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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 Some issues of expression in animal featured art of the Huns

B.Bayartur, Academic secretary of MRICA, Acc.Prof.

15:30-16:00 On worshipping the sun by Mongols

Sh.Erdenetsetseg, Professor of Culture Study Team of MSUAC, Acc.Prof.

16:20-16:50 Xiongnu and Ancient Korea - some evidences of interactions between nomad and sedentary

nations

Kang, In-Uk, Prof of Pukyong National University

16:50-17:20 Spiritual culture of Huns in the context of the historical development of civilization

I.B. Batueva, Dean of ESSACA, Prof.

17:20-17:50 Esoteric knowledge of stone image at the Baga Ereen

L.Purevlham , Officer of DCA of Kharkhorin

CONFERENCE CLOSING SESSION

17:50-18:20 Closing remarks by

Sonintogos E

Kang Joon Hyuk

Pshenichnikova R. I

18:20-18:30 Photo session

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43

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.

44

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 (conch-

shaped 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 mandolin-

shaped 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.

45

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.

46

..

President of East Siberian State Academy of Culture and Art

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49

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

50

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 long-

songs, 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 long-

songs 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

51

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

52

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.

53

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 1

st century), which has recently started being recognized as

the first nomadic state in mankind history, gave way to the Hunnic Empire (4th to 5

th 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

54

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 () to a

national governor or a leader group in society. Seonin ( or ) is the Idu transcription of Chinese

55

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.

*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.

56

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

57

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.

58

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

V.V.Volkov. Bronzovyi I ranniijeleznyivekSevernoiMongolii. Volume V, F.1, UB., 1967. p.45 43

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

59

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

48 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

60

(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 55 D.Enkhdavaa. Mongol darkhlakhurlalynargaukhaanygbarimtjuulansudlakhiinuchir.A dissertation for a doctoral degree (Ph.D).UB., 2011. pp 11, 43

61

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 hi