Mongolia Monday- Cats and Dogs

October 20, 2008October 20, 2008 | foxstudio

CATS

In three trips to Mongolia I’ve seen exactly….three cats, literally one per trip. In general it appears that Mongolians don’t much like cats. There are a number of beliefs about them, none particularly positive. I was told that the appearance of a cat meant that there would be a death. Two women that I’ve spoken with both said that they didn’t even like the idea of touching a cat, but one allowed as how her attitude was probably based on things older people had said when she was much younger.

On the other hand, when we stopped at a ger in the Gobi, I watched a woman shoo this cat into the ger while the dogs were clearly meant to stay outside. I remember thinking “It figures.”

They do seem to be kept around by some families for the age-old purpose of rodent control. This little cat was at the ger camp at Ikh Nart. She was fussed over by the cook, who I was told loves animals. She was very friendly, so David and I were able to get an unexpected “cat fix”. It was apparently impossible to keep her out of the staff ger because she would climb up to the top and come in through the center opening. One night she dropped down onto our guide’s bed, one of the women who was adamant about not liking cats, and proceeded to try to snuggle up near her head. I remember thinking “It figures.”

Young cat at Red Rock Ger Camp, Ikh Nartiin Chuluu Nature Reserve

DOGS

I suspect that Mongols have had dogs for as long as they have had horses and the other “Snouts”. The traditional greeting upon approaching a herder ger is “Hold the dogs!” and they aren’t kidding. The traditional herder’s dog is a Tibetan mastiff, which can take its guard duties very seriously. I was told on this last trip, however, that many herders do keep a dog as a “pet” along with the ones for guarding. I hope to learn more about all this on the next trip.

Mastiff puppies near Hustai National Park

One consistant piece of advice that one runs across when looking into travel to Mongolia is do not, DO NOT, pet, pat, scritch, scratch or otherwise touch any dog. They have not been vaccinated for rabies and getting saliva on your skin, much less a bite, means air evacuation to a hospital for the (painful) series of shots. Foreigners who are working in the countryside get the rabies vaccine, but since nothing is 100%, it’s smart for them not to have contact either.

That said, I have found that most of the dogs I’ve seen don’t exhibit vicious behavior and a lot of them seem to be longing for contact with people. I finally relented once at Arburd Sands when this dog approached me while I was sketching and leaned into me. I decided that it was unlikely that the camp owners would have a dog around that was at all likely to bite the guests. I stayed alert while I gently petted his back and didn’t let his mouth near my hand. He seemed to really like it, but it was still a risk.

I hadn’t seen brindle dogs like this before this trip. Not sure where that coloration came from, but he has the mastiff head and body type.

I feel like I’m seeing fewer of the pure mastiffs since my first trip. When the Russians pulled out in 1991, I was told that they left their guard dogs, mostly German Shepherds, behind. And I remember seeing a couple of what looked like purebred Shepherds between the airport and UB in 2006. There has obviously been a lot of uncontrolled interbreeding. It looks to me like the dogs are gradually reverting to the basic dog form that travellers see all over the world in the streets, the countryside, at dumps, etc.

Dog seen by side of the road near Gorkhi-Terelj

And, for something completely different, at Red Rock Ger Camp, there was this chow chow, the only one I’ve seen in Mongolia. Never found out who he belongs to, but a fairly wide area around the camp seemed to belong to him, judging by his thorough and conscientious marking routine.

RANDOM NOTES

From The Global Village Dept.- twice when I’ve been in the State Department Store, I’ve seen young girls with tiny “fashion accessory” dogs tucked in their arms, a la Paris Hilton. Sigh.

And finally, many of you know that I have a rough collie, named Niki, the same breed as Lassie. Imagine my surprise when I happened upon this banner in Ulaanbaatar:

New Paintings and Equipment Review

October 17, 2008 | foxstudio

I’m just finishing a second productive week in the studio after my return and, boy, does it feel good. As did getting out yesterday afternoon and planting some new roses and spring bulbs.

HEAVY LIES THE HEAD

I’ve got a number of pieces in progress, but wanted to share this one that was completed before I left. It was in the Wild Visions 2 show and I hadn’t had a chance to photograph it until a couple of days ago. I’ve never done a three-panel piece and I’m thrilled with the framing. Unfortunately, the framer has gone out of business and there isn’t anyone else around here who can do this kind of custom work. Drat.

The animals, bighorn sheep, were photographed at the Denver Zoo. It was a warm morning and the ram couldn’t keep his eyes open. His head kept, drooping, drooping, until it sank onto the back of the ewe, who never even blinked. The pose was irresistible, but I did check with Laney, a nationally known artist who specializes in bighorns, to ensure that this behavior could have happened in the wild.

Of course they needed a more interesting setting, so I found some nice rock formations that I had shot up on Logan Pass in Glacier National Park, where bighorn sheep are often seen. Laney suggested adding the bits of snow so that the presence of the ram and ewe together would be consistent with the season.

Besides the great pose, I wanted to try to capture the feeling of the environment bighorns live in and how casual they are about heights that would make a lot of people faint with vertigo.

CHEETAH HEAD STUDY

Some animal’s heads are more challenging than others. There are subtleties to the forms that, if they are missed, leave the viewer who knows better feeling that the painting was “close, but no banana”. Cheetahs seem to be one of the difficult ones. I think I’ve seen more badly drawn and painted heads of cheetahs than maybe any other animal, so I’ll hang it out there and offer for your perusal this new head study.

EQUIPMENT REVIEWS

All in all, everything worked as it was supposed to.

My husband was very happy with his LL Bean Katahdin 20F sleeping bag. He liked the larger size and the fact that it was rectangular. The Climashield fill kept him comfortable. The only down side was that it didn’t pack down as small as my down bag.

My Katahdin 20F down bag was great, as usual. One of the nice things about the rectangle is that it can double as a comforter. This is handy in a ger, which has regular beds with sheets and blankets. It can get cold at night though, but unzipping the bag and throwing it over the bed worked well. And if the mattress was too hard, as is sometimes the case, I used the bedding as a “pad” and just slept on top of it in the bag.

The LL Bean ripstop cotton pants were absolute winners. We wore ours day after day and they seemed to shed dirt and never felt icky. My husband likes them so much, he now wears them for his everyday pants.

Loved having the New Balance walking shoes for around town and camp as a change from the hiking boots. Hadn’t made space for that before. The LL Bean Cresta Hikers were, once again, comfortable and functional. David bought a pair of Keen hiking boots, which he really likes for their comfort and breathability. What we found, however, during the deluge at Ikh Nart, when we had to walk around 40 yards to the toilet, was that his boots wetted through pretty quickly. Now, he hadn’t waterproofed them, because we hadn’t anticipated such hard, out-of-season rain, but my boots kept my feet dry throughout. They are leather, which I probably wouldn’t buy now unless I could source them to humanely raised cattle, but they really performed.

The Smartwool socks rocked! The Thorlos tended to get sweaty. Next trip I’ll take more Smartwool for the field and a few Thorlo light hikers for around town.

Loved the Patagonia fleece for comfort, but will probably replace it to reduce bulk. It took up a lot of space in my duffle. The Travelsmith jacket was great. Too bad they don’t make it anymore. The only problem was that the patch pocket got caught on something and ripped loose.

I love, love, love my Icebreaker 100% merino wool thermals! The top and bottom together take up less space than one piece of the other brand. I didn’t need them very much, but found them very comfortable when I did wear them.

It’s interesting how things are going full-circle for some outdoor gear. All there used to be was cotton and wool. Then the new, improved synthetics came along and, overall, they were an improvement in weight, performance, etc. But I’m finding that the new cotton and wool products work as well, if not better, and are not made with petroleum by-products.

The MetroSafe 2000 purse was good, as usual. Very functional, practical and unobtrusive.

My old standby neck scarf and hat did the job, also as usual.

The luggage came through fine. It was nice to have the lower rigid-side compartment on the bottom of the big one for odd, ends, extras and art purchases. It’s a rolling Sportsman’s gear bag from LL Bean. The small one, which Bean doesn’t make anymore, holds the camera equipment, toiletries bag and the minimum needed to survive a day or two without the big bag.

ART THOUGHT FOR THE DAY

“There is a common foundation from which all the arts rise, and that is the need for self-expression on the part of the artist,-expression of his own personal experience, whether it be by words, as with literature; by sound, as with music; by pigment or with plastic shape, as with the graphic arts. But there is a further condition attendant upon this expression of which we do not always take account, namely, that the artist’s personal experience must be emphasized by strong feelings, by enthusiasm, by emotion, or the result is not art.”

Notes on the Art of Picture-Making by C.J. Holmes, Slade Professor of Fine Art, Oxford University, 1909

Mongolia Monday

October 13, 2008October 13, 2008 | foxstudio

I started some fun paintings from my new Mongolian reference last week and thought I’d share a couple of them in progress. I’m experimenting with a new way of starting, based on something I learned from John Seerey-Lester. Up till now I’ve begun by drawing directly with the brush, using line. It’s a default from being a “drawer” as a child. One of the major things I learned in art school was to see shape instead of, or in addition to, line.

Since I don’t use a projector, I draw directly from images on my monitor or a preliminary drawing. I sometimes get in trouble and spend a lot of time correcting. What to do?

Something must have been purcolating while I was away from the easel, because it suddenly occurred to me to do a light lay-in of the shapes with a big brush for size, proportion and location, wipe it out so that it is a ghost shape and then start the “real” drawing. It’s already made a difference.

So, here’s two in progress:

A Mongolian stallion 24″x36″

And a bactrian camel 20″x28″

Also, here’s one of the paintings that was accepted and will be available for purchase at the Society of Animal Artists show “Small Works, Big Impressions” at The Wildlife Experience near Denver, Colorado.

It’s called “Breakfast for Two” and is a takhi mare and foal that I saw at Hustai National Park.

Equipment reviews on Friday and more paintings!

An Interview and Hereford sketches

October 10, 2008October 14, 2008 | foxstudio

I recently received an email from an art student in Northern Ireland (wonders of the internet!), who is doing a paper about an artist whose work she likes for her “A Levels”. That artist would appear to be me. I liked her questions since they got me thinking some more about what I do, why and how. So I thought I would share it with you:

1. Why did you choose animal art?
As I think about it, it might be more appropriate to say that it chose me. I drew animals more than anything else as a child by far. When I was back in art school at age 35, I tended to think of using animals for my assignments. When I moved to “easel painting”, I started doing animals early on and when I learned about the field of wildlife art, that pretty much sealed the deal. I do enjoy other subjects, but it has always been my animals that have drawn the strongest response from people.

2. How would you gather information for your topic (ie do you study the body movements of animals, go to the zoo etc)
I do fieldwork trips every year to see animals in their own habitats and also visit zoos whenever possible. I have a large reference library that includes a number of books on animal anatomy. I sketch from live animals when I can and take a lot of photos. My digital image library has over 10,000 animal pictures alone, taken since 2004. Plus hundreds of prints from before I went digital.

3. Have you ever been influenced by a person or place?
Yes, I seem to be the kind of artist who is inspired more by what I see in the natural world, as opposed to a more purely internal vision. Taking a master class from John Seerey-Lester in 1997 was probably the greatest single reason I’ve become an animal artist because of his encouraging words about my paintings, which made me believe that I could succeed if I was willing to work hard.

The four places that I find most inspiring are Mongolia, Kenya, the Yellowstone/Wyoming/Montana area and my own home ground of northern California.

4. Is there a particular artist whose work has inspired you?
If I had to name one, it would be Bob Kuhn, a legendary illustrator who became one of the two or three top wildlife artists of the 20th century. I’m inspired by the quality of his draftsmanship, design/composition, his painterly technique, his knowledge of his subjects and his uncompromising willingness to do what it took to get reference he needed. He’s my role model for everything a wildlife/nature artist should be. He passed away last year.

5. What media do you prefer working in and why? Is there a medium you are not comfortable with?
I work in oil. The original impetus was having wanted to paint in oil since I was a child, but now it’s because it’s the medium that most lets me express my vision of a subject. I love everything about it except the fumes, so I pay attention to proper ventilation.

I’m probably least comfortable with something like pastels, for the very pedestrian reason that I don’t like having my hands messy while I work and I don’t want to wear gloves.

6. My favourite piece of your work is ‘Double check’, how did you come up with the idea and how did you gather photographs etc to help you?
Ah, I just delivered that painting to the buyer. It’s one of my favorites ,too. I hadn’t done a coyote for a long time and I have some great reference of them that I shot over a couple of trips to Yellowstone and the Grand Tetons. I was looking for an image that would work at a small size and had interesting light. I also look for an aspect that represents something authentic about the animal and what they are like, both as a species and as an individual. The painting used two pieces of reference, one of the coyote and one for the background. So I already had the reference for that one.

7. When did you realise your talent for art and why in your opinion is animal art so effective?
I can’t remember a time when I didn’t draw. I don’t know how much talent I have, but I’ve been willing to work hard for a long time. I’ve been told that my animals have “life” in their eyes and I agree, but that seems to happen without conscious volition on my part, so maybe that’s my “talent”.

Human affinity for animal images goes back to the Stone Age, as can be seen by cave paintings and pictographs. We have literally shared our lives with them for over 10,000 years (in the case of dogs). We share our world with them. Every culture has some relationship to animals, mostly positive, sometimes negative, but a connection nonetheless. We see ourselves reflected in them. We project ourselves and our emotions, ideas about good and bad, and our needs onto them. Images of animals and our liking of them are one facet of that long history.

8. Do you have any future plans for your art?
To continue to grow as an artist and get better. To always look for new ways to more accurately express my vision. To use my art to promote conservation and environmental issues, while making a decent living.

9. What do you think is unique about your art?
My vision and point of view and how I express that stylistically. Which really is, or should be, true for any other artist, no matter what their subject matter or medium.

10. Where do you paint and do you find the environment you work in important?
I have a 450 sq. ft. studio at my home. I have worked in a variety of environments, including a garage, and would have to say, that, yes, it’s important. I need an organized, properly lit space. I need the work space to not get in the way of doing the work.

11. When it comes to doing the fur on the animals, what do you find to be the fastest but most effective way for this?
I don’t personally think that speed, per se, is the goal. First comes the decision about what your vision is and then, what is the most technically appropriate way to accomplish that? Having said that, however, I have no interest in detail for it’s own sake. I would find painting every hair boring to do and usually find it boring to look at. What challenges me is seeing how much I can simplify and leave out and still communicate something like “fur”. So, I don’t literally think “fur” when I’m painting. I’m thinking shape, value, color, color temperature, visual texture, etc., which is a more abstract level. If all those come together then that area will say “fur” even though it’s really just blobs or spots or strokes of paint.

12. Is the background as important as the animal itself?
I would answer that somewhat indirectly by saying that the idea of the painting is the most important and every element present must support that idea, whether it’s the animal or the background. It all has to come together as a coherent whole.

13. What scale would your art normally be and how long would it take you to complete?
The smallest paintings I do are 6″x8″ and, so far, the largest is around 36″x48″, plus a variety of sizes in between. I decide on the subject first and then choose the size and proportion that will best suit the idea I have.

I can finish a small painting to be used as a study in a couple of hours. “How long does it take?” is a question artists get all the time and the answer is usually some variation on “It depends.” It depends on how complex the composition is, how much preliminary work was necessary, how many changes were required along the way, whether one got stuck and had to let the thing sit for a week, a month, a year.

14. Were you hoping to strike any emotions from your audience? if so what?
I think that part of what defines something as “art” is whether or not it elicits an emotional response in the viewer. So, yes, I guess I always hope for that. But I’m really more concerned with recording my emotional response to my subject than trying to project or control that of the viewer.

15. Which is you favourite piece of your own work and why?
Whatever the latest one is that came out the way I’d envisioned it. Currently it’s the Cape Buffalo Head Study. It may be the best painting I’ve done so far and I did it as demo over the course of about six hours at an art festival with constant interruptions. Interesting, in view of my earlier comment about my preferred working environment and that I hadn’t envisioned anything in particular about it except to have something going to draw people into my booth.

16. Is there anything that motivates you whilst painting?
The thought that somewhere, sometime, someone viewing my work might be inspired to become actively involved in working to save our planet. It needs all the help it can get.

May all our interviews be so merry and bright.

NEW COMMISSION

My most faithful collector and I have had a list of paintings that she would like me to do. Since she grew up on a cattle ranch in Southern California, she wants a painting of an oak tree with polled Hereford cattle, plus a few other elements. So this is where my illustration training kicks in. I find this kind of thing fun if, once the content is decided on, I am left to solve the problem and paint it as I see fit. I have now started the sketches. I haven’t drawn cattle much, so that was the first step. Here’s a few that are promising-

Hereford cow and calf

Young Herefords

ART QUOTE OF THE DAY

“You do not have to go very far to find suitable subjects. The cat lounging on your sofa, the horse down the road, yours or your neighbor’s dog; all are proper subjects and all will give knowledge which can later be broadened by trips to the nearest zoo or museum. My old friend and counselor, Paul Bransom, was the man who first urged me to go to the zoo, and to draw, draw, draw, Even the best reference sources don not take the place of real knowledge of animal structure. That can only be gained by putting your time in with the animals.”

Bob Kuhn

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Hey Ho, It’s Back to Work I Go

October 3, 2008October 3, 2008 | foxstudio

I don’t know about other artists, but after a long trip it takes a little internal shove for me to get going again. I need to shake the rust off, get in the groove, just….start…..working.

I also spent some time thinking about my work procedures. I love to paint and tend to dive in, flail around and pull it together, or not. I’ve got some ideas about what I want my work to look like and have come to conclusion that I need to spend more time on the preliminaries, especially for larger works. That means drawing, drawing, drawing. Plus value and color studies as needed.

Winter is when I try to push my work to the next level and experiment and, since the first winter storm of the year arrived yesterday, I guess it’s time.

This week I’ve done a pile of charcoal drawings of the Mongolian horses, which I got fantastic reference photos of. I’ve always struggled for some reason with poses where the horses have their heads down, grazing, so I decided to get a handle on that once and for all. What worked was doing the body first and then adding the head. I’d been doing it the other way around, to my eternal frustration.

Here’s a selection of some I feel came out ok. They are done with a 6B extra soft General Charcoal pencil on 2 ply Strathmore Vellum Bristol and are unretouched. I’m always looking for what will add to the illusion of three dimensional structure and a body in space and what will help me get a handle on the anatomy.

These took 15-20 minutes each.

I also want to get some action into my work, so here’s a couple of running horses.

No idea if any of these will find their way into paintings, but I enjoyed doing them.

ART THOUGHT FOR THE DAY

“Artistic growth is, more than anything else, a refining of the sense of truthfulness. The stupid believe that to be truthful is easy: only the great artist knows how difficult it is.”

Willa Cather

Postscript-Beijing

September 26, 2008 | foxstudio

Back home safe, sound and pretty functional. I use a jet lag program from a book I found years ago at our local travel store, “Overcoming Jet Lag”. I think it’s still available on Amazon. It consists of a variety of things to do to rapidly shift one’s body clock to destination time. For me, it makes all the difference in the world on a nine time zone shift like the trip I just took. Here’s a last look, for now, of Ulaanbaatar-

Ulaanbaatar skyline along Peace Ave., with new office building under contruction

To wrap up the trip- got to the airport and gate area at the Chinggis Khan International Airport in UB around 10 am for a noon departure to Beijing, no problem. Boarded the Air China plane, no problem. Problem. Delay due to bad weather. Unclear what or where. Sat on ground. They served lunch. After two hours, we were deplaned and told that the flight would go at 4pm. At 4pm they announced a 6pm departure. Watched a sumo match on the tv (the world champ is a Mongolian, would you believe?). Read and got something to eat.

At 6pm, they started an announcement in Mongolian. All the Mongolians made happy noises and jumped to their feet. The rest of us joined them. Flight went, at last.

I had thought that I would have an afternoon and evening to poke around Beijing, so had booked into what the English call “character accommodation”- a converted old courtyard house, the Beijing Sihe Hotel, in a hutong neighborhood near the city center. Instead I arrived sweaty and exhausted around 9:30 pm. So I got to be there less than 12 hours, but what a wonderful place! I found them through http://www.tripadvisor.com, my go-to site for hotel/trip recommendations. They rate higher than a lot of the big, luxury hotels and the staff was great! Check this out-

Door to my room at the Beijing Sihe Hotel

Back to the Beijing Capital Airport the next morning, through the worst smog I have ever seen. So much for those blue skies we all saw during the Olympics. On the other hand, the new airport terminals for international flights are utterly mindblowing, especially compared to what one had to deal with before. Whatever else, as far as I’m concerned, if the Olympics had done nothing other than prompt construction of the new terminals, that alone justifies awarding the games to China (but don’t get me started on Tibet).

Flight from Beijing to San Francisco and from there to home were delightfully uneventful. I’ve spent the last few days catching up, unpacking, cataloging the 2300+ images I shot, etc. Next week, it’s back to the easel!

Last Day in Mongolia (for now)….and show news!

September 19, 2008September 19, 2008 | foxstudio

Arrived in Ulaanbaatar yesterday afternoon. Managed to get together with a couple of the Mongolian scientists that I met on the Earthwatch project in 2005 and got an update about what is happening at Ikh Nartiin Chuluu.

And….had a hoped-for email from my husband informing me that I have had two paintings accepted in the Society of Animal Artists show “Small Works, Big Impressions”! One is of two young marmots and the other is of a takhi mare and foal. The show will be at The Wildlife Experience in Parker, Colorado, which is just south of Denver. More after I get home.

But first, the day before my husband, David, left for home, we walked up to Gandan Monastery and around the downtown. There are more monastery photos on my website but the last time the main temple building was closed. This time we were able to go in and see the gigantic statue of Buddha.

Buddha statue which equals the height of the building — Buddha statue, which is almost as tall as the building

David flew home on the afternoon of the 14th after I had left for Ikh Nart. Colleen, the other artist who accompanied us for part of the trip, and I spent the first day trekking around the reserve. We went out with the driver the second and third mornings. The afternoon of Day Two, two busloads of 26 Swedish tourists, who had come from Moscow via the Trans-Siberian Railway, arrived for a couple of nights, so things were very lively. Here’s a selection of images from Ikh Nart, trip 2-

One of the conservation challenges the reserve faces is illegal mining for gems like amethyst. The addition of more rangers has mostly stopped this kind of thing, but the damage remains and will have to be repaired as funding allows. That’s Colleen in the trench for scale.

On the other hand, this is the kind of thing, besides the wildlife, that makes Ikh Nart special, the amazing rock formations.

Saw very few argali. They were clearly elsewhere, as were the herder families. The rains didn’t come when they were supposed to, so everybody left. Then it rained like crazy, as described in a previous post, and things greened up. It looked like some families were coming back as we left.

I thought that that’s what seeing these horse meant, but learned last night that the herders take their sheep, goats and camels, but leave the horses on their own. Looks like they’re doing ok to me.

The reserve faces a number of threats, including overgrazing and climate change, so the challenges exist on a micro and macro level. At one time the grass came up to the bellies of the cows. I hardly saw any grass. It is being replaced by “forbs”, perennial plants, some of which is edible by livestock and some not. I have no idea what the possibility is of reversing this, if it can be done at all. Climate change may trump everyone’s efforts. So, the work then will be to help the country people adjust to the new reality. I don’t know what the prognosis is for the wildlife. The argali seem to be holding their own, so far, which is good.

One of the things I love about Ikn Nart are the sunrises and sunsets on the rocks. So, to conclude my Mongolian trip blog, here’s a couple of final images from one of my favorite places in the world.

Thanks to all of you who followed along and left comments. I had no idea whether this would work or not and I’m glad it did. It’s pretty amazing when you think about it. Not that long ago, just making an international phone call from Mongolia would have been a challenge. Now Mongolia is as connected to the rest of the world as the USA. Most Mongolians can’t afford their own computers yet, but there are lots of internet cafes to provide access

I fly to Beijing tomorrow, stay overnight and then home. Hope to be back at the easel after catching up on mail, petting the cats, kissing my sweetie, etc. Oh, and getting at least the basic cataloging done on the over 2300 images I’ve shot. I can hardly wait to get painting again!

Bayartai!

Amazing Time at Arburd Sands, Mongolia

September 12, 2008March 23, 2010 | foxstudio

Back at the Bayangol Hotel this afternoon. I’m sorry we didn’t get to western Mongolia, but our time at Arburd Sands was fantastic! The ger camp is owned by a local herder family and is located amongst a 20 km long stretch of sand dunes, which form a sort of northern border to the Gobi. The head of the family, Choidog, is one of the most famous and honored horse trainers in the country. His 40-something son, Batbadrach, won the national Nadaam horse race two years running when he was 8 and 9 years old. They currently have around 300 horses.

The ger camp is pretty laid back. Activity options include trekking around the dunes and surrounding countryside, horse riding and camel rides. David and I opted for a one hour horse ride the first day (and a camel ride the second). I asked about the Mongolian saddles and it turned out that they had a modified one for me to use. It didn’t have the big silver studs on the sides of the seat, but did have a thin felt pad. Otherwise it was basically the same saddle the Mongols have used since the time of Chinggis Khan. And it wasn’t uncomfortable at all for just a hour, even given that I have hardly ever ridden a horse. So, here’s David and I, ready to ride. It was great!

My horse, who has no name except maybe “Brown Horse”, and I did quite well. He was willing to trot and was easy to “steer”. I had sat on horses while they moved a few times in the past. This was the first time I ever felt that I was really riding. I was able to stand in the saddle a few times to see what it felt like since the Mongolians ride that way from childhood. They must have thighs of steel. The stirrups are tied together under the horse’s belly, which does make standing quite a bit easier than it would be otherwise.

The herd of bactrian camels, which belong to other local families and our camp hosts Batbadrach and his wife Desmaa, numbers around 30. Some are trained for riding. Others pull carts loaded with camping gear. All but one of the riding camels were out on a trek with other visitors, but we got to take turns riding him. It was just as much fun as in 2006. Photo by David.

The herd tended to be around camp in the morning and late afternoon, so I got lots of pictures of them in great light. Here’s one:

Yesterday morning, we were asked if we would like to go to an annual family event, the branding of the year’s foals. Of course we said yes, but not knowing what to expect. What we got was one of the reasons why travel is so worth the time, money and intermittent hassle- being present at something that was not a set-up for tourists, but getting to share part of a Mongolian country family’s way of life that has continued without interruption for over a thousand years. I was able to record it all and have some of the best photos I have ever taken. Here’s a few highlights:

Choidog, Sodnam, Lhamsuren, Surenjav — Choidog, Lhamsuren, Sodnam, Surenjav

I had asked to take the women’s picture at the after-branding party and Choidog got up from his spot on the floor and joined them, putting on his hat, which was presented to him by the president of Mongolia and has a silver horse on the top. I looked through the viewfinder and it was a total National Geographic moment. Even now, looking at it on this post, I can hardly believe that I was so fortunate to have taken this picture. I’ll be sending copies to all of them. Sodnam is Choidog’s sister, Lhamsuren is Batbadrach’s mother and Surenjav is the mother of one of Batbadrach’s friends and also his brother’s mother-in-law. It’s a big family. Desmaa couldn’t tell us how many grandchildren Choidog has.

To conclude- at the ger camp for the first night was a Swedish travel writer named Steven. We all sat together for dinner and had a great time exchanging stories. He had come to Mongolia by way of the Trans-Siberian Railway. The next day he was asked if he was going to come back to Mongolia. He said yes in a very strong, definite way. I asked how long he had been here. He replied “Four days”. Yup, he’s got it bad, just like me.

Back from Hustai National Park!

September 8, 2008October 10, 2008 | foxstudio

So we were sitting in the lobby of the Bayangol and who should walk in but Baaska, who was my guide for the Gobi and Ikh Nart legs of my trip in 2006! One of the nicest surprises I could have had. And, and to top it off, the driver was Omroo, who was my driver in the Gobi. Perfect. Off we went.

It turns out that the paving has been torn up for replacement on the regular road and it’s a dusty mess, so we went literally across country on the dirt tracks, so I got to see a part of the area that I hadn’t before.

We arrived late afternoon, got settled into our ger and had a nice dinner in the dining hall. The other artist who was joining us for the rest of the trip came in and we all met for the first time. She had come over earlier to participate in the eco-volunteer program that Hustai runs. The volunteers are trained and then help with the on-going research of the takhi reintroduction. There are now well over 200 horses.

We spent the next three days driving through the park in the morning and afternoon viewing the horses and I got lots of great reference photos. There are now 24 harems in the park, up from 15 the last time I was there. The stallion with the biggest harem has been named Temujin, which was Chinggis Khan’s birth name. We got to see him and his “girls” late one afternoon. Here’s a closeup of a takhi we saw, but you’ll have to wait for the painting to see Temujin.

We were also able to tour around to see a Buddhist ruin, a Turkic grave site and a deer stone.

Bronze Age deer stone; deer help souls go to the sky after death

It turned out that there was a science conference at the same time we were there and loads of other visitors, so the park was really busy.

We came back yesterday afternoon across country again, but by a different route and had a lovely picnic lunch by a stream lined with willows. There were also some Mongolian horses nearby and I was able to get some excellent photos of them that I’m really looking forward to painting.

We’re now in UB for the day, leaving for Arburd Sands ger camp tomorrow. Internet availability is turning out to be “interesting”, so I may not be back on until the 12th. But it’s being quite a trip and these posts are only hitting the highlights.

Susan Fox, American Artist

Art, Adventures in Mongolia, Art, Life in Redwood Country, Art…

Mongolia Monday- Cats and Dogs

New Paintings and Equipment Review

Mongolia Monday

An Interview and Hereford sketches

Hey Ho, It’s Back to Work I Go

Postscript-Beijing

Last Day in Mongolia (for now)….and show news!

Amazing Time at Arburd Sands, Mongolia

Back from Hustai National Park!

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