Symbols and semantics of the epithet in the Xingjiang Oirat version of the epic “Jangar”

The epic style is characterized by an abundance of constant epithets, which give the narration a peculiar decorating flavor and typifying-idealizing character, without which it is impossible to build an expressive artistic image. The specificity of the folklore-epic epithet lies in the operation of the fund of canonized and traditional definitions that fix the ideal and typical feature of an image or object. In this regard, one of the urgent problems is the symbolism and semantics of the epithet, embedded in the semantic structure of the word and revealed in the epic formulaic combinations of the epithet with the defined words. The methodological basis of the research is the methods and approaches in the study of epic poetics and stylistics, developed by A.N. Veselovsky and V.M. Zhirmunsky. The study examines the symbolic meanings of the epithets of the Xinjiang Oirat version of the epic «Jangar», which characterize the main objects and concepts of the epic world: space and time, heroes and antipodes, objects, things and attributes, in the context of ethnocultural and mytho-epic traditions. Epic eventual time (initial, distant, precious) correlates with the mythological time of the first creation, and the sacred image of the epic mountain (Sizo-White Mountain) is transmitted through the epithet (white), and is associated with the cult of mountains and ancestors. Ethnocultural symbolism of the epithet reflects traditional general Mongolian views. The concept of «rich nomadic» means countless herds of cattle and herds of horses grazing in the vast vast expanses, and the «snow-white headquarters-yurt» of the ruler symbolizes the well-being and happiness of the owner. The semantics of color epithets is specific in the epic «Jangar». So, white is sacral, yellow has solar origins, black is inherent in the enemy world and epic antipodes, red is the color of blood and confrontation, «the hero’s fighting frenzy», and is also a symbol of life and beauty. The symbolism of gold means the highest value and is associated with an epic ruler. The epic country of Bumba (North Bumbai country) appears as a Buddhist mythical Shambhala, localized in the north, also identified with the mainland Zambutib (Golden Zambutib). As a result of the study, the author comes to the conclusion that understanding the deep level of the epic text of the Xinjiang Oirat tradition and understanding the epic picture of the world is based on comprehending the universally significant symbols of the ethnocultural tradition. The sacred symbolism of the epithet reflects ancient archaic-mythological ideas and pre-Buddhist beliefs. The semantics of the epithet also expresses Buddhist cosmological concepts. The principles and approaches, as well as the results, can be applied to solve research problems of a comparative typological plan.