My initial vision for this project was to reimagine Mongolian women in history. I originally wanted to remake the images and objects associated with these historical women—so that they would no longer exist solely as recorded or gazed-upon figures, but could reappear in ways that are more active, self-determined, and infused with contemporary consciousness. However, due to limitations in resources, conditions, and time, I wasn’t able to fully pursue that direction at the time.

This piece was meant to be the starting point of that earlier idea: I used Photoshop to rework portraits of emperors of the Yuan dynasty and their consorts, transforming their faces, postures, and presence into forms that reflect my current understanding and imagination of them. Although this series of altered images never developed into a standalone project, it ended up integrating naturally into the themes of my current exhibition.

Throughout this exhibition, I have been thinking about how to reconcile my identity as both Mongolian and feminist. In this context, these “remade royal portraits”—regardless of whether they depict men or women—serve as an intentional intervention into historical imagery. In the regenerated portraits, the emperor’s body becomes softer, more queer, while the consorts are reimagined with greater autonomy and agency.

In a sense, these images symbolize an act of rewriting history. The consorts are no longer merely women positioned beside imperial power; they become a kind of “possibility,”a possibility that frees Mongolian women from fixed narratives, and a metaphor for my own ability to enter, inhabit, and even rewrite history.
我最初对这个项目的构想，其实是想重新想象历史中的蒙古女性。我原本的计划是去“remake”这些女性在历史中的形象或者物品，让她们不再只是被记录、被凝视的对象，而是能以一种更主动、更自我、更带有当代意识的方式重新出现。但因为资料、条件与时间的限制，这个方向当时并没有办法深入推进。


这件作品原本是为那个构想而做的起点：我把元朝皇帝与她们的妃子的画像重新进行 Photoshop 处理，将她们的面容、姿态、气质转化为我当下所理解、所渴望呈现的样子。虽然这一系列改造图像的计划最终没有完全发展成独立项目，但它反而自然地融入了我现在的展览主题中。


在这个展览中，我一直在思考如何和解自己作为蒙古人、同时又作为女性主义者的身份。因此，这些“被重新制作的皇室形象”，无论是男性还是女性，都是我对历史视觉的一次主动介入。在这些重新生成的肖像中，皇帝的身体被我处理得更柔软、更 queer，而妃子的形象则被赋予了更自主、更具主体性的气质。


某种意义上，这些图像象征着我对历史的一次重写与占据。她们不再只是帝王身边的妃嫔，而是成为一种“可能性”，一种让蒙古女性从固定叙事中被释放出来的可能性，也是一种让“我”进入历史、甚至改写历史的隐喻。