Dulduityn Danzanravjaa

It was not possible to enthrone Danzanravjaa as the fifth Noyon Hutagt because of the ban from the ruling Manchu (Qing) dynasty on recognition of this line of incarnations.

He and his father survived by begging and singing until 1809, when he was accepted as a disciple of Ishdoniilhundev Rinpoche at Ongiin Monastery where the boy received the name of Luvsandanzanravja and the vows of a Buddhist layman.

The literary and oratorical abilities in the boy, made the locals to believe he was a reincarnation of saints so they appealed to the higher clergy for recognition of his next incarnation.

While studying at the monastery, the boy showed himself brilliantly, and in 1811 was publicly recognized by his spiritual advisor Ishdoniilhundev as the reincarnation of the geshe Navaana, or the Asvaa-gegen.

The identity of the incarnation was confirmed by Palden Tenpai Nyima, 7th Panchen Lama and Janjah-hutuhta IV Yeshe Tenpay Gyaltsen; In Urga (present day Ulaanbaatar), Danzanravjaa was introduced to Bogd Gegeen IV, theocratic leader of the country, who granted him the title of "Brave" (Mongolian: чин зоригт, chin zorigt) and the right to use certain status items.

Balchinchoijoo (Ishlodon), collected his manuscripts and relics and served as their curator (Takhilch), a role that passed down to his male heirs.

[5] The collection remained buried until the present curator, Zundoi Altangerel, unearthed 24 boxes of manuscripts and relics in 1991 and transferred them to a small museum in Sainshand.

[10] There are over 300 poems, 100 songs, numerous religious paintings, and a variety of Buddhist, philosophical, medical and astronomical treatises, theses and monographs written by Danzanravjaa in Tibetan and Mongolian, of which 170 works in Mongolian and over 180 in Tibetan have survived to this day in full text and are now housed at the National Archives of Mongolia, Danzanravjaa Museum, archives of National University of Mongolia and several other institutions.

Other notable works include: The songs, verses and instructions of Danzanravjaa are characterized by their strong criticism of the contemporary society of Mongolia.