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• W2354668731 abstract "This research investigates the paradigm of parody in Mongolian political art through its connection with the mythological figure of the mangas. The mangas is supernatural mythological creature in Mongolian epics, typically depicted as a many-headed giant beast which swallows every living being. Originating from the earliest nomadic Mongol animist fear of Black Cruel Heaven, the mangas incarnated various forms of resistence to emerge in twentieth-century Mongolian visual art as forms of parody. In contrast to Western perceptions of parody, the Mongolian form lacks superficial sense of humor. Instead, in visual art it connects various historical forms together--the mangas, the Buddhist Choijin and the Communist mangas-to expose dense and complex cultural roots in contemporary Mongolian caricature. This exegesis explores how Mongolian caricature functioned as parody during periods of tight social control. Ridicule of the American capitalist mangas later gave way to ridicule of the shortcomings of socialist living after the collapse of the Soviet-influenced regime in the 1990s. Subsequent political parody has thrived in Mongolian art as a modern critical re-coding of the present in characterizations of the failing figures of the post-communist political system. This exegesis therefore expands the concept of parody in Mongolian contemporary art to encompass political parody that subverts the former policies of socialist realism in Mongolian modern art— where my artwork is also partly situated. In this way my experience of post-communist Mongolian cultural identity is empowered by conceptual art strategies that allow the critical reworking of Mongolian national art forms—the encoding of imagery, deconstructing of forms, symbols, motifs and styles to parodic effect. By tracing parody as a political rather than social or cultural phenomenon, my contribution to discourse is a study that shows Mongolian political parody gives form to and thus codifies an enduring core value of opposition: of the elements of nature for shamanism, of sin for Buddhism, of capitalism for the socialist government and socialism and corruption in the post-communist period. My body of artwork investigates these factors by further visually deconstructing the mangas paradigm in Mongolian contemporary art. The ultimate goal of this exegesis is to elicit the national sensibility for expressing parody in Mongolian art as a response to disqust and mode of resistance—a new investigation of Mongol identity and art in academic scholarship." @default.
• W2354668731 created "2016-06-24" @default.
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• W2354668731 date "2015-01-01" @default.
• W2354668731 modified "2023-09-23" @default.
• W2354668731 title "Political parody: The new image of Mongolian contemporary art" @default.
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