Синьцзян-ойратская версия «Джангара»: эпосоведческие исследования в Китае

Abstract

Academic studies and theoretical comprehension of the Jangar Epic had long been solely based on materials of the Kalmyk version discovered over 150 years before the Xinjiang Oirat tradition was introduced into scientific discourse, which had largely determined the establishment and development of Jangar studies as a research discipline. Since the 1980s, numerous texts of the Xinjiang Oirat version have been published, thus revealing a formidable original national epic tradition that has become integral to present-day Jangar studies. At the initial stage, Jangar studies in China consisted in collecting and publishing diverse episodes (chapters) of the epic monument. Within quite a short period of time common efforts resulted in multiple recordings of both complete and incomplete episodes of epic texts, i.e. a total of 70 songs and 150 variants. Epic studies by academic folklorists in the PRC initially examined the actual performing schools of the Jangar, peculiarities of the tale-telling tradition inherent to Xinjiang Oirats. Areal traditions of the Xinjiang version of the epic were investigated by Liu Shiu who pointed out some specific features typical for different ethnic groups. The famous scholar T. Jamtso paid great attention to dissemination and preservation of the Xinjiang Oirat epic tradition, and concluded that essentially taletellers could be referred to somewhat old and new formations respectively. The Xinjiang Oirat tradition stems from Central Asian epic entity and is characterized by typological unity and stability. According to T. Jamtso, variability of texts is linguistically determined by the origins and status of a certain jangarchi (Kalm. ‘epic reciter’). The variable nature of the version is also explained by regional peculiarities of different traditions and result in separate studies of epic traditions existing in different areas. In this regard, one should stress the influence of the written tradition on the oral one, and the role of bookish epic texts in the Xinjiang Oirat oral tradition. The vast majority of researchers mention the oral tradition of the Jangar in Xinjiang, but there had also existed a written tradition that gave rise to a number of epic texts (manuscripts). With evidence from predecessors’ experiences, D. Taya investigates a set of questions related to the history of the Jangar epic tradition, its dissemination, characteristics of early and later jangarchis, traditions of performing schools, customs and rituals accompanying the recitation process and their meanings. Researches by Chinese scholars also touch upon the debating point as to when and how the Epic of Jangar took shape. Zh. Rinchindorji characterizes the Jangar as a fairy-tale based literary composition which developed into a huge multiversion narrative between the 13th and 17th centuries. He attempts to confirm his conclusions by references to the main contents of the epic reflecting an internal struggle of the Oirats against aliens, and distinguishes between some main plot and co-occurring ones, the core of the composition and some secondary elements. T. Jamtso provides an overview of interpretations of the name ‘Jangar’ existing in both the Xinjiang Oirat and Mongolian traditions, and sets forth an original hypothesis: ‘jangar’ is etymologically Oirat, while the phrases ‘Jangar-Khan’ and ‘Bogdo Noyon Jangar’ can be translated as ‘an ingenious ruler of the state’ and ‘a wise khan of the northern state of Bumba’ respectively. Thus, epic studies of the Xinjiang Oirat version of the Jangar in China develop and deal with topical issues of the current trends and peculiarities inherent to the tale-telling tradition, areal traditions, dissemination and preservation of the epic, its typology and variable nature, genesis and formation activities. Epic studies and publications of the Xinjiang Oirat version provide wide opportunities for comparative and typological investigations of the literary monument.