Architecture
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This video collection features interviews with architects, scholars and ordinary people who talk about the Kalmyk ger, temples and statues.
Nomadic lifestyle requires that dwellings and structures be mobile. The traditional dwelling, or yurt, of the Kalmyks is called ger, which is also widely used among various nomadic peoples in Central and Inner Asia. Easy to assemble and transport, durable as well as lightweight, the ger consists of four main parts, namely term (wall) uudn (door),unin (roof poles), and kharach (roof ring or crown), all of which are made of wood. The wall is an expandable latticework construction consisting of several sections arranged in a circular shape and tied together with a rope. The latticework is made of rods of equal length organised in a crisscross pattern. The size of the yurt depends on the length of the wall and the number of roof poles. By adding or reducing the wall sections and roof poles, one can change the size of the yurt. The roof ring of the Kalmyk yurt is supported by roof poles only, which contrasts with the Mongolian yurt that has additional columns to support the roof ring from the floor. Because of its structural peculiarity, the Kalmyk yurt has the roof of a conical shape rather than a rounded, convex one as in the case in the Mongolian yurt. The whole structure is covered with felt, which keeps the inside warm in winter and cool in summer.
Having been the main adobe for nomadic Kalmyks until the first half of the 20th century, today the yurt is no longer used as a dwelling but is relegated to museums and tourist camps. It was not only the yurt that suffered during the Soviet period. In the 1930s all Buddhist structures, including temples, monasteries, and stupas, were destroyed. The only building that survived the Great Purge is part of the Khosheutovskiy Temple situated in the village of Rechnoe in Astrakhan oblast. Since the 1990s, the Kalmyk government has actively supported the revival of Buddhism, and as a result today many settlements in Kalmykia have temples, prayer houses, and stupas. Designed by Soviet-educated Kalmyk architects, many modern temples and prayer houses are different from historical ones.
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Item Open Access Olga Arkhakova, About the Construction of Two Temples in Elista(Kalmyk Cultural Heritage Documentation Project, University of Cambridge, 2018-03-31) Terbish, Baasanjav; Churyumova, Elvira; Korneev, Gennadiy; Churyumov, Anton; Sandzhiev, Artur; Bembeev, AleksandrOlga talks about the construction of two temples in Elista, the Geden Sheddup Choikorling Temple (Arshan Temple) and the Golden Abode of the Buddha Shakyamuni (Central Temple). She says that at the end of the 1980s and the beginning of the 1990s there was a great demand in Kalmykia for religious buildings. The first temple to be built during this period was a temple near the village of Solnechnyi, on the outskirts of Elista. Its architect was Vladimir Gilyandikov. Olga was among those who were present at the ceremony of laying its foundation. The temple, Geden Sheddup Choikorling, was built quickly. At that time, a consensus was that temples should have canonical shape and measurements based on Tibetan style. Later there was a new demand for a larger temple. So the Central Temple in Elista was built, also known as the Golden Abode of the Buddha Shakyamuni. It took a long time to find a suitable place for its construction. Finally, a decision was made on the territory of a former factory in the centre of Elista. It was the Dalai Lama himself who chose this place. A large collective of designers and architects under the leadership of Sergei Kurneev quickly designed the temple. Telo Tulku Rinpoche actively participated in the project, giving advice. For example, there is a statue of Tsagan Aav in front of the Central Temple. Telo Tulku Rinpoche advised on the form and line of the eyes that the statue should have. According to the initial plan, the height of the Central Temple was different from what it is today. After a consultation, Telo Tulku Rinpoche decided that its height should be 27 metres. The calculation was done as follows. A rosary has 108 beads. If 108 / 2 = 54. If 54 / 2 = 27. The carpets, and other furniture inside the Temple were designed according to certain pictures, and special orders were sent to factories. The Temple has been built according to a mandala principle and divided into four parts. Other rules were also applied, including the position of the main doors facing south.Item Open Access Stepan Botiev, About my work(Kalmyk Cultural Heritage Documentation Project, University of Cambridge, 2017-08-01) Terbish, Baasanjav; Churyumov, Anton; Churyumov, AntonItem Open Access Stepan Botiev, A sculpture: Tsagan Aav(Kalmyk Cultural Heritage Documentation Project, University of Cambridge, 2017-08-01) Terbish, Baasanjav; Churyumov, Anton; Churyumov, AntonItem Open Access Stepan Botiev, A sculpture: the first teacher(Kalmyk Cultural Heritage Documentation Project, University of Cambridge, 2017-08-01) Terbish, Baasanjav; Churyumov, Anton; Churyumov, AntonItem Open Access Stepan Botiev, A sculpture: the camel(Kalmyk Cultural Heritage Documentation Project, University of Cambridge, 2017-08-01) Terbish, Baasanjav; Churyumov, Anton; Churyumov, AntonItem Open Access Stepan Botiev, A sculpture: Khongr(Kalmyk Cultural Heritage Documentation Project, University of Cambridge, 2017-08-01) Terbish, Baasanjav; Churyumov, Anton; Churyumov, AntonItem Open Access Stepan Botiev, A sculpture dedicated to the memory of the exile of the Kalmyk people(Kalmyk Cultural Heritage Documentation Project, University of Cambridge, 2017-08-01) Terbish, Baasanjav; Churyumov, Anton; Churyumov, AntonItem Open Access Stepan Botiev, A monument to Dzhamba-Taisha Tundutov(Kalmyk Cultural Heritage Documentation Project, University of Cambridge, 2017-08-01) Terbish, Baasanjav; Churyumov, Anton; Churyumov, AntonItem Open Access Sergei Kukuev, religious architecture in Kalmykia(Kalmyk Cultural Heritage Documentation Project, University of Cambridge, 2018-01-01) Terbish, Baasanjav; Bembeev, Aleksandr; Korneev, Gennadiy; Sandzhiev, ArturItem Open Access Bembya Lidzhiev, About the nomadic yurt(Kalmyk Cultural Heritage Documentation Project, University of Cambridge, 2018-10-01) Terbish, Baasanjav; Churyumova, Elvira; Korneev, Gennadiy; Churyumov, AntonItem Open Access Tseren Badaev, About the nomadic yurt(Kalmyk Cultural Heritage Documentation Project, University of Cambridge, 2019-05-11) Terbish, Baasanjav; Churyumova, Elvira; Shovunov, Sanal; Kovaeva, Bair; Churyumov, AntonThe frame of the yurt is covered with felt, white or black, and tied around with ropes. To make the yurt wind resistant, the ropes are tied to metal pegs that are stuck into the ground. Inside, the yurt has two chests, beds, a wardrobe and implements that are placed along the walls. Men and women sleep in different parts of the yurt. Sometimes the yurt could be divided into sections by hanging a cloth. Tseren’s father made wooden spoons, saddles and bridles for domestic use. The family bought dishes, cutlery and a harness.Item Open Access Vladimir Gilyandikov, Sakyusn Sume(Kalmyk Cultural Heritage Documentation Project, University of Cambridge, 2016-04-14) Terbish, Baasanjav; Churyumova, Elvira; Terbish, Baasanjav; Churyumov, Anton; Churyumov, AntonThe video features a round-table discussion with Vladimir Gilyandikov, architect of two main Buddhist temples in Kalmykia, including the Sakyusn Sume and the Golden Abode of Buddha Shakyamuni. Other discussants include Lari Ilishkin, lama Sanal Mukobenov and Arslang Sandzhiev. The discussion starts with a short video presentation. Arslang Sandzhiev: A book has been published recently which is dedicated to the opening of the Sakyusn Sume in 1996. It includes the names of all contributors. Vladimir Gilyandikov: Before the construction of this temple, the Temple Committee discussed a question of building a big temple in Elista. There were three potential locations, including in the south of Elista, in the north of Elista and in a place near the village of Arshan (on the outskirts of Elista). Eventually, the choice fell on the Arshan location. The Dalai Lama approved that location, which was then consecrated. The plan was to build a complex consisting of a dormitory for lamas, a hotel, houses for personnel, a residence for the Dalai Lama, a central temple, a Buddhist academy, a square for public events and a bus terminal. It was decided to build first the temple, Sakyusn Sume. In Kalmykia in the 19th and 20th centuries temples were built by guest architects who were Germans. To get an idea, we looked for historical materials in the libraries. Photos that we got hold of were few. The geological conditions for the construction work were difficult. Since the foundation should sit on firm ground, we decided to lay a monolithic plate underneath the temple. According to the initial plan, the walls of the temple would narrow towards the roof. Although in Kalmykia we did not have experience of building temples with such walls, Mikhail Shalkhakov solved the problem. The plan was based on the Buddhist temple in St Petersburg. Arslang Sandzhiev: The Dalai Lama consecrated the place for the building of the Golden Abode of Buddha Shakyamuni. Inside the temple sculptor Vasiliy Vaskin built a statue of Buddha. A group of artists, including Aleksandr Povaev and others, drew the first paintings on the walls. In January 1996 Vladimir Gilyandikov and Telo Tulku Rinpoche paid a visit to the Drepung Gomang monastery in Dharamsala, India. There they also visited several other monasteries and looked at their interior. In 1999 the plan for the building the Golden Abode of Buddha Shakyamuni won the first prize in the architectural competition. Sanal Mukobenov: The first time I saw the Sakyusn Sume temple was in 2001 when I came to Elista to become a lama. I was struck by its architecture, especially by the four protectors that are placed in the four corners of the temple. The temple itself is dedicated to these protectors. In the Soviet period Kalmyks could not exercise their belief freely. The first temple gave impetus to the development of Buddhism in Kalmykia. Although I have seen many temples, the most beautiful to me personally is the Sakyusn Sume. The interior paintings were made by a group of artists headed by Erdni Nimgirov. These paintings are of superb quality. For me, this temple is associated with my home and motherland. Before going to Tibet to study, I had spent some time in this temple when I took my religious vows. This building has a special energy inside. Especially in spring it is nice to be there. Arslang Sandzhiev: The opening of the temple was a public celebration. When they were carrying the statue of Buddha inside the temple, it seemed as if the statue was floating above the people. Lari Ilishkin: At that time, I did not fully understand the full significance of the temple. I was thinking that it was good to have a temple with Kalmyk architecture. I walked around the temple three times clock-wise. Today this temple is a symbol of the revival of Buddhism. The temple has a good aura and many people go there. The temple has a designated room for the deity-protectors. Vladimir Gilyandikov: Many people from different places asked me to design temples for them. They were from the village of Komsomol’skiy, from the village of Solyanka in Volgograd oblast. There was an idea to erect a rotunda in the centre of Elista. Vyacheslav Ilyumzhinov organized a trip for us to Mongolia in order to find masters and see for ourselves how to build rotundas. Since it turned out to be a very expensive project to ask others to build a rotunda, we decided to do it ourselves. Together with Vladimir Kuberlinov and Nikolai Galushkin, we made a rotunda. The sculptor Vladimir Vaskin made a statue of Buddha, which we put underneath the rotunda. It was opened on the Dalai Lama’s birthday. About myself. I decided to become an architect when I was in secondary school. After I could not enter the Moscow Architectural Institute, I returned to Elista and worked with the architect Mingiyan Pyurveev. Under him I learned how to draw architectural plans. The next year I entered the Rostov State University for Civil Engineering to study in the Department of Architecture. After finishing university, I returned to Kalmykia and worked in Gosstroi company. I worked in the Kalmyk Project Institute for many years. I was the main architect of Elista. I have built many buildings, including the hall of the Ministry of Agriculture, the Police station, the Alley of the Heroes and the statue of Basan Gorodovikov (along with Naran Lidzhiev and Vladimir Vaskin). When we were drawing the plan for the Golden Abode of Buddha Shakyamuni, the temple was planned to be sitting on a hill seven meters high and have big windows to let in more sunlight. The height of the temple is 64 metres. Arslang Sandzhiev: Before the 1917 Revolution, there were more than 100 temples, small and big. Only a part of the Khosheutovskiy Temple is left today. We still have the foundation of some old temples in Kalmykia. It would be good to make a map of old temples, erect a fence around the remaining foundations so that people knew what these places are. About the restoration of the Khosheutovskiy Temple. The Astrakhan oblast is in charge of the restoration work, and the money comes from the federal budget. The quality of the work is not good at all, and some historical ornaments have been removed. Of course, the restoration work should be done properly. It would be ideal to remove the houses around the temple in order to create more space around the temple. In Russia there were two religious buildings that were dedicated to the soldiers of the Napoleonic War in 1812. The first one, the Khosheutovskiy Temple, was built in 1817, and the other, the Church of the Christ the Saviour in Moscow, was erected in 1910.Item Open Access Mergen Kavaldanov, The Bas-Relief of the Heroes from Jangar(Kalmyk Cultural Heritage Documentation Project, University of Cambridge, 2018-09-11) Terbish, Baasanjav; Churyumova, Elvira; Churyumova, Elvira; Koldaev, Tseren; Korneev, Gennadiy; Churyumov, AntonMergen talks about the bas-reliefs that he made which depict heroes from the epos Jangar.The idea to erect the bas-reliefs of the heroes from the epos Jangar belongs to Basan Zakharov. This project was sponsored by the company ‘Betoninvest’. For three years I on my own sculpted the bas-reliefs of the Jangar heroes and cast large concrete slabs weighing 4 tons. I worked in all seasons, however cold or difficult it was. Sometimes the clay froze, and I had to warm it up on the stove. The bas-reliefs are ready now. This project was conceived as a Kalmyk version of the Stonehenge – a place of power where anyone who believes in the magical power of the epos Jangar could pray. There are 14 columns. The height of each column is 7 meters 40 cm. 7 and 40 are sacred numbers. According to the Tibetan book of the dead, it is 40 days that the soul of a deceased wanders between life and death. In the epos, Jangar himself is about 40 years old, which is a time when a man is at the zenith of his power. When people go to that place I hope that they will stand in the middle, surrounded by the 13 heroes, and feel themselves as part of that sacred circle. For me, epic heroes are characters who live in a parallel universe. They observe our actions, which are reflected in both worlds, ours and theirs. Each hero has his own quality, which can serve as an example for us. For example, poets, musicians and creative people can have Mingiyan as their patron, athletes - Savr, militarily inclined and courageous individuals - Khongor, and people with leadership skills can have Jangar as their patron. In the bas-reliefs Khongor is sculptured as a hero with a huge hat, armored and with a sword. His shoulder armor has the engraving of lions. The shaman Gyuzyan Gyumb wears a helmet with horns and necklaces made from skulls, which alludes to Buddhism. He also holds a sheep’s shoulder blade in his hand (which is a reference to a Kalmyk movie called ‘Fortune-telling on a sheep’s shoulder blade’). I wanted to represent Gyuzyan Gyumb as a kind old man, who can do divination and cleanse people of their anger. Since he can speak several languages, I molded Ke Dzhelgan as having a mask with several tongues on his waist. A two-headed parrot that is on his chest represents interpreters. Bor Mangna, who is Jangar’s standard bearer, may seem as a secondary hero. But with his reckless courage, he can sacrifice himself to the state. He always goes ahead of Jangar’s army. Savr reminds me of Hulk. He is the strongest of all the heroes. I made him so that he does not fit the column.Item Open Access Yuriy Sangadzhiev, About the Felt Yurt(2018-03-31) Terbish, Baasanjav; Churyumova, Elvira; Churyumova, Elvira; Koldaev, Tseren; Koldaev, TserenYuriy is the director of the Museum of Nomadic Culture in Elista which is housed in a traditional yurt. He talks about the structure of the yurt. The yurt’s wooden parts are made from the willow tree. The yurt can be assembled quickly, in an hour and half. The yurt consists of a wooden wall (term) and poles (unin). The Russian word for prison ‘tyurma’ derives from the Kalmyk word ‘term’. In the past, the unin poles in the yurts of ordinary people were of red, orange or yellow color. The nobility, by contrast, could have green poles. Yurts were made by men. Yurts differ in terms of size. For example, it is said that the yurt in which Chingis Khan held meetings could house up to 2,000 people. The wealthy people covered their yurts with white felt, whereas the poor had grey or black felt. The centre of the yurt is occupied by the roof ring (kharach). The doorstep of the yurt is high and it is forbidden to touch it with a leg when one steps over it. The height of the door is relatively small so that people have to bow when entering it, as if bowing to the altar inside. In the past, all yurts had an altar. Buddhism started to spread among the Kalmyks in the 17th century. Before then the Kalmyks were shamans. The left-hand side of the yurt is the men’s area where men’s implements are kept. The right-hand side belongs to women. Food, cutlery, a bed and a cradle are in that part of the yurt. Near the altar is situated baran, a structure which consists of several chests put on top of each other. The most valuable things are stored there. The yurt is divided into 12 sections or areas, according to the 12-animal lunar calendar. For example, the door, which faces north, is situated in the horse area of the yurt. In contrast with the Mongol yurt, the Kalmyk one does not have the poles that support the roof ring. Hence the Kalmyk yurt is high, reaching up to four meters. In the past, in winter its height was shortened for heat saving purposes. In summer the yurt was heightened up again so that the rain droplets did not remain on the roof. The yurt weighs 650 kilograms, and can be carried by a couple of camels. When the Kalmyks lived in yurts, on average any yurt housed five people, including parents and their three children. When sons grew up, they assembled their own yurt behind their parent’s one. By looking at the number of yurts in a nomadic settlement one could estimate the size and wealth of that family. Guests, especially old people, were seated in the most respectable area, which is the opposite side from the door. Guests were offered dairy products, including yoghurt, kumis (fermented mare’s milk) or milk vodka. All meals started with a cup of tea.Item Open Access Sofya Olzeeva, Traditional Dwelling(2018-03-31) Terbish, Baasanjav; Churyumova, Elvira; Terbish, Baasanjav; Terbish, Baasanjav; Churyumova, ElviraSofya says that in the past the Kalmyks, including her parents and grandparents, lived in yurts. Although she herself did not grow up in a yurt, Sofya saw this nomadic dwelling when she was a child. Sofya says that the Kalmyk yurt consists of the wooden wall (term) arranged in a circle. The roof poles (unin) support the roof ring. In the past, the poor who could not afford a yurt lived in constructions called zholm, a tent-like construction made from roof poles but without walls. In Sofya’s childhood Kalmyks also lived in mud houses made from wild cane. Women’s life was hard: it was their duty to smear their houses with mud, bring water, to do the washing, cooking, and other household chores. In the past, the wealthy covered their yurts with white felt, whereas the less well-off had to contend with brown felt. At night, the roof ring was covered with a felt cover, and in the morning the cover was pulled down to let light into the yurt. The centre of the yurt had a tripod (tulg) on which people cooked their meal. Dung was used for fuel. The door was made from wood. Those who could not afford a wooden door covered their door with felt. During the day, the felt-cover was rolled up, and at night rolled down.Item Open Access Olga Arkhakova, About the Construction of Two Temples in Elista(2018-03-31) Terbish, Baasanjav; Churyumova, Elvira; Korneev, Gennadiy; Churyumov, Anton; Sandzhiev, Artur; Bembeev, AleksandrOlga talks about the construction of two temples in Elista, the Geden Sheddup Choikorling Temple (Arshan Temple) and the Golden Abode of the Buddha Shakyamuni (Central Temple). She says that at the end of the 1980s and the beginning of the 1990s there was a great demand in Kalmykia for religious buildings. The first temple to be built during this period was a temple near the village of Solnechnyi, on the outskirts of Elista. Its architect was Vladimir Gilyandikov. Olga was among those who were present at the ceremony of laying its foundation. The temple, Geden Sheddup Choikorling, was built quickly. At that time, a consensus was that temples should have canonical shape and measurements based on Tibetan style. Later there was a new demand for a larger temple. So the Central Temple in Elista was built, also known as the Golden Abode of the Buddha Shakyamuni. It took a long time to find a suitable place for its construction. Finally, a decision was made on the territory of a former factory in the centre of Elista. It was the Dalai Lama himself who chose this place. A large collective of designers and architects under the leadership of Sergei Kurneev quickly designed the temple. Telo Tulku Rinpoche actively participated in the project, giving advice. For example, there is a statue of Tsagan Aav in front of the Central Temple. Telo Tulku Rinpoche advised on the form and line of the eyes that the statue should have. According to the initial plan, the height of the Central Temple was different from what it is today. After a consultation, Telo Tulku Rinpoche decided that its height should be 27 metres. The calculation was done as follows. A rosary has 108 beads. If 108 / 2 = 54. If 54 / 2 = 27. The carpets, and other furniture inside the Temple were designed according to certain pictures, and special orders were sent to factories. The Temple has been built according to a mandala principle and divided into four parts. Other rules were also applied, including the position of the main doors facing south.Item Open Access Badma Amulakova, Inside a Felt Yurt(2018-03-31) Terbish, Baasanjav; Churyumova, Elvira; Babaev, Andrei; Kovaeva, Bair; Babaev, AndreiBadma talks about the interior of the Kalmyk yurt. She says that during the times of Chingis Khan the ancestors of the Kalmyks lived in yurts erected on a platform with wheels that was pulled by a couple of oxen. The yurt is easy to assemble and disassemble. Traditionally, its door has to face south. In the past, the wealthy had several yurts, including one used as a kitchen, one to keep clothes, and one to keep young animals. The centre of the yurt has a tripod for fire. When a yurt is disassembled and erected in another place, the first thing that is put inside it is the tripod. The yurt that Badma shows in this video is not Kalmyk but of Mongol type. In comparison with the Mongol one, the Kalmyk yurt has a smaller roof ring (kharach), approximately a metre in diameter. The roof ring has holes for roof poles (unin) not on its sides but underneath. Hence the Kalmyk yurt has a higher roof. Badma shows an old chest to keep clothes that the Kalmyks used to produce in the 1920s. She also says that the furniture inside the yurt was always practical – the Kalmyks never kept things that were difficult or inconvenient to transport. All items inside the yurt had their exact place. The most venerated area in the yurt is at the back where women and children were not allowed to go. Only elders or guests could be seated there. The right-hand side of the yurt is considered a ‘women’s area’, and the left-hand side that of men. ‘Men’s implements’ including a saddle, a lasso, ropes and weapons are kept on the men’s side. The bed where the father of the family sleeps, however, is on the right-hand side (i.e. ‘women’s area’). His bed is closed with curtains. His wife sleeps on the floor in front of his bed. Closer to the door, on the wall hangs a shelf for cutlery, pots, and cups. The left-hand side of the yurt (i.e. ‘men’s area’) is where the paternal grandfather sleeps with his wife. Like on the opposite side, the grandfather has his own bed while the grandmother sleeps on the floor.Item Open Access Badma Amulakova, About the Felt Yurt(2018-03-31) Terbish, Baasanjav; Churyumova, Elvira; Babaev, Andrei; Kovaeva, Bair; Babaev, AndreiIn this video Badma talks about the felt yurts that the Kalmyks have stopped using since the 1940s. The wooden carcass of the felt yurt consists of the following parts: term (wall), unin (roof poles), kharach (roof ring), tsagrg, uudn (door), and erg (door step). The wooden carcass is covered with felt, which consists of the following parts: deevr (roof cover), ork (cover for the roof ring), tuurg (wall cover), and irgvch (cover used for the lower part of the wall). Traditionally, the Kalmyk yurt is erected facing south. Its interior is divided into several areas. The right-hand side — as when one enters the yurt – is where the bed of the head of family (i.e. the father) stands. The father sleeps in this bed with his son(s). Underneath on the floor sleeps his wife with their daughter(s). The left-hand side of the yurt belongs to the parents of the husband. Like his son, the grandfather sleeps in a bed while his wife on the floor with grandchildren. The area of the yurt (opposite the door) is called khoomr. It is the most respectable area. Only guests or elders can be seated there. In the past, wealthy people had two chest sets (baran) on either side of their yurts, whereas the poor had only one. A baran usually consists of four pieces put on top of each other, including a small closet with doors, two chests, and a small table for offerings. The closet is used to store saddles, ropes, stirrups, etc., whereas the chest on top of it – for keeping clothes or food. The upper chest, which is smaller in size, is where precious items are stored, including jewellery, hats, etc. The table for offerings (teklin shire) is used to put images and statues of deities, as well as offerings (a cup with tea, candles) for these deities. Statues of different deities are wrapped in clothes of different colour. For example, Maitreya has a reddish-brown gown, White Tara – a white gown, Green Tara – a green robe, etc. Other items displayed or put on the table of offerings are a purse (ketch) to keep prayer beads and incense, a small revolving prayer drum (kurd) which contains mantras, as well as various offerings to gods (coins, cloth) and a boat-shaped vessel for incense.