В настоящей статье вводится в научный оборот рукописный буддийский текст «Стослоговая мантра Ваджрасаттвы» в транслитерации и переводе на русский язык из собрания Национального музея Республики Тыва. Текст является частью ойратской рукописи, именуемой «Ekeyin zürken tarni orošiboi» (‘Хридая-дхарани Матерей’). Примечателен тем, что представляет известную буддийскую стослоговую мантру Ваджрасаттвы, которая практикуется буддистами с древнейших времен до наших дней.Ваджрасаттва — будда ваджраяны, символ чистоты Просветления (Бодхи) и Закона (Дхарма). Прочтение сакральной стослоговой мантры для буддистов имеет магическое значение: если прочесть ее сто восемь раз — очищает тяжелую карму человека; если произнести ее миллион раз — дарует просветление. Стослоговая мантра превыше всех других мантр, поэтому буддийские ламы говорят, что не существует практики более глубокой, чем «Стослоговая мантра Ваджрасаттвы».
Introduction. Despite quite a number of Jangar-related issues have been duly studied, questions pertaining to existence, continuity (transmission) and preservation of the Xinjiang Oirat epic tradition, biographies of jangarchis and their repertoires remain somewhat insufficiently answered by Russia-based folklorists and, thus, seem as relevant enough. Goals. The article attempts an academic insight into the storytelling tradition of Xinjiang Oirat jangarchis, considers geographical borders of the epic, determines the role of a storyteller as bearer, keeper and performer of the epic heritage inherent to China’s Oirats. Materials and methods. The descriptive and comparative methods prove most instrumental in exploring the storytelling tradition of Xinjiang Oirats. The narratives examined are related editions in Oirat (Clear Script), Mongolian, and Kalmyk. Conclusions. Analysis of the Xinjiang Oirat storytelling tradition shows that the Jangar Epic was widely present in all ethnic groups of Xinjiang Oirats — the Torghut, Olet, Tsakhar, Khoshut, Zakhchins, and Uryankhai — throughout the 19th and 20th centuries, each population to have had renown jangarchis of their own with extensive repertoires numbering at least ten (and more) Jangar epic songs. The identified lines and patterns of transmission were clan-oriented. So, many jangarchis learnt epic narratives from storytellers of their clan — fathers, grandfathers, uncles, and brothers. The epic tradition was also contributed to by talented female storytellers who — having been unable to participate in meetings and contests since women were traditionally banned from epic storytelling — would recite texts in the family circle and teach storytelling to their children and grandchildren. In mid-to-late 20th century, the Xinjiang Oirat oral epic tradition started being paralleled by a written one.
В статье рассматривается песнь «Шара Гюргю» в трех разновременных записях: 1) Малодербетовский цикл (1862); 2) аудиозапись в исполнении джангарчи Телтя Лиджиева (1970); 3) Михаила Манджиева (1971) - с целью определения степени устойчивости и изменчивости текста у разных сказителей. Сравнительный анализ сюжетно-композиционной структуры, мотивов и типических мест в разновременных записях у разных джангарчи показал, что на протяжении более чем столетнего бытования песни «Шара Гюргю» сохраняется ее содержательная основа, которая «привязывает в “пучок”» все остальное вербальное воплощение той или иной формулы. Джангарчи Т. Лиджиев и М. Манджиев придерживаются опорных моментов, но в процессе воспроизведения текста применяют свои знания и умения в том изложении, в каком они были усвоены от предшественников. В количественном плане употребление общих мест различается. Так, из 43 типических мест Малодербетовского цикла в тексте Т. Лиджиева сохранилось 36, в тексте М. Манджиева - 24. Сокращение типических мест в поздних записях обусловлено тем, что джангарчи стремились передать основное содержание песни, опуская при этом такие общие места, как выстойка коня, седлание коня, одевание богатыря, отъезд богатыря, оружие богатыря, получение вести, напоминание конем герою о родной земле, картина разоренной страны, клеймение, пир. Сокращение этих типических мест не повлияло на стройность и лаконичность песни, потому как сюжетно-композиционная структура и мотивный фонд сохранились почти в полном объеме. This article examines the song “Shara Gyurgyu” in three recordings made at different times: in the Maloderbet cycle (1862); a recording by the dzhangarchi Teltya Lidzhiev (1970); and one by Mikhail Mandzhiev (1971). The author examines the degree of stability and variability of the text among the different storytellers. Comparative analysis of the plot-compositional structure, motifs and typical moments in the recordings reveals that over more than a century the core of the song “Shara Gyurgyu” - that which “binds” all verbal embodiments of this or that formula into a “bundle” - has been preserved. The dzhangarchi (singers of the Kalmyk epic “Dzhangar”) Lidzhiev and Mandzhiev adhere to the main points of reference, but in the process of reproducing the text they apply the knowledge and skills which they learned from their predecessors. In quantitative terms, the number of commonplaces differs. Thus, of the 43 commonplaces in the Maloderbet cycle, 36 occur in the Lidzhiev text and 24 in that of Mandzhiev. In the later recordings the dzhangarchi tried to convey the main content of the song while omitting such phrases as: holding back а horse (vystoika loshadi); saddling a horse; dressing a warrior; a warrior’s departure; his weapon; receiving news; the horse reminding the hero of his native land; a picture of a devastated country; branding; a feast. The reduction in number of these commonplaces did not affect the harmony and conciseness of the song because the plot-compositional structure and cluster of motifs were preserved almost in full.
Introduction. Russian folklorists have tended — and still do — to focus on formula-type language patterns inherent to traditional epic poetry. The shaping of epic songs would be facilitated by the wide use of structurally identical and stylistically similar descriptions and situations referred to as loci communes (‘typical passages’). Goals. The paper aims at identifying the personality of the taleteller to have recited the Baga Dorbet (Russ. Maloderbetovsky) cycle of the Jangar epic. With this in view, the work reveals typical passages of the Cycle, provides comparative insights into ones within prologues of the Cycle, compares the typical passages to similar elements from other cycles and individual repertoires. Materials and Methods. The study employs the methodology developed by P. D. Ukhov for the classification of Russian bylinas, and analyzes Jangar epic songs from the Baga Dorbet and Baga Tsokhor cycles, repertoires of such renown jangarchis as Eelyan Ovla, Mukӧvün Basangov, Dava Shavaliev, Nasanka Baldyrov, and Badma Obushinov. Conclusions. Typical passages of the Baga Dorbet cycle are structurally identical and stylistically homogenous descriptions where both syntactic patterns and described details and grammatical forms of parts of speech coincide which attests to that the texts were authored by (recorded from) one and the same taleteller. The opinion is confirmed by the below given examples of typical passages from other cycles that differ not only in terms of style or structure, but the very depicted objects, events, participants of the feast, the seating chart of theirs, and even numbers and sequence of stanzas significantly vary. The differences are determined by that the taletellers were representing different epic performance traditions with certain narrative patterns inherited from their predecessors. The comparative analysis of typical passages from the Baga Dorbet cycle shows the taleteller not only reproduces the once learnt song but rather creatively approaches every single performance maintaining standard elements of typical passages, modifies epic formulas employing synonyms, rearranging stanzas, reducing or adding details of descriptions, etc. This can be explained by that ‘above all in epic memory is not the formula precisely and intactly articulated in words but the artistic content, the taleteller (who) adheres to the framework of epic knowledge <...> (to) select one of the possible paths’, since this epic knowledge is wider than the text recited. So, the study concludes the whole of the Baga Dorbet cycle was recorded from (authored by) one taleteller and students whose names still remains unknown.
Introduction. The article examines traditional themes in the epic repertoire of jangarchi Teltya Lidzhiev, a most talented and original jangarchi, and a performer of songs of the 20th-century prominent rhapsode Eelyan Ovla. Materials. The recordings of Kalmyk folklore made by associates of the Kalmyk Research Institute of Language, Literature and History (present-day KalmSC RAS) during field expeditions in the 1960s – 1990s contain one by the famous jangarchi Teltya Lidzhiev. The recording was made by N. Ts. Bitkeev during a folklore research trip across districts of Kalmykia in the summer of 1970. Goals. At present, thanks to the preserved records of the epic repertoire of jangarchi Teltya Lidzhiev, there is an opportunity to explore the late tradition of the Jangar which existed in the second half of the 20th century. Results. The epic repertoire of Teltya Lidzhiev who was representing Eelyan Ovla’s school consists of an introductory part, a prologue (Kalm. orshl) and ten songs. Teltya Lidzhiev undoubtedly possessed a formulaic language, traditional compositional techniques that ensured the consistency of his narration. The storyteller had carefully elaborated all the stages of each theme and adopted the technique of drawing up formulaic turns and the formulas themselves, as well as compositional ones, to acquire a certain structured basis to build his narrative on. Teltya Lidzhiev’s songs comprise traditional themes of epic narration, such as selection of a hero, saddling of a horse, munitioning of the hero, departure, adversities of the path, arrival in borderlands, entering of the palace, searches, heroic duel, capture and branding, healing of the hero, return, feast. The examination of Teltya Lidzhiev’s songs shows that the traditional epic themes were firmly preserved in the jangarchi’s memory. But at the same time, it should be noted that each performance is unique: a jangarchi constructs his epic text and chooses one or another way of retransmission, the speed of clustering poems during a performance prompted the use of certain traditional formulas but one would certainly build his narrative according to a definite plan of his own. Thus, jangarchi is both a bearer of the tradition and an individual singer.
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