Бидний тухай
Багш ажилтан
Энэхүү илтгэлд Сургуулийн өмнөх болон бага ерөнхий боловсролын сургалтын хөтөлбөрийг шинэчлэн боловсруулах ажлын хүрээнд 2025-2026 оны оны хичээлийн жилд Бага боловсролын монгол хэлний шинэчилсэн сургалтын хөтөлбөрийг боловсруулж, туршин тохирцыг үнэлэх судалгааны үр дүнг тусгасан болно. Судалгаанд Дархан хотын нэг, Дархан-Уул аймгийн Орхон сумын нэг, Улаанбаатар хотын нэг сургуулийн туршилтад сонгогдсон I-V ангийн багш, сурагч, эцэг эхийг хамруулж, ярилцлага болон хичээл ажиглалтын аргаар мэдээлэл цуглуулсан. Судалгаагаар шинэчилсэн сургалтын хөтөлбөрийг хэрэгжүүлэх гарын авлага, дасгал ажлын дэвтэр нь сурагчдын оролцоог нэмэгдүүлж, бие даан ажиллах, өөрийгөө илэрхийлэх чадварт эерэг нөлөө үзүүлж буйг харуулсан ч, зарим агуулга хүндэдсэн, зарим эх болон даалгаврын тавилыг сайжруулах шаардлагатайг илрүүлсэн. Мөн багш нарын хичээл ажиглалтаас багш нарт монгол хэлний сургалтыг зохион байгуулах онол арга зүйн дэмжлэг шаардлагатай байгааг илрүүлсэн болно. Судалгааны үр дүнд сургалтын хөтөлбөрийн агуулга, хэрэглэгдэхүүнийг сайжруулан тодорхой санал, чиглэлийг тодорхойлсон бөгөөд, багш бэлтгэх, багшийн тасралтгүй хөгжлийг дэмжихэд шаардлагатай саналыг тусгаснаараа практик ач холбогдолтой юм.
Шаравын Сүрэнжавын “Багш” найраглал нь Монголын орчин үеийн түүхэн дэх багшийн дүрийг уран сайхны аргаар боловсруулж, онч, яруу илэрхийлснээрээ багшийн сэдвээр бичигдсэн зохиолуудаас ялгарч, уншигчдын зүрх сэтгэлд хоногшсон бүтээл юм. Найраглалд багшийн дүр, нийгэмд гүйцэтгэх үүрэг, шавь нартайгаа харилцах харилцаа зэрэг нь уянгын “би” баатар буюу өгүүлэгчийн дурсамж, сэтгэл хөдлөлөөр дамжин дүрслэгддэг. Зохиолын эхлэлд багшийн дүрийг “хүүхэд шуугьсан их өргөөний эзэн”, “хүсэл долгилсон ирээдүйн замын эх” хэмээн тодорхойлж, түүний нийгэмд эзлэх байр суурийг онцолсон. Өрнөл хэсэгт ахмад болон шинэ үеийн багш нарын дүрийг харьцуулан, тэдний үүрэг, оролцоо, эрдэм мэдлэгийн цар хүрээ, нийгмийн хөгжилд оруулсан хувь нэмэр зэргийг тодорхойлсон. Харин оргил хэсэгт багшийн дүрийг “Гэрэлт эрдмийн тэнгэр”, “Гэгээн оюуны тэнгис” хэмээн бэлгэдэн дүрсэлж, үйл хэрэг, улс орондоо байгуулсан алдар гавьяаг туйлчлан алдаршуулсан байдаг. Төгсгөлд багшийн дүрийг “Ус мөрнийг далайд үдээд байрандаа үлддэг уулс” хэмээн дүрсэлж, түүний хичээл зүтгэл, өглөгч чанарыг магтан дуулсан. Энэхүү найраглал нь багшийн дүрийг уран сайхны аргаар илэрхийлж, ахмад болон шинэ үеийн багш нарын нийтлэг дүрийг гаргаад зогсохгүй, тэдний нийгэмд гүйцэтгэсэн үүрэг, хөгжил дэвшилд оруулсан хувь нэмэр, шавь нартайгаа харилцах харилцаа, нийт олны зүгээс хүлээсэн хайр хүндэтгэл зэргийг олон талаас нь харуулсан онцлох бүтээл юм.
If the soul of culture is symbolism (Dulam, 2013, 23), then the soul of the state is state symbolism. It is not possible to consider state symbolism, here referring to the system of state symbols and their meanings, apart from the history of the state. The recorded historical traditions that had counted the history of the Mongolian state as beginning when Modun, the eldest son of Tumen, the first Shanyu of the Hunnu, assassinated his father and became Shanyu in 209 BC have recently changed, and it is now considered that even before then, “the first nations of the Hunnu, Dunhu, and Yuezhi, with a hierarchical system having a centralized political structure in which the position of Shanyu conferred supreme political authority with established principles for its inheritance and a stratified social structure having several ranks, were established by the 5th–4th centuries BCE” (Delgerjargal & Batsaikhan, 2017, 84) on Mongolian territory. In other words, the history of the Mongolian state had been recorded beginning from the time that Modun became Shanyu, when, through his comprehensive political, social, and economic reforms based upon the rich heritage of rulership of these states, the Hunnu nation rose and attained imperial power by subjecting its neighboring states and principalities, and through the advances of this history during the many centuries since, the history of state symbolism, being intimately connected with it, could advance in tandem. The reason for saying this may be clearly seen from our historical sources and findings that the Shanyus possessed a jade seal, used flags and banners, stools and parasols, etc., and had ceremonial symbols for worshipping the sun and moon, and the origin of the state emblem must be placed no later than the time of the Hunnu Empire. Thus, the aforementioned states before the Hunnu Empire must have had a tradition of state symbolism in some form. Evidence showing this has been found in the form of petroglyphs dating from throughout the Bronze Age, even before the establishment of nations on Mongolian territory, in portrayals of bareback horsemen with truncheons hanging from their belts holding items like banners in one hand and drums in the other that were discovered at the mouth of the Khar Salaa River, located in the eastern body of the Mongolian Altai Mountains, and a picture from the same time of a horseman holding a banner in one hand at Bichigt Cliff in Bayanlig Soum, Bayankhongor Province. With respect to this tradition, Mongolian state symbolism, with its origins in such great antiquity, has come down to us today with alterations reflecting the special features of each of its eras. As one person’s life and the pages of one book are not enough to study this, we have aimed to clarify the issues of the traditions and modernization of state symbolism after the Mongols regained independence in 1911. Judging from the works of the scholars and researchers who have conducted essential studies of Mongolian state symbolism, it appears that they have for the most part each studied it in isolation, in only one period, or in a non-theoretical manner. Not only are the symbols that they classify as state symbolism heterogeneous, but what they have identified as state symbolism is precious little. Thus, in this work we have set the goal of studying the tradition and modernization of Mongolian state symbolism since 1911 comprehensively from a diachronic point of view based on the legally established state symbols. In order to fulfill this goal, we have striven to realize the following aims: - to clarify the tradition and modernization of the state symbolism of the Bogd Khanate and determine its specific features, - to clarify the tradition and modernization of the state symbolism of the Mongolian People’s Republic and determine its specific features, - to clarify the tradition and modernization of the state symbolism of modern Mongolia and determine its specific features, and - to reach a comprehensive conclusion on the development of modern Mongolian state symbolism by comparing the specific features of each of these periods as revealed in their respective approaches to tradition and modernization and, finally, to suggest alternatives for certain unresolved and disputed issues. It is possible to determine the specifics of each period by comprehensively researching and clarifying the tradition and modernization of Mongolian state symbolism in the periods covered by this thesis from a diachronic point of view and reach a comprehensive conclusion by comparing them with each other. I hope that in doing so I will, along with providing a methodological basis for future detailed studies of matters connected with state symbolism, facilitate the resolution of certain unresolved and disputed issues. When the state symbolism of the Bogd Khanate was created, a dual state symbolism was adopted incorporating both Mongolian state symbolism originating from the era of the Hunnu Empire and state symbolism originating in ancient India. The state symbols of the Bogd Khanate may be classified into two types by legal status, official and unofficial. Where the official symbolism included the three symbols of the state emblem, state flag, and state seal enacted in the “Mongolian Legal Rescript Enacted by Decree,” the unofficial symbolism included symbols like the national anthem and the Seven Imperial Treasures that were used despite not being legally enacted. As for the specific features of the state symbolism of the Bogd Khanate, they consisted in raising the majesty and authority of the absolutist, theocratic khan, as shown by each symbol, as well as adopting ancient Indian state and religious symbolism and reflecting international norms, thereby asserting Mongolia’s status as an independent sovereign nation. Political ideology had a deep influence on the state symbolism of the Mongolian People’s Republic, and to that extent reflected and solidified the special features of that historical era. This can be clearly seen from the alterations in the official and unofficial state symbols and their content and forms. The fact that the political ideology of that time had a deep influence on the state symbolism of the Mongolian People’s Republic is clear from the form of the state emblem, which was changed on every occasion that the Constitution was revised and approved. To the extent that this same ideology affected it, primary symbolism with a direct meaning predominated in the state symbolism. Moreover, although the Mongolian state symbolism of the Bogd Khanate had an impact on the state symbolism of the first stages of the Mongolian People’s Republic, as time passed popular and socialist state symbolism took its place and a state symbolism arose reflecting the patterns of a society comprising the people, laborers (herders, workers, students), workers and cooperative members (herdsmen, farmers), and labor intelligentsia. The state symbolism of modern Mongolia, which has set as its goal constructing and developing a humane, civil-democratic society, clearly demonstrates its efforts to renew its traditions; take what is good and discard what is bad from the previous state symbols and incorporate all that it can of its national cultural heritage; and include pluralistic views. The way that the state symbolism of Mongolia differs from previous state symbolism is that currently a symbolism predominates having indirect, secondary meanings. Moreover, the fact that the use of the state symbols is being increasingly refined may be seen in the enactment of special, independent laws. An integral part of the state of Mongolia with its history of several hundred years is that the state symbolism and state history have a rich tradition passed down from antiquity. Throughout the long years and the travails of history beginning during the Hunnu Empire until today, the historical links remain unbroken and particular features of custom have been embodied in the state of each period, and yet the history of the last hundred-odd years has had a significant impact on the development of the Mongolian state symbolism that has been renewed and passed down to us, for in this period the Mongols have lived under three different regimes. To this extent alterations have been made to the Mongolian state symbolism. Summarizing this for each period, we may state the following conclusions: Because Mongolia, whose restoration was declared in 1911, was an absolutist, theocratic, imperial regime, in addition to Mongolian state traditions, the content of ancient Indian theocratic ideology had a deep influence on the state symbolism. As the Mongolian People’s Republic, declared in 1924, had a khan with limited authority in its earliest stages but developed into a republican regime with a one-party system, in its earliest stages it felt the force of the traditions of the previous state symbolisms, but from the 1930s it began to feel the strong influence of Communist ideology, and after 1940 the content of this ideology by and large predominated in the state symbolism. As Mongolia selected a multi-party democratic republican regime when it was reorganized in 1992, the state is restoring and enriching the nation’s tradition of state symbolism and is developing a distinctive state symbolism with pluralistic content on the basis of the heritage of previous state symbolisms. Even though the content of state symbolism differed under the influence of the form and ideology of the regime, its forms have been the same (the state emblem, state seal, and state flag) and examples of some were taken from the forms of international state symbolism (the state banner, national anthem, and Seven Imperial Treasures) and assimilated. Furthermore, the fact that the use of state symbolism is being refined and elaborated may be seen from the extent of the articles and provisions under which the state symbolism was enacted in law during the Bogd Khanate, while the regulations were expanded in the time of the MPR and laws specially directed to this end have been enacted in modern Mongolia. Moreover, it is clear that the meaning of the state symbolism directly depends on the form of the regime and the content of its ideology.
Монгол Улсын Төрийн шагналт яруу найрагч Нямбуугийн Нямдорж 1990-ээд оны эхээр "Монгол" шүлгийн түүврийг хэвлэлд бэлтгэн үлдээснийг Монгол Улсын Соёлын гавьяат зүтгэлтэн, орчуулагч Готовын Аким хадгалж байгаад 2024 онд Нямбуугийн Нямдорж, “Монгол” (Хэвлэгдээгүй шүлгүүд) нэрээр хэвлүүлж уншигч олонд хүргэсэн юм. Энэхүү шүлгийн түүвэрт 40 бүтээл орсны 12 нь өөрт (өөрийн тухай) болоод өрөөл бусдад зориулсан шүлэг байгааг туурвил зүйн үүднээс задлан шинжилсэн болно.
Богд Хаант Монгол Монгол Улсын төрийн бэлгэдлийг бүтээхдээ Хүннү гүрний үеэс эх үүсгэлтэй монгол төрийн бэлгэдлийн уламжлал хийгээд эртний Энэтхэгээс үүдэл гаралтай хэмээдэг төрийн хос ёсны бэлгэдлийн уламжлалыг эвсүүлэн найрсуулж хэрэглэжээ. Хуульд тусгагдсан байдлаар нь Монгол Улсын төрийн бэлгэдлийг дотор нь албан ёсны болон албан бус гэж хоёр ангилж болохоор байна. Албан ёсны бэлгэдэлд “Зарлигаар тогтоосон Монгол Улсын хууль зүйлийн бичиг”-т хуульчилж өгсөн төрийн сүлд, төрийн далбаа, төрийн тамга гэсэн гурван бэлгэ тэмдэг орж буй бол албан бус бэлгэдэлд хэдий хуульчлан батлаагүй ч хэрэглэж байсан төрийн дуулал, хаан төрийн долоон эрдэнэ зэрэг бэлгэ тэмдэг орно. Монгол Улсын төрийн бэлгэдлийн онцлог бол шашин төрийг хослон баригч хэмжээгүй эрхт хааны эрх сүрийг өргөж, түүнээ бэлгэ тэмдэг бүрээр харуулахын зэрэгцээ үүндээ монгол төрийн уламжлал хийгээд эртний Энэтхэгийн төр, шашны бэлгэдлийг эвсүүлэн найрсуулж олон улсын жишгийг харгалзан тусгаж, ингэснээрээ тусгаар тогтносон, бүрэн эрхт улсыг байдлыг илтгэн харуулж байсанд оршино.
In this article, the meanings of the two words "flag" and "banner" are clarified, and the concepts expressed by the above terms and the scope of their use are analyzed and compared in terms of the symbols used in the history of the Mongolian state.
The most ancient symbol found in Mongolia associated with a flag is a petroglyph found in the summit regions of the Mongolian Altai Mountains, and after that has been found a silk flag of the Hunnu Era from the grave of a Hunnu noble at Noyon Mountain. Moreover, there is a notice in the historical sources that the Hunnu Shanyu Jizhu had a five- color flag. After this, in the 13 th –14 th centuries the Mongols used a triangular blue pennant with 44 streamers representing the 44 Khukh Mongols, in the middle of which was depicted a diving white falcon. Thus, when the Mongolian national flag was created in 1911, as particular significance was given to expressing the independence of their nation along with its traditions, extremely detailed instructions were given concerning its form, size, color, emblem, and inscription, taking into account international models. Thus, a national flag was created in the form of a vertical rectangle with a height three times its width whose central field was yellow, and opposite the hoist were three red streamers with “Om” on the top streamer, “Aa” on the middle streamer, and “Hum” on the bottom streamer in Mani script; on the other three edges of the flag was a red border, and on the field in the center of the flag, on which was written a special blessing sutra praying for the success of the nation and people, were a Soyombo emblem having an open lotus blossom, the symbol of purity, and the characters for “E” and “Vam.” Moreover, besides the national flag they created military banners and issued flags suited to each unit, established their nomenclature, and legally codified the items and characters to be located on them (Наиболее ранними изображениями флага, найденными на территории Монголии, является наскальный рисунок, обнаруженный в районе вершины Монгольского Алтая и шелковый флаг, относящийся хуннскому периоду, найденный в погребении хуннской аристократии, расположенном на горе Ноён уул. Кроме того, есть данные источника о существовании пяти цветного флага у хуннского Чжичжи шаньюя. Впоследствии монголы в XIII-XIV веках стали использовать треугольный синий флаг «дарцаг» с 44 язычками, олицетворяющими 44 синих монгольских племени, в центре которого изображалась монгольская святыня - ныряющий белый сокол. При создании государственного флага Монголии в 1911 году во внимание были приняты образцы многих стран, в целях отображения независимости государства вкупе с собственными традициями, были тщательно разработаны рекомендации по форме, размерам, цвету, гербу, надписям. Таким образом, государственный флаг имеет пропорции 3:1, удлиненной прямоугольной формы, основное полотнище желтого цвета, с тремя красными язычками на стороне напротив черенка, на верхнем язычке начертан слог мантры «Ум», на среднем - «Аа», на нижнем – «Хум», остальные три стороны были окаймлены красным кантом размером в половину ам, в центре флага – на тексте особой молитвы на успешный исход государственных и людских деяний был расположен символ святости, знак «Соёмбо» на обрамленном лотосе со слогами «Э» и «Вам». Так, кроме государственного флага, был создан военный флаг, каждое военное подразделение получило свой флаг, который имел свое наименование, законом были установлены слова и символы, расположенные на нем.)
Хаан төрийн долоон эрдэнэ буюу хүрд, чандмань, хатан, түшмэл, заан, морь, жанжин эрдэнэсийн утга бэлгэдэл
МУИС болон Йель Их Сургуулийн жишээн дээр
