kept their influence and place in the decoration and
crafting of the Mongolian tribes. Its shape is symmetric and its solution is unequally filling of a circle and
space. When the spirit and objects with the images of the domestic and wild animals used for offering and
worship were inherited in the bronze casting and gold and silver chasing art keeping of their shape and pattern
is observed.

56

G.Sukhbaatar. Mongolchuudynertniiovog.UB., 1980. p. 142

V.Innannash. KhokhSudar. Volume 3. 1987. Inner Mongolian Peoples Printing Committee. In Old Mongolian script.
58
Guchinzurgaattailbar toil. State Central Library.Manuscript.In old Mongolian script.
59
Ya.Tsevel. Mongol khelniitovchtailbar toil.UB., 1966. p.122
60
Talyn ikh ezent guren-Hinni. Collection of papers of III symposium of the Mongolian and Korean scientists.UB.,
2008. p.136
57

61

WORSHIP OF THE SUN BY THE MONGOLS

Sh.Erdenetsetseg
Mongolian State University of Arts and Culture
The worship of the sun is of importance in the ancient Oriental culture. The sun was represented as the
son and successor of the God. The sun is the eyes of Barun under the name of Suriya in India and the eyes of
Ra in Egypt.
It is mentioned: When the Huns worshipped a year for three times they carried out their worship of
their ancestors,the heaven, the earth and sacred mountains. Modun shanyu also prayed the sun in the morning
and the moon in the evening61.(1) So it expresses that the Huns worshipped the sun and the moon. According
to the information of Chao Hun, Gilyom Rubruc, Chan De-Hui, Marco Polo and V.Injinnnash the Mongols
milked mares in May and September and offered theirmilk to the heaven, worshipping it except the white
month. H.Serrois established it as zulag worship and researcher G.Sukhbaatar confirmed that a name zulag
offering is Altan Tovch(Golden Button).
During the archeological excavation the images of the sun and the moon created in colored iron were
found from the toms of the Hunnu aristocrats. It is an evidence that the faith of our hunnu ancestors was the
sun and the moon. For example the images of a golden sun and moon were were found from the Takhiltyn
Khotgor, Mankhan soum, Khovds province and Gol Mod 2, Khairkhan soum, Arkhangai province.
For the symbol of the image it has been inherited in many versions of the sun and moon brands, ongin
or sun brand, moon brand.(2) The respect of the sun by the Huns was represented by rock paintings. For
instance 6 paintings representing the sun horn, 2 paintings representing the sun tail, 2 painting of the
connection of the kidney part and body with the sun, 12 paintings related to the sun and other heavenly bodies
are among the rock paintings of the Tsagaan Salaa, Mongolian Altai and Baga Oigor. The cow horns were
carved the sun in round shape and its rays. It probably symbolizes light.
For the name Hunnu kun means human and nur means light. Scientist S.Dulam explained that the
name Hunnu consists of two combined words kunnur or it has the meaning sun light. According to this view
the Huns, ancestors of the Mongols may call themselves as people of the sun or children of the sun. It is
mentioned in Secret History of the Mongols that during the conquest of the Mongolian Empire Chinggis
khan prayed the Burkhan mountain, putting his belt over his neck. As it is mentioned the Mongols have
worshipped the sun and taken energy from it in XIII century.
For an absolute important thing in the Mongolian, ancient Indian and oriental culture the sun is
expressed as a contrary source (black and white). The sun is a source of light on the one hand and it is
represented in the dark black color on the other hand. For example it is mentioned in a Mongolian flk tale that
when seven suns appeared in the sky and caused damage to humans, animals and plants one brave man shot six
suns and saved humans, animals and plants from danger. According to it the sun is pride and respect and it is
also a symbol of a bad side in the Mongolian culture and thought. According to the above-mentioned examples
of the symbols of the sun the semantics of this character united the different forms of culture.
It is expressed in Secret History of the Mongols that each night a light yellow man came in between
the roof and its cover and massaged my belly and his light sank into it. Researcher S.Dulam wrote that it
means that she said in secret that her children were born from the suns light.(3) In the ancient Gnostic
anthropology it is considered that a human has five basic centers including intellectual center, emotional
center, motor center, instinctive center, sexual center. Besides them a human has a superior intellectual center
and superior emotional center. The sexual center is at the low side of the navel and it is nucleus of sperm,
sexual energy.(4) According to it telling of sinking light into belly in the legend of mother Alungo is connected
to the center of sexual energy. So it interesting. The sun is used as a tool of meditation in Mongolian, ancient
Maya, Aztek, Ink, Jewish, Indian and Tibetan legends because the sun gives energy. It is connected to covering
61

G.Sukhbaatar. Mongolchuudyn ertnii ovog, UB., 1908.p.74

62

solar body by energy, growing light, supra sexuality, tantra, yoga and alchemistry.(5) So our ancestors knew
the esoteric knowledge. We can understand it from the representation of the sun and moon on the deer stones
and rock paintings on the territory of Mongolia.
The ancient Egyptians considered that the expression of thought through paintings is wisdom. They
understood that the representation through paintingis sign and image with power to flourish enthusiasm and
creation of image and sign will protect and immortalize the source of life. They asked for help, making runi
inscription as as a spirit and addressing the sun, moon and heavenly bodies.(6) The word Runi contains the
idea hidden and secret because witchcraft of the English language is willful practical action which appeared
through repetition carried out with the assistance of special means and form.(7) The script is closely connected
to the Huns with the faith of the heaven. The representation of the sun on deer stones and rock paintings which
were popularly spread over the territory of Mongolia is the sign which expresses that human is subject and
work of the sun, moon and heavenly bodies. Therefore the belief in the sun is important in the Mongolian
culture and thought. For instance the wedding custom, offering, cutting childrens hair, worship of mountains
etc.
The form of the belief in the sun is properly expressed in the Mongolian wedding custom. The worship
custom of the sun, moon and heaven of the wedding custom of the heroes are popularly mentioned in the
Mongolian folk heroic epics. When the bride comes the sun and the moon are drawn in grain on the white felt
at the left side of the new ger(tent). The groom sits at the sun and the bride on the moon. Then the groom holds
a large side of the shin bone and the bride holds its small side. The good wishes are presented.
Pray the yellow sun
Hold the shin bone
Pray the spirits of four parents.
Then the groom and bride pray the sun, moon and heaven for three times. It is called as a ceremony of
to hold shin bone. It is a custom with the origin from the worship of the sun by the ancient people. The Deed
Mongols draw the yooron and lanz on the felt and the groom sits on the yooron and the bride does on the lanz.
Then the groom and bride pray. The dorvots make the groom and bride take an oath: prayed the yellow sun,
holding the shin bone, we with egg head prayed and built our tent.(8) The Dorvots, toguts, Uriankhai,
Zakhchin and Mongols of the banner of Khurleg beis, khoshuud aimag, Khukh nuur have the custom. EWhen
they entrust their fate to the heaven and pray it they say: Ee Khokh Tenger(Oh, Blue Sky). The custom is
popular among the Mongolian nationalities. The custom is observed at the Bayad wedding ceremony.
According to the sources of the Mongolian legends the Mongols symbolize the life of the golden sun as father
and the aliman sar (moon) as mother, imaginating the eternal blue sky as a living thing. They symbolize the
life of the young couple s flourishing. The tradition has been inherited.(9) The thought probably was in XXV centuries. In jangar, a western Mongolian heroic epic it is mentioned that when Arslangiin Arag Ulaan
Khongor came to marry Zandan Gerel of Zambal khan. Then he saw that she together with Heavens Tugoo
Is praying the yellow sun
Being holding the shin bone.(10)
According to this it is clear that the couple pray the sun, moon, heaven and marry, the Mongols have a
good knowledge of the sun, moon and heavenly bodies. The human essence is discovered and the lock of
thought is opened by understanding the reason of the heaven and its bodies. The special feature of the
Mongolian culture and thought considers that thus everything can be created by the power of the heart. It is an
evidence that the special feature is reflected in the oral work. The colour of the curtain which the Khashuud
from Khukh nuur draw in front of their daughter-in-law and son-in-law is blue asd representation of The Sun,
Moon and Heaven.
It is a symbol that a fate of the son and daughter like the sun and moon is under the blue sky. Holding
the shin bone and worshipping the sun, moon and heaven are a life guarantee and oath of the married couple. It
is mentioned in the sutra of the Mongolian worship of the fire that we are asking for the prosperity of the sun
father and the moon mother and star son. So the forms of belief in the sun appeared , imaginating the sun as a
63

male source, the moon as a female source and stars as their children and thinking that the fate of the human life
depens on the sun. But holding the shin bone and praying the sun is a duty to inform of their marriage to the
world in signal. It is a symbol that the couple will be a big family, taking energy from the sun on the other
hand. The shin bone is of importance in regulation of the movement of human, animal, and beast and supply of
the human with the red and white corpuscles. So the Mongols make marrying couple hold the shin bone and
worship the sun.
Conclusion
It may be considered that the Mongolian worship of the sun was formed during the relation between
human and nature and later the performing custom had concentration and meditation features as a result of
introduction of the culture of the the Buddhist religion and its connection with stars, the sun and moon. When
the people addressed to the sun they widely used the magic power of word and believed in the magic power of
movement. It can be considered that in some cases the form of the worship of the sun appears in combination
of word and movement. Belief in the magic power of movement appears in drawing of the runi inscription.

64

Bibliography
1. G.Sukhbaatar. Mongolchuudyn ertnii ovog, UB., 1908.p.74
2. S.Dulam.Mongol belegdel zui. III boti, Dursiin belegdel zui. Dokhio zangaany belegdel zui. UB.,
2007. p. 280
3. S.Dulam.Mongol domog zuin dur. UB., 1989. p.89
4. Gnostic Association for Anthropological, Cultural and Scientific Studies, Study on the Chakras, p. 19
5. Gnostic Association for Anthropological, Cultural and Scientific Studies, Study on the Chakras, p.22
6. Consideration of the Runi inscription as its connection to the period of Turkish khanate is connected to
its monuments, but its origin has an ancient trace. So some scientists consider the runi inscription as its
connection with the script of Hunnu and ancient nomads.(Note.)
7. Jan Copan. Ugsaatan sudlal, khun sudlalyn udirtgal. Frnts khelnees orchuulsan S.Dulam, redactor
D.Bum-Ochir, T.Tomotkhuleg, UB., 2007. pp.89-90
8. P.khorloo. Mongol tuurgatny khurimlakh yosny ulamjlal b azan uil. UB., SHUAHZH,
1955.p.1995.p.52
9. S.Dulam. Mongol domog zuin dur. UB., UHG, 1989. p.86
10. Jangar. Khalimag khelnees mongol khelend buulgasan T.Dugersuren. UB., UHHEH, 1982. p.55

65

XIONGNU AND ANCIENT KOREA

SOME EVIDENCES OF INTERACTIONS BETWEEN NOMAD AND SEDENTARY NATIONS

Kang, In-Uk
Professor of Pukyong National University, Busan, Korea
Esoteric interaction between Xiongnu and Korea
Over the past 2,000 years, the image of Xiongnu was covered by barbarism and savagery. The reason
of this negative image was due to historical record written by China and Europe, conquered by Xiongnu and
Huns. Recently, new archaeological studies get rid of these traditional negative images of Xiongnu. From 1990
y. xiongnu archeology is one of perspective subject for Eurasia archaeology and have been developed rapidly.
However, most of researches concentrate to several theme, e.t,c, relationship between Xiongnu and Huns in
Eastern Europe (mainly carried out by western scholars), excavations of Xiongnu tombs and settlements in
Mongolia and Cis-baikal(Russia and Mongolia), relationship between Xiongnu and Imperial courts of Qin-Han
Empires of China(China and Japan). Contrast to these flourished Xiongnu studies, Xiongnu and its interaction
with Eastern barbarian( ) world have been almost ignored. The first nation of Korea(Old Chosun) was
described as a left wing of Xiongnu Empire in Shiji( ) written by Sima Qian(
). Furthermore,
Koguryo( ) and Buyo(
), the descendant nations of Old Chosun was neighbored with Xiongnu and
Xianbi(
). If taken into consideration that the influence of Xiongnu culture and diplomatic relationship
covered up almost all over Eastern Eurasian steppe and neighbored regions, it is hardly believed that
Manchuria and Korea was an exception for the interaction sphere of Xiongnu empire.
So, in recent several years, I and my project team, funded by Korean Reasearch Foundation carried out
a project, titled as Xiongnu in the context of ancient culture of Eastern Asia and devoted myself to figure out
the veiled relationship between Xiongnu and Korea by archaeological materials. Although my research is still
far from suggesting concrete results, I could find some clues for that. In this thesis I want to discuss the
similarity of settlement heating system (ondol as below) of Korea and Xiongnu.
Ondol(underfloor heating system of settlement) is known as a unique heating equipment for Korea and
still used as main house system in contemporary Korea. Ondol system is to send heat and wood smoke from
hearth via underfloor hypocaust(known as Gorae in korean), and finally discharged into chimney, which stand
on the corner of settlement. In spite of heating efficiency, this system makes toxic smoke flow underfloor, so it
is necessary to build accurately not to poison inhabitants. The delicate know-how for Ondol is the reason why
the distribution of Ondol was restricted in Korea and Manchuria. Recently, archaeologists have revealed Ondol
equipments in Xiongnu fotress, located on Central Mongolia and Buryat Republic of Russia as Ivolga fortress
site in Ulan-Ude, Dureny in Kyakhta from Russia and Boroo sites in the centre of Mongolia. The strong
similarities between Xiongnu and Korea ones show that direct connection between two regions was existed
(probably migration of specialists). Furthermore, most of Ondol settlements in Xiongnu fortress was built
regularly in forms and plan. It shows that Xiongnu Ondol was built in comparatively short period by the order
of Northern Xiongnu Court.
Origin of Xiongnu Ondol
First Ondol was appeared in Far Eastern Region of Russia(Southern Primorie) in 4th cen. B.C. by
Krounovka culture, identified as Woju(
). But, direct connection with Xiongnu could be impossible
because of geographic isolation and absence of archaeological evidences. But, took into consideration the role
of Koguryo, the diffusion route could be speculated. As written in many historical records, Koguryo
subordinated Woju to obtain marine products and salt. Interestingly, there are some historical records that
allured to direct contact, included human migration.
66

As written in biographies of Eastern Barbarian(

), Houhanshu(
), in early period of
Wang Mang(approximately in the begging of 1st cen. A.D.), Court of dynasty Xin ordered Koguryo troops to
conquest Xiongnu, but Koguryo troops rebelled and transgressed borderline. Soon after, Koguryo troops
reversely plundered Chinese commentaries(probably refers to xiantu commentaries). This event shows that
Koguryo and Xiongnu had close relationships and shared common benefits. That is to say, this phrase allured
that Koguryo could conspire with Xiongu against Chinese court policy. Since this phrase show that this is not
a mere disobedience of Koguryo troops to Wang Mang order to be dispatched as legions, but they formed a
coup detat and plundered. This kind of rebellion could be resulted by a joint conspiracy.
As we know, Xiongnu and Koguryo didnt remain their own historical records and all we rely on is
chinese records. Naturally, most of the interaction between Koguryo and Xiongnu must be hided from chinese
chronicles and hardly recorded on chinese historical records. Their relationship should not be limited on rebel
conspiracy. Koguryo was notorious to China for its hazardous iron weapons (mainly laminated bows) and
horse harnesses. It means that Koguryo imported the strong horse riders system from nomadic empire. So it is
reasonable that Xiognu also demanded reciprocity goods and techniques of sedentary civilizations from
Koguryo. From mid. of 1st cen. B.C. Xiongnu Empire separated into Northern Xiongnu and Southern Xiongnu.
Southern xiongnu decided to assimilate to chinese culture, and quickly lost their nomadic originalities.
Contrast to Southern xiongnu, Northern xiongnu remained as a nomadic nation, and should supply needs by
self-sufficiency since their relationship with chinese sedentary civilization was interrupted by Southern
Xiongnu. In this situation, Northern Xiongnu should build their own fortresses to compromise the demands for
goods, imported from sedentary civilization (for examples, pottery making. blacksmith, agriculture and et.). To
built sedentary centers, they needs dwellings, resisted against long and severe winter climate. Naturally, Ondol
was one of the most effective house heating systems and Koguryo could share the Ondol techniques with
Xiongnu so that they could take the reciprocal benefits. Consequently, Ondol was adopted to Xiongnu fortress
in comparative short time, coincided with the breakup of Northern and Southern Xiongnu in the second half of
1st cen. B.C

67

Fogire 1. Xiongnu Ondol of Ivolga ancient fortress

Fogire 2. Ondol of Bulochkas archaeological site

in Far Eastern Region of Russia

68

East Siberian State Academy of Culture and Art
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72

AN ESOTERIC KNOWLEDGE OF A STONE FIGUREAT THE BAGA EREEN

L. Purevlkham
DCA of Kharkhorin
Summary:

The energy of the stone figure at the BagaEreen, a monument of the early Turkic period which
was created in the V century A.D., is an esoteric phenomenon of human culture which has had
an influence on the mind, thinking and life of the people of five soums as a cultural artifact.

Key words:

Magnetic wave, proper energy, thought energy, astral, teraphim, artifact.

Introduction

The cultural monument, which was intelligently created , has an influence on the life of the local people and
connects them to space through an unknown energy and shows them the might of nature.
Although they are highly respected and revered by the Mongols, some stone figures from the Turkic
period touch upon a problem within national traditional culture and faith. On the one hand according to
historical and genetic research it is probable that an individual with Mongolian genes of Hun origin created
the monument. For that reason it is right that the tangible heritage of the Orkhon valley, which is of cultural
value to the world, is protected. But it is impossible to abandon the belief and worship of intangible heritage
which is significant evidence of historical and cultural customs of the people.
Scientists have explained in their views and theories that a living environment depends on human
activity and is connected to nature. It is correct to understand the fact that the energy of cultural heritage is real
and is connected to nature and geography which is absorbed by a human culture or a complex of local people
who believe it. From the perspective of cultural and esoteric studies I tried to explain the phenomenon with
respect to the customs and thoughts of the people as well as how the phenomenon relates to and influences
their subconscious.
The stone figure is 19 km to the south of BagaEreen mountain, 365 km to the west from Ulaanbaatar,
170 km northwest of the aimak centre, and about 30 km to the southeast from Kharkhorin soum.The
archeological research established that the monument was created in V century A.D. , during the early period
of the Turkic State. It is a fallen stone figure the head of which faces north. The coordinates of its location is
47 01 39.6 longitude and 103 12 026 latitude. Although eyes, nose, cheeks, chin and beard were properly
carved in relief on an oblong piece of soft shale, the arms and other appendages were not carved which in
general makes analysis awkward. According to a historical point of view the Huns were an ancient line of
Mongols; a nomadic tribe who left their trace on the history of central Asia. The Huns were powerful and first
established their State from the ancient nomadic tribes of central Asia in III century A.D. The palace of
Modun, khan of the Hunnic State was located in the valley of Orkhon, in the Khangai mountain range. The
town Luut was the capital of Huns and other main towns of the next States were along the basin of Orkhon. So
the Huns have been considered the cradle and centre of the culture and civilization of the nomads. Today it is
possible to study Hunnic culture according to archeological research. According to the spot check of the
cultural heritage carried out on the territory of Uvurkhangai province carried out in 1999 the Hunnic graves
were rare or they were found only in an area southwest of Kharkhorinin. The research of our working group
found Hunnic graves were in considerable numbers in the territory above the five soums mentioned above as
well as in the soums of Sant, Bayangol, Bayan-Undur and Tugrug. In particular more than 50 Hunnic graves
were found at the same time in 2010-2011. It is evidence that the Huns largely inhabited the east, southeast
and northeast territory of Uburkhangai province and the basin of the valley southeast of the Orkhon River.
Turkic tribes were included in the Hun State in ancient times. The Turkic State existed independently
for over 100 years and was under the domination of the Tang dynasty for more than 50 years.
73

According to historical and genetic research the individuals who created the monuments lived in the
early period of the Turkic State, but it is also possible that the people were of Mongolian origin living during
the zenith of Hunnic Power.
Every person has his or her own genetic resources inherited from ones parents. It is inherited through
the tribe, its origin and innumerable generations from which his or her parents belonged. The genetic resources
of the related tribe, ethnic group and nationality consist of the genetic makeup of individuals. (1)
Dr.J.Batsuuri once proven that the basin of Orkhon was one of the largest genetic centers, where
mankind first appeared and the accumulated the energy during the powerful time of the Huns and its influence
their descendants.
It is probable that the genetic resources of the Huns who lived in II century B.C. were preserved for
about 700 years up to the Turkic period of V century A.D. It is generally considered that one generation lasts
25 years. So descendants with Hunnic genes during the time of the Turks who created the stone figure at the
BagaEreen were of the 28th generation, representing the geographic peculiarities and the spirit of the places,
mountains and water of their native land. During the Turkic period the stone figures were erected in honor of
the ancestors and country who rightfully deserved the respect of the common people as well as of the
aristocracy. So the Hunnic people created the monuments for the spirits of mountains and water. After many
centuries the Mongolian people, descendants of those who created the monuments, still feel and accept their
energy. These are the people of the five soums. According to the theory of L.N.Gumilev one cycle in the
development of energy lasts for 7 stages or 1200-1500years. According to this for the Mongolian people the
first peak of energy is compatible with the beginning Hun Empire lasting for about 1200 years until the fall of
the Khitan State. The time of the creation of the monument coincides with the time of relative decline of
energy from its peak period.
But the mind absorbed in the creation of the monument and the esotery it keeps are a subjective and inimitable
feature of it. It is a phenomenon explained by the cultural artifact, that only belongs to the local people who get
a natural return from it.
One example is the esotery found in the stone figure at the Baga Ereen. We shall consider some cases
related to the monument:
Case1
In the 1970s during the socialist period the people knew that it would rain for several days when the
fallen stone figure was moved. The guide of Kharkhorin museum confirmed the beliefs of the local people that
when the youths making hay secretly put a stone or piece of wood under the statue it would rain for several
days which would allow them play.
Case 2
In October of 2010, during the work of a joint group from the Center for Cultural Heritage and the
BEC in Kharkhorin soum the monument was transported to the museum for installation and protection. Then
when we met to ask the local people how to get to the related sites in Jalbaa bag some old people spoke with
regret that we would not be satisfied without first making an offering of tea to the statue. In the winter of 20102011 there was a great disaster caused by frost and snow in only five soums which worshipped the stone figure
at the BagaEreen, but the other soums in the area survived the winter well. When our cultural workers left
Kharkhorin for the province center to submit the report to the BEC they got stuck in the snow on the way
around Khujirt soum (one of five soums which worship the stone figure at the BagaEreen) on the second day
their life was saved by the Provinces Emergency services.
Case 3
When the stone monument was moved in the winter or 2011 the snow disaster happened in the soums
of Kharkhorin, Khujirt, Bat-Ulzii, Zuunbayan, Ulaan Burd, Yesonzuil and Ulziit. The people of these soums
several times stated that the disaster was the result of moving the stone figure. The people of the five soums
requested the MECS and the provincial authorities to return the monument to its original site. So the Governor
of the province made the decision of putting the stone figure back to its site by enacting resolution 44 on May
74

26, 2011. The Governor submitted the request to the MECS in order to get its permission to return the
monument to the slopes of the BagaEreen. The permission was granted and the monument was put back at its
original site in June 2011. A total of 15 million tugrugs from the State budget was spent.
Case 4
Natsagnyam, director of the museum informed us: When, according to the decision of May 2011, the stone
figure was taken out from the museum to be transported to its site it was raining for about 30 minutes in the
neighborhood. It was an interesting phenomenon because it was a day when was unlikely to rain.
These cases show that the stone figure at the BagaEreen has the hidden power or esotery which can be
transformed into natural energy.
The Russian scientist P.A.Florensky(1882-1937)(2) considered that judging from the point of
culturology human belief is a key for the human world to relate to the other world. The Russian philosopher
N.A.Berdaev also has said: an object of cultural value with a cultural base has its origin in worship. The
German philosopher Oswald Schpengler(1880-1936) said: Culture is both a living organism and
environment. Every culture has its fate, heart and central idea. The cultural heart is in symbolism, feeling, hope
and expression with the culture itself as a symbolic body bearing its heart to a living realization .(3)
It is considered that the paradigm of contemporary culturology is a general system in a relationship
with humanity and the world. It is clear that the stone figure at the BagaEreen was made using a stone from the
mountain of BagaEreen. The tradition of the Mongols who worship of natural world is very ancient and is
connected to their belief that nature is animate and hears It considers a mountain to be a living animal
through its omen...(4)
Clod Levi-Stross, founder of structure science established that all developing cultures depend on
humans and its structures and features are suitable with human nature.
But now it is only possible to explain the spiritual power which treats the stone figure and its
phenomenon transforming into natural energy through a connecting with esotery. There has been another
factor that does not depend on the life of the biosphere and not being perceived using scientific criterion in our
world and that it exists not depending on time and space.
This ancient secret knowledge sometimes shows the relationship of nature with human beings through
the culture created by humans and expresses that besides the energy of the biosphere which we feel. This is the
other hidden force. Elena Blavatskaya said: I, as a human, am a microcosm of a gigantic space and the origin
of the most powerful energy.(5) It may be explained by the phenomenon of the stone figure appearing in
harmony and interdependence with thought energy and the rhythm of its magnetic space wave. The thought
energy or proper energy (6) is not measured with horse power or electricity, but it is a special power to make
humans able and competent.(7)
Esotery is directly connected to the origin of the universe and the understanding of the unconscious
mind. Thought energy exists on a natural basis affecting actions and it especially appears through men.
Esotericists consider that magnetic waves exist in very small spaces which are impossible to feel with the five
human senses creating a living layer of the entire wave without body. It consists of the crystals of thought
energy, which creates a magnetic wave and it is sometimes called astral or teraphym. Besides our life the
spiritual world is known as astral and teraphym of the thought energy exists , not depending on human and
its fate influences the action. When it is necessary the astral and the teraphym are connected with the real
world and it is noticed by our sensitivity to it. The energetic light cover which covers the entire human body
has a proper wave with a feeling which receives magnetic wave from space making a man who feels it a genius
who creates many remarkable discoveries and more spiritual power than similar individuals do. He connects
to natural energy and sometimes creates natural power.
Conclusion
It is probable that the individuals who created the stone figure at the BagaEreen was of Hunnic
descent. The culture created by humans had an esoteric knowledge which influences the human mind, life,
activity and it is right to study and to bring it in scientific attention, explaining it from a cultural point of view.
75

1. Batsuuri J, Enkhmaa E. Mongol ulsynirgenugiinbichigkhotlokhzagvar, UB.,2010,pp.44-45

2. Dolgorsuren J, Sarantuya N, Sumya B. Soyolurlagiinbodlogynshinjlekhukhaanyundes, UB., 2003, p.20
3. Dolgorsuren J, Sarantuya N, Sumya B. Soyol,urlagiinbodlogynshinjlekhukhaanyundes, UB., p.17
4. Muldashev E. Burkhadynkhotynereld, volume1, Ertniikhumuusiinemgeneltilgeemj, UB., 2004, page 469
5. Muldashev E. Burkhadynkhotynereld, volume 2, Kharatynaltanshastir, UB., 2004., page 53.
6. Anna Blavatskaya Nuutsbichees. In this book it was explained as a proper energy.
7. Muldashev E. Burkhadynkhotynereld, volume 1, Ertniikhumuusiinemgeneltilgeemj, UB., 2004, page 470.
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