: Статья посвящена изучению исторического романа «Гэгээнтэн» (Святой, 2012), авторскому подходу монгольского писателя Г. Мэнд-Ооёо к историческому прошлому своего народа. Данный роман написан в начале XXI века, на рубеже двух последних столетий – в переходную эпоху, когда активно шел процесс дальнейшей ломки устоявшихся основ бытия монгольского общества: политических, социальных и эстетических. Поэтому не случайно Мэнд-Ооёо обращается к началу XX века, когда в монгольских степях шли кардинальные перемены во всех областях жизни. Упор автором сделан на тридцатые годы XX в., связав их с образом главного героя романа – реальной исторической личностью Дулдуйтын Данзанравджа, который жил и творил в первой половине XIX столетия. Художественно осмысливая неоднозначно воспринимаемый в монгольской историко-культурной среде XIX и последующих веков образ буддийского религиозного деятеля[1], монаха-красношапочника из буддийской школы Кагью, философа-йогина, тантриста Д. Равджа (1803-1856), известного в народе как Пятый Гобийский докшин нойон-хутукта[2], что означает в переводе Пятое воплощение Гобийского грозного/гневного господина, исполненного святости, Мэнд-Ооёо обращается к реальным историко-культурным событиям, документальным материалам и к историческим лицам Монголии, жившим в XIX и XX веках.  Начиная с XVII века в результате творческого синтеза индо-тибето-монгольских историко-культурных связей происходит обогащение и развитие собственно монгольских литературных традиций. В числе классического индо-тибетского философского наследия особое место занимает буддийская легенда о священной стране Шамбала, вошедшая в учение о Калачакре (начало XI в.). Уже тысячи лет эта легенда занимает одно из важных мест в культуре народов Центральной Азии. Именно с именем Равджа-хутукты связана в Монголии тайная заповедная страна Шамбала и особые энергетические места в Гоби, о которых автор сумел увлекательно поведать в своем романе.

Revenons à la poésie de Mend-Ooyo , sa écriture ne doit pas seulement être écrite, chantée. Elle doit être vecue. Elle est à la fois une extase phisique et une extase mystique. Cʼest une âme.
Sa poésie nʼa pas choisi lʼavenir mais lʼéternité. Elle nous  devance et voila pourquoi elle participe du divin, voila pourquoi lʼencre des poétes vaut plus que le song des martyrs.
Chers amis, jʼaurais dû commencer par le commencement: rémercier au Mend-Ooyo  quʼil existe, parce que sa poésie a sauvgardé la démocratie et la liberté des mots.

... For Mend-Ooyo, then, everything stands in an organic relationship with everything else. The posthuman, which explicitly looks at the world as a holistic, pulsating, and relational being, and in which all forms of life - including sheep, horses, rocks, air, the sun, the moon, clouds, rain, swallows, eagles, ants, spiders, willow trees, grasses, mountains, rivers, and humans - have, simply by their act of the being, equal value, asks us to look at all that exists as a whole, and to see ourselves as individuals only insofar as the realization that all of our actions affect, and are affected by, all our human and other-than-human brothers and sisters. For fifty years, Mend-Ooyo’s writing has been informed by this understanding and, as we look around at the beauty of the natural world and at the difficulties caused by climate change, the mining of minerals and fossil fuels, and the rapid decrease in biodiversity, it becomes increasingly important to learn from posthuman literature such as his.

 Magsarjav.B
Doctor of Philology

...“Shiliin Bogd” (Sacred Hill) by Mend-Ooyo is a symbolic realist novel teaching us the existence philosophy which looks at the brief  moment of Mongolian history as well as the modern time through the lens of stories and legends [spoken among the Dariganga people].

...So the novel “Sacred Mountain” is a whole new phenomenon in terms of the expressive method and philosophy in the theme. Also the environmentalist notion of the novel could earn the name; “the Green Novel”. I have not touched the other new things observed in the novel. Most important of all is the author’s appeal to the people; “Love your Homeland which is the whole foundation of your existence” and “Do not let the wealth out and do not let the detestable in”.
 

HAIM DOTAN (Isreal)

3 poems 
For Poet friend 
G. MEND-OOYO

G.Mend-Ooyo’s Altan Ovoo, originally written at the end of the 1980s, holds an unusual place in world literature. It is not fiction, although it contains stories; it is not poetry, although it contains poems; nor, even though it deals primarily with the history and culture of the author’s birthplace of Sühbaatar province in southeastern Mongolia, does it really qualify either as history or as folklore. Mend-Ooyo himself describes the work as an “almanac,” an omnium gatherum of stories and poems, changing slightly with each revision of the book, and presenting as much the idea of Mongolian nomadic culture as its lived experience.

Miloš Lindro
Poet and literary scholar, Macedonia

....The power of nature in the land of his native Dariganga lives eternally in Mend-Ooyo’s thought, and this seen frequently in his poetry. In “Letters from the Wild Steppe,” the central idea, the rich thought in many layers of meaning, is of this inexhaustible power, witnessed in the works of this eternally youthful poet, and which all the more clearly reveals the lineage of this ancient and wonderful people, the eternal and deathless Mongolians.
The poems in this volume are expressed through soft and gentle melodies and, as Mend-Ooyo says in his introduction, this “gentle melody” is a meeting with peaceful and philosophical poetry. He writes of how, from a very young age, he felt himself compelled him to find the deathless and eternal spirituality. When his father played the horsehead fiddle and sang, the stories which Mend-Ooyo heard and felt remained to this child of the countryside, an legacy of cultural wisdom which he could never forget. When he came to make his own work, his homeland granted him a kind of magical ability, by which “the mountains grew more blue, the waters and springs were made clearer, and the birdsong sweeter.” As he wrote in his poem “The Way of the World,”
 
We ride our horses in the light of dawn, 
we dismount at the tethering post with the magpies at evening.
 
The thundering of hooves to which his ears became accustomed lodged in his youthful heart. This inexpressible thundering of hooves guided his intuition across the boundless wilderness of the steppe. In his poem “Horse Hour,” the thundering hooves are heard all around, “on Horseman’s Hill,” “in the horse pastures,” and “in the dust of their hooves.” The divine presence which comes from the time of the ancestors, the customs which honor the queenly Mother Earth, the rituals which treasure every living being, whether they have awareness or not - all of these have since ancient times been pulsing in the veins of this world, and which this poet’s work clearly expresses.

As I read the work of the poet G.Mend-Ooyo, I have an extraordinary feeling, as though I am standing at the gate of this secret land. There is a multimensional interweaving of space and time in his poetry: from the present time, into the antiquity of our earth, from ancient times and the first humans into the future, he leads you from moment to moment, and from age to age, revealing to you clear and striking images. For instance:
 
Each note of the horsehead fiddle’s unending melody 
opens up Shambhala’s mandala…
 
In the melodic rhythm of this horsehead fiddle image, Mend-Ooyo depicts the paradisiacal land of Shambhala. In doing so, he discovers in an instant what the romantic Nicholas Roerich had failed to discover, as a gift for his readers he engenders in them a deep feeling for the magic of Shambhala. Lord Byron wrote of a harp’s melody, “Its sound aspired to Heaven, and there abode,” and led onwards by the deep feeling inside the human heart, swimming in the rhythm of wisdom, Mend-Ooyo imagines a time of purity, in which we enjoy mental peace, and want for nothing!