摘要
The motif of Three Khans of Saraigol has been widespread in the oral traditions of Mongolians,Tibetans and Russian Tuvas.Arampil,1923-1994,a Mongolian epic singer,born to Khobogsairi County,Xinjiang,sang the epic chapter titled Shar Gurgud two times in 1982 and 1991 with both of them had been recorded on tape respectively by Jamtsa and Professor Taya.The two texts show some differences in terms of stories of Three Khans of Saragol.But we think neither of them should be proposed with certainty as the original text or standard one.The motif has seen not only in the texts sung by singers from the same region with Arampil,including Junai and Bombai,but also in the texts by singers from other part of Xinjiang,and has similar features with those seen in the oral traditions of Russian Kalmyks,Russian Buriyats,Russian Tuvas and Mongolian people.As a constituent element of the epic Jangar,the motif has been always being under the influence of the time,society,history and culture and undergoing minor modifications while in circulation keeping its role setting,plot and verbal representation in alignment.This motif comes from ancient motif that was popular in oral traditions of Tibetans,Mongolians and Turks in old times.
The motif of Three Khans of Saraigol has been widespread in the oral traditions of Mongolians,Tibetans and Russian Tuvas.Arampil,1923-1994,a Mongolian epic singer,born to Khobogsairi County,Xinjiang,sang the epic chapter titled Shar Gurgud two times in 1982 and 1991 with both of them had been recorded on tape respectively by Jamtsa and Professor Taya.The two texts show some differences in terms of stories of Three Khans of Saragol.But we think neither of them should be proposed with certainty as the original text or standard one.The motif has seen not only in the texts sung by singers from the same region with Arampil,including Junai and Bombai,but also in the texts by singers from other part of Xinjiang,and has similar features with those seen in the oral traditions of Russian Kalmyks,Russian Buriyats,Russian Tuvas and Mongolian people.As a constituent element of the epic Jangar,the motif has been always being under the influence of the time,society,history and culture and undergoing minor modifications while in circulation keeping its role setting,plot and verbal representation in alignment.This motif comes from ancient motif that was popular in oral traditions of Tibetans,Mongolians and Turks in old times.
出处
《西部蒙古论坛》
2024年第1期93-104,M0005,共13页
Journal of the Western Mongolian Studies
