Depiction：
In the composition of this work, I made the golden-domed tent the focal point of the painting to support the overall momentum of the painting. As a rally to pledge resolution before going to war, thousands of troops, siege gears, drums, banners, weapons and armors were naturally the elements making up the vibe. The original plan was to paint on canvas in ten meters long; however, after the composition crafted and refined repeatedly, it turned that the golden-domed tent carried by twenty horses, once fully-unfolded, would occupy almost half of the painting, making a top-heavy composition. Although the visual tension from the golden-domed tent would be intensive, yet overly diminishing the presence of the surrounding figures, which was not conducive to the expression of a grand scene. Therefore, I extended the painting by two meters to the right, making room for some key characters to be more fully displayed, rendering a momentum more complete and fuller from the painting.
Regarding the restoration of historical elements, I have always believed in a creative approach that is derived from yet transcends reality. Of course, whether in film, television, or literary arts, it’s impossible to truly restore the original appearance of history, especially given the limited availability of Mongolian historical materials. Artistic creation is an idealized process of expression. To achieve the intended vision, it is necessary to exercise the innovative and divergent thinking. For each character in the picture, I strive to adhere to historical authenticity and ethnic characteristics, but it is also essential to reflect artistic appeals, making proactivity very important. For example, I changed the legendary Mongolian wolf pack with ferocious Tibetan mastiffs, and highlighted the sharpness of the horns on the Mongolian cattle carrying the golden-domed tent. Only in this way can it fit in the overall atmosphere of the picture.
Mongolians revere eagles, which are their spiritual totem. Many eagles depicted in the picture to better highlight the characteristics of the grasslands and the vibe of war. The “Sulde” is a symbol of Mongolian spiritual power, meaning "spear" in Mongolian, the emblem of the god of war. Typically, it comes in black and white, known as "Khara Sulde" and "Tsagaan Sulde," meaning "black" and "white," respectively. “Black” symbolizes wars and strength, while “white” symbolizes “peace and authority.”
During my travels across Mongolia, I found that the reverence for the Sulde is almost ubiquitous, underscoring its significance. In a twelve-meter painting, the Sulde, as a spiritual symbol of the nomadic people, is naturally indispensable.
Due to the large size of the painting and the complex composition of characters, I blurred the background elements to recreate the grand scene with thousands of troops and horses pledging before going on expedition. This approach helps to better highlight the main theme.
In the design of the color scheme, to highlight clashes and conflicts and enhance the solemn atmosphere, I used simple colors, striving for rendering a heavy and steady hue. A grassland always associates with “lush green”; however, to enhance the overall coherence of the painting, I basically avoided the green and applied a series of deep and somber grays instead, aiming to convey the oppressive and stirring feelings before going to war.
