Yurt culture continues to stand the test of time
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Whenever Ban Fengbin has time, he visits a yurt he purchased from a local herdsman’s family several years ago.
“They barely used it,” says the man born and raised in Sonid Right Banner, Xiliin Gol League in the Inner Mongolia autonomous region.
With more than three decades of yurt-building experience, Ban estimates that this yurt has stood the test of time for over a century and housed at least three generations of herders.
“Although this yurt doesn’t conform to modern standards, it serves as a great historical piece that allows us a peek into the past lifestyles of our predecessors,” he says.
Due to its long history and poor preservation, the yurt has suffered various damage.
Over the years, Ban and his team have restored it bit by bit according to the traditional yurt construction principles.
“The wool felt has become so brittle that we don’t use too much force to restore it,” Ban says.
He brought the yurt to public attention during the 34th Naadam festival in Xiliin Gol League in July. It instantly stood out among hundreds of its counterparts and attracted many visitors.
In his opinion, the yurt possesses the essence of nomadic culture, which highlights the convenience of life.
“For yurt construction, it boils down to six words — easy to disassemble, easy to reassemble. This has been our principle all along,” Ban explains.
Also known as a ger in Mongolian, yurts have been a traditional, portable round tent used as a dwelling by the nomadic people in the region.
Its development is deeply intertwined with nomadic lifestyles and the need for a mobile yet sturdy and comfortable shelter in the harsh and variable steppe climate.
“Early yurts for civilians were simple, made from wood and animal hides, with a structure of wooden poles that could easily be dismantled and reassembled. The circular shape provided strength and resistance against high winds,” Ban says.
Witnessing his grandfather and father building yurts for local herdsmen, Ban followed in their footsteps out of “a sense of belonging and responsibility”.
The construction technique of the yurt involves drawing a circle on the ground. Based on the size of the circle, several wooden strips are woven into a lattice structure to form the walls. Once the walls are built, the umbrella-shaped roof is connected to the wooden lattice. The framework is then covered with felt and tied down with rope.
In 2008, the craftsmanship was listed as a national intangible cultural heritage.
Additionally, yurt construction techniques integrate woodworking, embroidery, carving, painting and weaving.
In 2012, his younger brother Ban Fengong quit his job at a local State-owned company and joined his cause in establishing a yurt production facility.
It was a decision from Ban Fengbin’s influence and the market potential.
“Even though residents now live in concrete houses as their living standards improve, some still need a yurt placed next to their house to receive guests or they buy it as a wedding gift,” Ban Fengong notes.
“Additionally, with the rise of the culture and tourism industries, many guesthouses in Inner Mongolia and Mongolian restaurants in other places, including Shanghai and Hong Kong, are our clients,” he adds. The two brothers have also continued to innovate based on traditions to better meet market demand. To enrich yurt decorative art, they incorporate computer engraving, painting and metal.
To date, they have expanded the types of yurts from a dozen styles to over 150. They produce 100-200 yurts for customers nationwide each year.
In March, their facility was named a national model site for production-based intangible cultural heritage protection by the Ministry of Culture and Tourism.
The Ban brothers say the title has given them a stronger incentive to continue the yurt culture.