Isabelle Charleux obtained her Ph.D in History of Art and Archaeology at Paris IV-Sorbonne University, Paris, and taught Chinese art history and archaeology at Sorbonne University for eleven years. She is presently director of researches at CNRS (National Centre for Scientific Research, France – Group Societies, Religions, Laicities, École pratique des Hautes Études/PSL). Her research interests focus on Mongol material culture and religion (Mongolia and Inner Mongolia) and Mongols’ pilgrimages in Mongolia and abroad. She published Temples et monastères de Mongolie-Intérieure (Paris: Comité des Travaux Historiques et Scientifiques & Institut National d’Histoire de l’Art, 2006) and Nomads on Pilgrimage: Mongols on Wutaishan (China), 1800–1940 (Leiden and Boston: Brill, 2015).
關鍵詞
Mongolia; Mongolian; material culture; colossal statue; gigantism; architecture; tourism; stupa; consumerism; business
摘要
This paper questions the current construction of a 54 metres statue of Maitreya against a 108 metres stupa in the steppe south of Ulaanbaatar, that will stand at the edge of a new ‘eco-city,’ Maidar City. The Grand Maitreya Project (GMP) was initiated in 2009 by H. Battulga, businessman and MP (before he was elected president of Mongolia). The project aims to be ‘one of the largest Buddhist complex in the world,’ and now is a ‘National project for reviving traditional Buddhist education and culture.’
I propose to use religious and art-historical approaches in order to document the ‘birth’ of a Buddhist project, with a special interest in the long process of conception, fundraising and promotional programme. Relying on recent studies on the entanglement of Buddhism, politics, culture, consumerization and tourism that gave rise to new cultual modalities, and on studies of colossal statues recently built in Asia, this article asks what the GMP tells us about modern Mongolian politics and public religious culture. What are the sources of inspiration and foreign references of the GMP? Is it a religious monument that will benefit from the tourist economy, a tourist attraction, or a unifying, nationalist symbol of 21st-century Mongolia?
