Mongolia · Musical Instrument Making

Morin Khuur Making — Mongolian Horse-Head Fiddle

Морин хуур (Morin Khuur)

The making of the morin khuur — the two-stringed, horse-head-carved bowed fiddle considered Mongolia's national instrument and, since 2003, recognized by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity. This record closes a striking gap: the archive's existing Mongolian composite recurve bow record (CRAFT-0608) documents a different weapon-craft instrument entirely, and the morin khuur — arguably the single most internationally recognized Mongolian craft object after the ger itself — was otherwise absent from the archive's 12-record Mongolia collection. A hollow trapezoid-shaped wooden body, covered with animal skin as a soundboard, connects to a long fretless neck terminating in a carved horse head, with two tuning pegs projecting like ears just below it; both the two strings and the bow are made entirely from horsehair. Beyond its function as Mongolia's premier folk instrument — described by Mongolian ethnomusicologist Badraa Jamts, alongside the long-song tradition, as one of 'the two golden wings of Mongolian national music' — specific traditional melodies called tatlaga are used by nomadic herders for their believed calming, therapeutic effect on livestock, most notably to soothe mares during milking.

Risk level: Vulnerable · UNESCO Masterpiece of Oral and Intangible Heritage (2003); Representative List

Alternate Names
Horse-head fiddle; horsehead fiddle
Geographic Center
Practiced nationwide, with a notable concentration of master craftsmen and performance institutions in Ulaanbaatar, including the dedicated Jonon Khar Morin Khuur Museum
Community / Ethnic Group
Mongolian — the instrument is closely associated with Khalkh Mongol tradition specifically, with regional variant forms (including older bucket-shaped, skin-covered khuur still used in western Mongolia) reflecting broader Mongolian ethnic diversity
Estimated Origin
String instruments adorned with horse heads are attested in written sources dating to the Mongol Empire of the 13th and 14th centuries; broader scholarly and folkloric tradition traces conceptual ancestry to earlier fiddle-type instruments used by the Xiongnu and Donghu peoples in the Mongolian territory from as early as the 3rd–1st centuries BCE, though the instrument's founding is more commonly attributed in Mongolian oral tradition to a specific origin legend
Cultural Function
The morin khuur occupies a central ceremonial position within the traditional Mongolian ger, customarily placed in the honored back section of the dwelling and adorned with a ceremonial silk scarf (khadag) reflecting its spiritual significance; it accompanies long songs (urtiin duu), folk dances, epic storytelling, eulogies, and praise songs, and specific tatlaga melodies are used functionally by herders to calm animals, particularly to soothe mares during milking — a documented case of a craft object's output (music) having a direct, practical working function within pastoral animal husbandry rather than purely aesthetic or ceremonial application
Primary Materials
Wood (for the hollow trapezoid-shaped resonating body, the long neck, and the carved horse-head terminal); animal skin (traditionally covering the soundboard); horsehair (for both the instrument's two strings and the bow hair — historically, older bucket-shaped western Mongolian variants used camel, goat, or sheepskin for the resonating body covering instead)
Primary Tools
Wood carving and shaping tools for the body, neck, and horse-head terminal; tools for stretching and fitting the animal-skin soundboard; horsehair preparation and stringing tools
Process Overview
Wood body, neck, and horse-head terminal carved and shaped; animal skin stretched and fitted as soundboard covering; horsehair prepared and fitted as both the instrument's two strings and the separate bow's hair; instrument assembled, strung, and tuned; completed instrument may be adorned with a ceremonial khadag silk scarf marking its cultural significance
Traditional Applications
Central place of honor within the traditional ger; accompaniment for long songs (urtiin duu), folk dances, epic storytelling, eulogies, and praise songs; functional pastoral use via tatlaga melodies believed to calm animals, particularly to soothe mares during milking
Contemporary Applications
Contemporary concert and ensemble performance (Morin Khuur Ensemble of Mongolia); growing international student interest in both performance and, to a lesser extent, instrument-making; museum and cultural-tourism documentation (Jonon Khar Morin Khuur Museum); continued ceremonial and honorific placement within Mongolian homes
Notable Practitioners
Bayasgalan Sukhbaatar (master craftsman and performer, founder and keeper of the Jonon Khar Morin Khuur Museum, Ulaanbaatar, founded 2009); Namjil (legendary founding figure per Mongolian oral tradition, credited in the 'Legend of Cuckoo Namjil' with crafting the first morin khuur from materials of his beloved deceased horse, a story emphasizing themes of eternal friendship and devotion between human and animal)
Key References
UNESCO, 'Traditional music of the Morin Khuur' (Masterpieces of Oral and Intangible Heritage, 2003); Wikipedia, 'Morin khuur'; WildMongolia, 'Morin Khuur Museum: Explore Mongolia's Horsehead Fiddle Tradition'; Mongolianstore, 'Traditional Music Of Morin Khuur(Horse-headed Fiddle)'; Dharma Documentaries, 'Morin Khuur, the Mongolian Horse-Head Fiddle'
Verification Status
Verified

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