Iconographic Features of Kalmyk Embroidery: Traditional and Contemporary Practices

Abstract

Introduction. The Kalmyks are a Mongolic Buddhist people that arrived in the Volga region
in the 17th century. The specific ethnic features of Buddhism professed by the Kalmyks took shape
over centuries of Russian suzerainty and were determined by various historical factors, including
prolonged remoteness from Buddhist centers, the total eradication of Buddhist monasteries and
centuries-long ban on spiritual guidance experienced in the 20th century, and the official Buddhist
restoration by the early 21st century. Goals. The work aims at identifying and comparing traditional
and contemporary Buddhist thangka patterns as elements to mirror particular features of Kalmyk
iconography, as essential objects of religious cult and cultural heritage at large. Results. The paper
shows that in the pre-20th century period Kalmyks used different techniques for producing thangkas —
painting, embroidery, and applique ones. In the late 18th century onwards, imports of religious attributes
from Tibet and Mongolia were restricted, and the role of art workshops affiliated to local Buddhist
temples increased. That resulted in further development of thangka painting schools and the shaping
of somewhat ethnic style in depicting Buddhist deities characterized by certain differences from
canonical images. The old thangkas from private and public collections have served a basis for the
restoration of ethnic painting traditions integral to Kalmykia’s Buddhism proper. The contemporary
practices of producing divine images are closely related to stages in the regional development of
Buddhism from the late 20th century to the present, lay Buddhist experiences, women’s leisure-time
activities, and ethnic entrepreneurship. The study concludes contemporary Kalmyk needlewomen are
guided by traditional rules of religious craftsmanship.