The bronzes are the reason his name is known outside Mongolia. Working from the 1680s with a workshop at his monastic camp, he produced gilt copper alloy images of Tara, of the Five Transcendent Buddhas, of Vajradhara and of Amitayus, cast and finished to a standard that had no local precedent. The style is recognisable: full calm faces, unusually naturalistic bodies, restrained ornament, and a treatment of drapery that owes something to Nepali practice without copying it. The set of twenty-one Taras attributed to him is the best known group.
He also made a script. In 1686 he devised the Soyombo, an alphabet for writing Mongolian, Tibetan and Sanskrit together, so that mantras and Buddhist technical terms could be written without distortion. It was too elaborate for general use and never displaced the Uyghur-derived Mongolian script, but its opening character, the Soyombo symbol, became a national emblem and stands on the flag of Mongolia today, its elements read as fire, sun, moon, earth and water.
He founded the moving monastic camp that eventually settled and became Urga, and then Ulaanbaatar. He died in Beijing in 1723 while at the Qing court. Much of his work was destroyed in the purges of the 1930s, and what survives is concentrated in museums in Ulaanbaatar, where it is treated as a national inheritance as much as a religious one.