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It was my intention to keep Rinchen' s gaze still rather reproachful. Not because of the individual injustice done to him in his own life. He never was a men of revenge or resentment. But because, however, of all the remnants from previous era - e.g.  incapability, half-education or dogmatism - which halt his beloved motherland from becoming a self-confident free country that he used to dream about. He was always irritated by laziness or narrow-mindedness, could not stand mindlessness. His slashing criticism and irony to that end was not of a kind that ambitious fools could ever swallow...

Even the pedestal plays its role in this piece of symbolism and appeal for historical justice. White granit is a variation on Buddhistic symbol of purity above the Lotus blossom. Brown-red quarzit reminds of blood spilled under the communist regimes. The black frame of Mongolian marble resembles the bars of totality or discrimination anywhere in the world. And Rinchen' s signature in classical Mongolian script of the 13th century is a reminder of his determined defense of this beautiful script, which he understood being a precious and in the 1930-ies highly vulnerable bond of national identity, cultural consciousness and wisdom

The official opening



Rinchen's graceful and respectful occurrence in the streets of Ulaanbaatar used to make those who were not full of complexes to greet him as  their own grandfather or a teacher. That is probably why his monument in front of the National Library have immediately after its opening became a natural place of rendezvous, lunch breaks and flower tributes. It filled this corner of our city with pleasant friendly and young atmosphere - like a bridge between books and people' s minds. If nothing else, this itself was the worthy result of our endeavor.      Back to monuments <<