An interpretation into the English language (from Mongolian Cyrillic) of another beautiful doha* by the contemporary scholar-poet Zava Damdin (b.1976).

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AN UNUSUAL SEASON

Your gentle smile,

like the arrival of summer,

when grass shoots unfurl through the mist,

and blossoms open with fragrant grace.

* * *

Your thoughtful silence,

is like the mid-autumn,

like the full moon on the fifteenth night,

charming the flight of swans and geese.

* * *

Your steadfast stride,

is like the depth of winter,

howling like wolves in song,

as steam rises from unfreezable springs.

* * *

Your radiant presence,

is like the breath of spring,

awakening tender pasque flowers*

fulfilling every dream.

* * *

Indeed, those four seasons,

seem to dwell in one single instant,

as if bees sipped nectar beneath the snow,

as if autumn’s moon mirrored spring’s reflection.

* * *

The Boy without Season, of Dragon Mountain

24.10.2025

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ЕР БУСЫН УЛИРАЛ 

Чиний зөөлөн инээмсэглэл 

Яг л зуны эхэн сар шиг

Өвс ногоо нахиа гүйцэн униартах шиг

Цэцэгс дэлбээлэн анхилах шиг

Чиний бодлогошрон суух 

Яг л намрын дунд сар шиг

Арван тавны сар тэргэлэх шиг

Хун галууг илбэдэн дохиолох шиг

Чиний хатангатган явах

Яг л өвлийн идэр ес шиг

Чонос мэт улин дуулах шиг

Харзны уснаас уур савсах шиг

Чиний гэгээн орчил

Яг л хаврын урь шиг

Ялдамхан яргуйг сэрээх шиг

Ямарваа мөрөөдлийг хангах шиг

Яг л тийм дөрвөн улирал 

Нэгэн агшин дор хамт орчих шиг

Зөгийс цасан дор шим хүртэх шиг

Намрын саран хаврын толь шиг

Луут Уулын улирал үгүй хөвгүүн 

24.10.2025

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Translation is always an interpretation into another culture.

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Notes

• Pasque flowers are early-blooming perennials from the Pulsatilla genus, named “pasque” from the Middle English word for Easter and the Russian Пасха (Eng. Paskha). In Mongolian, these flowers are generally referred to as “khavriin tsagaan tsetseg” (Хаврын цагаан цэцэг) or “tsagaan yargui” (Цагаан яргуй). They are known for their bell-shaped or starry flowers in shades of blue, purple, red, or white, and for their feathery, silky foliage and attractive, fluffy seed heads that appear after the blooms. In the context of Mongolian tradition, pasque flowers hold deep cultural, spiritual and ecological significance.

• In terms of cultural and seasonal symbolism, the pasque flower is one of the first wildflowers to bloom in early spring, often emerging through melting snow in the Mongolian steppes and mountain valleys. This makes it a symbol of renewal, resilience, and the awakening of nature after the long, harsh winter, a powerful metaphor in nomadic life closely tied to seasonal cycles. In some rural regions, the blooming of the pasque flower was/is still used as a natural calendar marker, signalling the beginning of certain herding practices, including migration or birthing seasons for livestock. Furthermore, in terms of ecological and nomadic relevance, as a forage indicator, the blooming of pasque flowers sometimes coincide with the first signs of grass regrowth, indicating better grazing conditions for herders. For herders’ continuing established traditional practices, the flower’s emergence is thus tied to pastoral rhythms and nomadic migrations. Because of their early bloom and vulnerability, these flowers are easily damaged by overgrazing and/or human encroachment. In some Mongolian provinces, they are locally protected as indicator species of healthy steppe ecosystems.

• In the context of spiritual and religious associations, natural elements such as flowers serve as symbols of impermanence (Pali. anicca; Skt. anitya) and rebirth. The short-lived but beautiful pasque flower echoes this concept well, blooming briefly, and in so doing, also teaching us the transience of both beauty and life. As local rituals, Mongolian people still sometimes use freshly bloomed pasque flowers as natural sacred offerings at ovoos (sacred stone cairns) and elsewhere. These flowers, growing in remote, undisturbed areas, are seen as untouched and pure, making them suitable for spiritual dedications.

• Variously translated as ‘songs of experience‘ (Skt. doha) or ‘songs of realisation‘, such compositions are characteristic of a poetic form associated with the Vajrayana Buddhist tantric movement. The doha form can be seen as a sung spiritual aphorism; a concise original thought that is often rendered linguistically in couplets. In terms of an inter-cultural interpretation, it is important to clarify for readers the idea of ‘singing‘. Such devotional songs are performed internally, and are intimately connected with meditation, feelings, imagination, faith, deep love and respect. [Source: The Great Nenchen (2015) by Zava Damdin (b.1976). Translated from the Mongolian language into English by C.Pleteshner and E.Sodontogos (Zava Damdin Sutra and Scripture Institute, Mongolia) p3. Some readers may notice this concise explanation of the doha form repeated elsewhere on my channel. I do so here, for new readers who may be unfamiliar with the genre.] And finally, a personal reflection. Just having the time to study Zava Damdin Rinpoche’s poetry is a privilege. If there are errors of judgement in these notes they are of my own making. For these, I humbly apologise.