Contemporary Female Artists in Mongolia and their Representation of Buddhism and Gender

In contemporary Mongolia, female artists are reshaping the discourse on Buddhism and gender through their creative practices. Many female artists utilize Buddhist symbolism in their artworks, but in significantly different ways: as a representation of their deep Buddhist faith, a marker of an art tradition in Mongolia, or as part of various religious expressions. Simultaneously, many artists depict and incorporate female figures in their artwork, addressing gender issues either directly or subconsciously. Some artists make women the focal point of their work, while others draw female figures but feel a strong inclination toward painting women, as it feels more “natural” to them—a clear reflection of the gendered nature of Mongolian society in general.
These artists create a dialogue between Mongolia’s religious heritage and modern challenges by blending traditional Buddhist aesthetics with contemporary issues and mediums. Their works often explore the concept of Mongolian identity and the role of women in Mongolian society today, intertwining it with Buddhist ideas and motifs.
To illustrate these points, I will introduce three female artists: Soyolmaa Davakhuu, who employs Buddhist motifs to express her deep Buddhist faith; Nomin Bold, who uses Buddhist symbolism to honor the Mongolian art tradition; and Munkhtsetse Jalkhaaja, who depicts female bodies to convey their vulnerability.
This paper examines how contemporary Mongolian female artists navigate the intersections of faith, culture, and gender in their artistic expressions. Ultimately, these artists are not only redefining gender, religion, and identity within Mongolian art but also contributing to a broader conversation about the fluidity of identity, tradition, and artistic expression in post-socialist Mongolia.

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