"Жангар" туулийн баатрууд ба буддын шашны арван хангал

Heroic characters in Janggar epic and ten fierce divinities In Buddhism

Abstract

Many Khalha men became lamas, almost one lama in each household, as a number of monasteries were established. Moreover, there was a common belief that everything should have religious senses, if not, that would be invaluable. One prime example is the explanation of heroic epics, especially epic of Janggar in relation to Buddhist concepts and its fierce divinities. Bogda Janghar Khaan, one version of Khalkha Janggar, is the most interesting one which has a Buddhist religious sense, noted in 1997 by Ulzii, an epic singer and daughter of Dandardoij taiji of Dashdoo gunii khoshuu, Sain Noyon Khan aimag (currently Galuut sum, Bayankhongor province)

Khalkha version of the epic Janggar describes the establishment of Buddhist monasteries, flourishment of religion and life wellness instead of aggressive heroes, and their struggles and battles.

The plot of Khalkha Janggar is depicted in the Central Khalkha, at the back of Khan Bogd Mountain and on the bank of Tuul River, not in Altai and on the sea coast which are described in Kalmyk and Oirat versions of Janggar. Bogda Janghar Khaan is said to be reincarnation of Buddha. It is interesting that characters of heroes are related to religion and mythology and depicted as ten fierce divinities of Yellow sect of Buddhism.

Khalkha versions of Janggar epic become evidence which not only show that any epic has its primitive characteristics but also how they are developed and changed throughout different societies and time periods. It also shows that a tradition of singing epics became deed of women because most Khalha men became lamas in monasteries at that time, so it illustrates that they are different from Kalmyks and Oirats.