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1 Introduction

Through their long history of nomadic life and production, the Mongolian people have created a rich and unique tradition of decorative art, within which the traditional pattern “Heː Ugɑlʤ” holds a significant position due to its distinctive visual characteristics and profound cultural significance. “Heː Ugɑlʤ” is a transliteration of the Mongolian term, literally referring to the coiled horns of a male argali sheep (Wu & Hai, 2011). During their long history of nomadic life, the ancestors of the Mongolian people keenly observed the spiraling form of the argali’s horns, distilled this into the basic structure of a decorative motif, and imbued it with auspicious meanings such as good fortune, fulfillment, and perpetual vitality. This motif is widely found on various decorative media, including carved utensils, embroidered garments, and painted architecture, and has become one of the most prominent motifs in the traditional Mongolian pattern system. However, current academic research on “Heː Ugɑlʤ” has largely focused on its morphological classification and etymological analysis of its name (Amuer, 2005; Gu, 2008; Gao, 2017), while systematic and in-depth analysis of the intrinsic connection between its formal patterns and decorative functions (He & Wu, 2013) — as well as the cultural cognitive logic underlying the motif — remains lacking.

Building on this, this paper attempts to conduct a systematic examination of the traditional Mongolian motif “Heː Ugɑlʤ” from the dual perspectives of formal analysis and functional interpretation. The paper first traces the decorative applications of this motif on major media such as utensils, clothing, and architecture, and then focuses on the visual compositional patterns of the motif. It analyzes how its formal characteristics — examined through three dimensions: continuous, equidistant linear composition; outward-to-inward curling forms; and layered organization through interlacing and overlapping — correspond to decorative functions such as band-like extension, spatial filling, and visual enrichment. Building on this foundation, the paper further explores the spatio-temporal perceptions and natural concepts reflected in this formal system, thereby revealing the path through which “Heː Ugɑlʤ” evolves from a material ornament to a cultural symbol. “Heː Ugɑlʤ” is not only a visual expression of the aesthetic tastes of nomadic peoples but also the crystallization of their concepts regarding how they observe the world, understand nature, and organize their lived experiences. By examining history through patterns and deriving insights from imagery, an in-depth study of this traditional motif not only aids in understanding the internal logic of Mongolian decorative art but also provides a valuable theoretical framework for contemporary ethnic-style design and the living transmission of cultural heritage.

2 Decorative Expressions of Heː Ugɑlʤ

2.1 Decorations on Household Utensils Tailored to Their Shapes

The Mongolian people comprehensively consider the relationship between decorative patterns and the forms of household utensils, giving full consideration to the compatibility of their shapes, structures, and the practical needs of nomadic life. This ensures that the patterns and utensils not only blend harmoniously in form but also demonstrate excellent adaptability in practical use. Throughout the long history of the Mongolian people’s nomadic life, Heː Ugɑlʤ decorations on household utensils have primarily been designed to complement their external forms. The overall decorative appearance conveys a sense of beauty, elegance, exquisite craftsmanship, and profound grandeur. Utensils such as Mongolian knives, bowls, plates, milk pails, boxes, and stoves all feature rich Heː Ugɑlʤ decorations. The materials used for Heː Ugɑlʤ decorations on household utensils are closely related to their physical properties. Wood and animal hides are resistant to damage, while gold, silver, and copper are sturdy and highly malleable, making them easy to hammer into various patterns for artisanal items. Additionally, the raised and recessed patterns enhance the slip resistance and stability of dining utensils. Furthermore, the natural colors of some materials determine the overall tonal effect of the utensils; left unadorned, they possess a strong, rustic ethnic character.

“Shaping the vessel to fit the pattern” refers to the process by which the form of the vessel changes in response to variations in the decorative pattern. The decorative pattern serves as the primary element, guiding the structural form of the vessel. Internal patterns, for instance, echo the outer contours in a circular arrangement. The pattern itself functions both as decoration and as the defining outline of the vessel’s form, together forming an interconnected, organic whole. This approach of “shaping the vessel to fit the pattern” matches the form of the pattern to achieve the decorative purpose of the vessel, thereby more fully showcasing the rich decorative qualities of the patterns.

2.2 Exquisite and Ornate Clothing Decorations

Traditional Mongolian attire embodies the ethnic group’s profound cultural heritage, with both its styles and decorative patterns reflecting an eclectic and vibrant aesthetic. Since the Yuan Dynasty, the Heː Ugɑlʤ decorative elements in Mongolian attire have evolved from a singular style toward greater diversity, giving rise to luxurious and distinctive garments such as the Zhisun robe, the Gugu crown, and the Nashi arrows. The Yuan Dynasty robes unearthed from the noblemon tomb in Mongolia and the Nashi Yi robes collected by the China Ethnic Museum both feature rich and distinct Heː Ugɑlʤ patterns on the neckline, back, and shoulders, visually demonstrating the practical application of this type of pattern in Yuan Dynasty clothing (Li, 2022). The Ming and Qing dynasties marked the formative period for the distinctive characteristics of Mongolian ethnic clothing among various tribes (Li, 2010), during which differences in attire between the various banners were encouraged and promoted; to this day, regional and folk customs in clothing remain preserved.

The Heː Ugɑlʤ patterns themselves feature elegant lines and full-bodied forms. Combined with their vivid, colorful hues and striking contrasts, they render the garments on which they are applied even more magnificent and eye-catching. Ethnic artisans place great emphasis on the saturation of colors in Heː Ugɑlʤ patterns, highlighting color contrasts while ensuring harmony with the overall color of the garment and effectively complementing the background color. Overall, traditional Mongolian attire has undergone a long process of development. Its decorative features have evolved by both inheriting the essence of Yuan Dynasty attire and integrating new elements. The decorative patterns retain the rugged, natural style of the grassland peoples while incorporating characteristics from Central Plains agriculture and other neighboring ethnic groups, thereby gradually forming the vibrant, colorful, and exquisitely ornate patterns seen today.

2.3 Architectural Decoration That Shapes Form and Enriches Meaning

As the traditional dwelling form of the Mongolian people for thousands of years, the ger is not only one of the most distinctive manifestations of their material culture. While the structure serves practical functions, the Heː Ugɑlʤ decorations reflect the Mongolian people’s adaptation to the natural environment and their aspiration for a harmonious life. The selection and design of decorative patterns both inside and outside the ger embody auspicious meanings of prosperity and endless vitality. The Heː Ugɑlʤ patterns on the exterior of Mongolian dwellings epitomize a minimalist decorative style, typically featuring a palette of one or two dominant colors. As seen in the Qing Dynasty paintings Winter Banquet at Wanshu Garden and Scenes of Grassland Life, the outer roofs of the yurts used by officials and herders at that time were decorated with blue Heː Ugɑlʤ patterns, creating a contrast with the white felt. The types of patterns, their placement, and color schemes in the architectural decorations of Mongolian dwellings today remain largely consistent with traditional decorative characteristics. According to interviews with workers at the yurt factory in Zhenglan Banner, Xilingol League, Inner Mongolia, the simple decorative patterns on the exterior of yurts blend harmoniously with nature.

The interior of Mongolian dwellings features a wide variety of materials and a vibrant color palette in the “Heː Ugɑlʤ” decorative style. This stands in stark contrast to the simple visual appearance of the yurt’s exterior, as the interior decoration exhibits intricate and vibrant characteristics. “Heː Ugɑlʤ” decorations are primarily applied to the surfaces of the yurt’s wooden components, as well as to furniture and felt products. Wooden components and furniture are painted in vibrant red, with surfaces adorned with vivid patterns in yellow, gold, and brown, symbolizing that the family will flourish and endure as endlessly as the intricate designs themselves.

In addition, Heː Ugɑlʤ is also found on felt products, saddles, and Lele carts, reflecting strong regional characteristics and distinct ethnic traits. The patterns are mostly outlined with single lines and arranged in a neat, standardized, and uniform manner. The Heː Ugɑlʤ patterns are positioned at the center or around the edges of the decorative area. They typically appear in shades of blue, gray-brown, or black, further highlighting the linear structure and the artistic quality of the curving lines inherent in the patterns themselves, thereby fully embodying the Mongolian people’s admirable qualities of reverence for nature, enjoyment of life, and love for the environment.

The application of Heː Ugɑlʤ spans virtually every aspect of Mongolian life (Liu, 2005), serving as a primary means of beautifying daily existence. From everyday tableware to cold-weather clothing and architecture, Heː Ugɑlʤ decorations are ubiquitous. This fully demonstrates the pattern’s versatility and adaptability, granting it boundless potential for survival and development while showcasing its robust vitality and unique artistic charm.

3 Formal Characteristics and Decorative Functions of Heː Ugɑlʤ

3.1 Continuous, Equidistant Linear Composition and Band-Like Extension

One of the most distinctive visual characteristics of Heː Ugɑlʤ lies in its use of continuous linear elements of uniform thickness to form unbroken, band-like decorative patterns. “Continuous and of uniform thickness” refers to lines within the pattern that maintain consistent width and intensity throughout their course, extending sequentially along horizontal or vertical directions with a uniform visual impression to form an unbroken, band-like decoration. This compositional approach may be closely linked to certain scenes from the Mongolian nomadic way of life. Typical examples — such as meandering rivers, nomadic migration routes, and herds of livestock — all instill in the Mongolian people a profound sense of continuity in daily life, and this sense lays an important foundation for the basic structure of continuous patterns in decorative art.

The Heː Ugɑlʤ continuous, uniform-width linear composition is primarily used in artifacts and clothing. Whether on the edges of carved saddles, the rims of milk tea bowls, or the collars and cuffs of Mongolian robes, the ribbon-like extension of Heː Ugɑlʤ achieves the perfect decorative effect through its uniform and orderly sequence. Its functional value is reflected in two aspects: first, the lines of uniform thickness ensure the visual stability of the pattern as it extends over long distances, preventing any disruption of rhythm caused by variations in thickness. Second, the continuous sequence allows the pattern to flexibly expand or contract according to the actual length of the decorative area, enabling it to serve as a short accent or extend indefinitely until it covers the entire border. More importantly, this seemingly simple linear continuity is not a mechanical repetition. Within the stable sequence of lines of equal thickness, there are often subtle rhythmic variations in the orientation of the motifs, the angles of their curls, or the spacing between units. This allows the patterns to fulfill their function of creating a neat border while retaining the unique texture of handcrafted art, thereby showcasing the distinctive beauty of order characteristic of Mongolian motifs.

3.2 Outward-to-Inward Curving Patterns and Spatial Filling

Another core formal characteristic of the Heː Ugɑlʤ pattern is that its lines unfold in layers, curving from the outside inward to form a centripetal, spiraling structure. The Mongolian term “Ugɑlʤ” literally refers to the curled horns of the male argali sheep. Argali horns grow outward from the base in a spiral pattern, exhibiting an elegant and orderly form. The ancient Mongolian people keenly recognized the formal beauty of this natural form and refined it into the basic structure of their decorative patterns. From a formal analysis perspective, the outward-to-inward curling implies that the visual movement of the pattern consistently points toward the center, creating a centripetal, converging tension. This curvilinear structure, featuring arcs of varying sizes and shapes, is widely used in the decoration of Mongolian production and daily-use objects. The regular, centripetal variations in its curling pattern constitute the fundamental compositional form of Heː Ugɑlʤ.

The outward-to-inward curling form of Heː Ugɑlʤ is particularly well-suited for filling limited spaces with decorative patterns. Mongolian patterns have a long-standing traditional aesthetic preference for “rich composition”, with motifs winding and curling within an invisible framework to extend to every corner of the design. When the decorative area has a clearly defined outline — such as a circle, square, or rhombus — the outward-to-inward curling structure maximizes the use of limited space. The pattern begins at the edge and spirals toward the center in successive layers, avoiding both large empty spaces that appear sparse and overly dense clusters that create a sense of congestion. The key to why this curving fill maintains a sense of visual openness lies in the fact that the layers of curving are not arbitrarily superimposed; rather, they follow a pattern of gradual contraction from the outside in, with the radius of curvature decreasing sequentially. The overall structure is orderly and well-balanced, leaving just the right amount of negative space. From the perspective of visual psychology, the centripetal movement of the curving forms naturally guides the viewer’s gaze from the periphery toward the center, making the center the visual focal point of the entire decorative area. This function is particularly prominent in decorative forms such as circular emblems, square medallions, and ruyi-shaped borders; the patterns not only fulfill the task of filling space but also endow the decorated objects with a sense of visual fullness and order. Therefore, the outward-to-inward curling form is a key dynamic characteristic of Heː Ugɑlʤ’s composition and serves as the linchpin connecting observations of nature with formal aesthetics. It allows the patterns to flow harmoniously, serving as a crucial entry point for recognizing and understanding this ethnic art form.

3.3 Layered Organization Through Interlacing and Overlapping, and Visual Richness

Heː Ugɑlʤ exhibits the typical characteristics of interlacing and overlapping within its complex ornamentation. “Interlacing” refers to lines traveling in different directions crossing one another at intersections while each following its own path; “overlapping” refers to the spatial relationship where lines or pattern units cover one another in front-to-back layers. The combination of these two techniques allows Heː Ugɑlʤ to construct a multi-layered visual structure on a two-dimensional plane. From the perspective of formal principles, interlacing and overlapping strictly adhere to an organizational principle that clearly distinguishes primary from secondary elements: the main motif occupies the visual center, while auxiliary motifs unfold around it through interlacing or overlapping. They both yield to one another and remain interconnected, forming a visual order characterized by a balanced density and clear layering. Heː Ugɑlʤ appears in the patterns in a series of interlocking loops — regular, orderly, and endlessly varied — reflecting a strong tendency toward schematization. This systematic interlacing and overlapping actually constitutes a stable visual grammatical system within Mongolian decorative art.

The layered organization of Heː Ugɑlʤ’s interlacing and overlapping primarily serves to enrich the visual experience. Traditional Mongolian decoration has always sought a full, lush visual effect; however, the mere accumulation of elements cannot produce a true sense of richness. Only by organizing patterns through an orderly layered structure can numerous elements find their proper place within a limited space and complement one another. The interlacing technique prevents abrupt breaks or repetitions where lines of different directions intersect, maintaining the continuity of their respective movements; the overlapping technique, by distinguishing between foreground and background layers, creates a sense of depth in two-dimensional decoration similar to that of a bas-relief. The combination of these two techniques effectively counteracts the flatness and monotony that often plague two-dimensional decoration. In large-scale decorative works — such as embroidered felt, architectural murals, and temple wood carvings — the interlacing and layering techniques allow Heː Ugɑlʤ to convey more complex narratives and symbolic elements without appearing chaotic despite the increased number of elements. It is worth noting that Mongolian artisans pay close attention to the balance of negative space when employing the interlacing and layering technique, ensuring that even in the midst of rich detail, there remains breathing room. This sense of balance embodies the ethnic wisdom of Mongolian decorative art, which seeks order within complexity and unity within layers.

4 The Cultural Concepts of Heː Ugɑlʤ

As a central motif in Mongolian decorative art, the Heː Ugɑlʤ pattern — with its meandering, coiling, and cyclical visual form — is an outward manifestation of the cultural DNA and worldview that the Mongolian people have long refined within their unique living environment, way of life, and social structure. These concepts are collectively woven into the patterns, elevating them beyond mere decoration to become cultural symbols that embody the profound spiritual essence of nomadic civilization.

4.1 A Sense of Time and Space Through Mirrored Flow

The Mongolian Heː Ugɑlʤ is a decorative pattern rich in ethnic character; its unique geometric structure and flowing lines not only possess aesthetic value but also embody the Mongolian people’s profound cultural concepts (Christina & Chen, 1998). One of the core characteristics of “Heː Ugɑlʤ” is its mirror-like symmetry, which fully embodies the Mongolian people’s profound understanding of the laws governing the universe. The Mongolian perception of time and space is rooted in the belief in “Eternal Heaven”, a concept that views the universe as a multi-layered, dynamically balanced organic whole, where the celestial and earthly realms are not isolated from one another but correspond to each other, interact in a structurally similar manner, and influence one another. In the observations of the Mongolian ancestors, the movement of stars in the vast expanse of the sky, the flow of clouds, the alternating paths of the sun and moon, the cycles of growth and decay in plants, and the recurring patterns of rivers — all are manifested in the form of grand, fluid curves. To the Mongolian ancestors, this rhythmic movement of the heavens was the very embodiment of the world’s highest order. Correspondingly, the earthly world — especially the vast Mongolian Plateau — with its landscape features such as undulating grasslands, meandering rivers, and rippling sand dunes, was viewed as a “mirror image” of the celestial order projected onto the earth. Consequently, the curves ubiquitous in the natural environment were imbued with a sense of sacredness, and these curves became visual representations of the flow of the world’s life force.

Furthermore, the mirror-like nature of the Heː Ugɑlʤ pattern also reflects the Mongolian people’s pursuit of harmony and balance. In their nomadic way of life, the Mongolians maintain an extremely close relationship with nature; they have observed that many phenomena in the natural world exhibit symmetry, such as the physical structure of animals and the growth patterns of plants. This symmetry is regarded as a manifestation of the order of time and space, and the Heː Ugɑlʤ pattern artistically recreates this order. The absence of a beginning or end in the continuous curves of the Heː Ugɑlʤ patterns serves as an artistic expression of the universe’s eternal motion. By using these patterns to decorate everyday objects, felt yurts, and horse tack, the Mongolian people effectively place their living space within the grand rhythm of the cosmos, seeking to resonate in unison with heaven and earth and to receive the protection of the “Eternal Sky”.

4.2 Ecological Understanding of Cyclical Renewal

Many patterns in the Heː Ugɑlʤ motifs exhibit cyclical characteristics, symbolizing the continuity of life, the changing of the seasons, and the transmission of social traditions. This visual language is closely tied to the Mongolian nomadic way of life; as they rely on the regeneration of natural pastures and the reproduction of livestock — such as cattle, horses, and sheep — to sustain their existence, the cyclical structures in these patterns also reflect their understanding of sustainable development. The nomadic economy relies on rotational grazing and the natural regeneration of grasslands; the Mongolian people achieve sustainable resource utilization through seasonal migrations. The cyclical structures in the Heː Ugɑlʤ patterns symbolize the cyclical regeneration of resources and reflect their profound understanding of ecological balance.

The Mongolian people and the “Five Livestock of the Grasslands” — cattle, horses, camels, sheep, and goats — on which they depend, form a dynamic ecosystem. Their way of life follows the changing seasons; through migratory patterns that cycle with the four seasons, they engage in a ceaseless spatiotemporal cycle between water and pasture resources, thereby achieving the sustainable use of grassland resources. This way of life has shaped the Mongolian people’s unique perception of time, space, and life — namely, that the world does not progress linearly but rather moves in cyclical patterns. The interwoven patterns frequently found in these designs not only reflect the ingenuity of the design but also hint at the intricate yet harmonious symbiotic relationship between humans and nature, as well as between livestock and the grasslands.

4.3 The Holistic Concept of Nested Symbiosis

The traditional Mongolian pattern “Heː Ugɑlʤ”, with its unique composition and rich symbolic meaning, embodies the Mongolian people’s profound understanding of nature, society, and the development of life (Gao, 2011). Among its characteristics, the “nested symbiosis” of Heː Ugɑlʤ — a multi-layered structure — is particularly prominent, manifested in the interconnection and interdependence of large and small patterns, which form an organic whole. This structure is not merely an expression of decorative art but also a symbolic representation of the Mongolian people’s view of development, reflecting their profound reflections on social relationships and the continuity of life.

The traditional model of Mongolian social organization takes the family as its basic unit, expanding in layers through kinship and geographical ties to form multi-level social units such as clans and tribes. Each level maintains relative independence while remaining closely connected to other levels through complex relationships of rights and obligations. The compositional form of the Heː Ugɑlʤ pattern exhibits a high degree of similarity to this model of social organization. First, the patterns often feature a distinct central focus, with design elements radiating outward from the center — a structure that mirrors the social organization model in which a core family serves as the center from which relationships radiate outward. Second, the patterns make extensive use of “nested” arrangements, where large and small motifs form a visually cohesive whole with a clear hierarchy and interlocking layers. This compositional approach vividly reflects the relationship between social strata, which are both relatively independent and interdependent.

This open compositional characteristic corresponds precisely to the nomadic society’s inclusive attitude toward outsiders and its strong capacity for cultural integration. Consequently, Mongolian social organization places greater emphasis on horizontal alliances and dynamic resource allocation, which is artistically expressed as a preference for flowing curves and open compositions.

5 Conclusion

The significance of Heː Ugɑlʤ begins with decoration but extends far beyond it. This paper systematically examines the traditional Mongolian pattern Heː Ugɑlʤ from three perspectives: decorative application, formal characteristics and functions, and cultural implications. The research indicates that Heː Ugɑlʤ is widely applied to various media, including utensils, clothing, and architecture, and that its formal characteristics represent functional choices gradually formed through long-term adaptation to different decorative spaces and environments. The linear composition of continuous, uniform-diameter lines, the outward-to-inward curling form, and the layered organization of interlacing and overlapping elements serve three decorative functions: strip-like extension, spatial filling, and visual enrichment, respectively. A close relationship of adaptation exists between form and function, reflecting the nomadic people’s simple creative wisdom and rational approach to design. Furthermore, this form ultimately points to a deeper cultural cognitive structure: the symmetrical, looping composition reflects an understanding of spatial order; the cyclical, undulating rhythm echoes a grasp of nature’s temporal sequence; and the multi-layered, nested structure embodies a worldview of the symbiosis of all things and their interconnectedness. Heː Ugɑlʤ is not merely a language of decorative art; it is a cultural text written in visual symbols, documenting the spiritual journey of nomadic peoples as they perceive the world, understand nature, and organize their experiences.

At a time when the dialogue between global traditional crafts and modern design is deepening, the compositional logic of Heː Ugɑlʤ — which unifies order and change — its formal wisdom of optimizing space within finite boundaries, and its cultural concept of harmonious coexistence between humanity and nature continue to offer practical inspiration for contemporary ethnic-style design and the creative transformation of local cultural resources. In-depth research into the traditional Heː Ugɑlʤ patterns is not only an essential path to understanding the intrinsic logic of Mongolian decorative art but also a valuable exploration aimed at revitalizing ethnic cultural heritage and promoting the inheritance and innovation of China’s outstanding traditional culture.

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