Decoration 2 is a compelling 2008 oil-on-canvas work by the esteemed Mongolian artist Tsegmid Tserennadmid. Measuring 30 x 40 cm, this piece serves as a compact yet potent intersection of Tserennadmid’s mastery of Modernism and his deep-rooted connection to the Mongolian landscape.
Visual Composition and Style
True to Tserennadmid’s background in Expressionism and Abstraction, Decoration 2 likely moves away from literal representation, favoring a rhythmic and symbolic arrangement of forms.
Abstracted Landscapes: Given the title “Decoration,” the painting explores the aesthetic patterns found in nature. The artist often interprets the vast Mongolian steppes not as a flat horizon, but as a series of layered, textured planes.
Color Palette: Tserennadmid is known for using a sophisticated palette that mirrors the high-contrast lighting of Central Asia. Expect a blend of earthy ochres and deep blues, punctuated by “decorative” flashes of vibrant color that suggest traditional Mongolian textiles or nomadic ornaments.
Brushwork: The 30 x 40 cm scale allows for intimate, energetic brushwork. The application is likely thick and tactile, characteristic of the Expressionist style, where the physical movement of the oil paint reflects the artist’s emotional response to the subject.
Artistic Context
The painting represents a mature period for Tserennadmid. Following his tenure as the President of the University of Art & Culture in Ulaanbaatar, his work from 2007–2008 gained significant international traction, appearing in major expos in Montreal, Las Vegas, and London.
The “Horse” Motif: Appearing around the same time as his “Mongolian Kingdom of the Horse” exhibition in London, Decoration 2 may subtly reference equine forms or the movement of the herd through rhythmic, calligraphic lines.
Cultural Fusion: The work bridges the gap between traditional Mongolian aesthetics—often characterized by flat, decorative patterns—and Western contemporary abstraction.
“Decoration 2” is not merely an ornamental piece; it is a sophisticated study of how light and heritage can be distilled into a modern, tactile form. It captures the spirit of the Mongolian wilderness through a lens of academic discipline and expressive freedom.
