Uygurca Bir Sivil Hayat Belgesi: Maitrisimit

Year 2018, , 7 - 23, 31.01.2018

Fatih Bakırcı

https://doi.org/10.35236/jots.346108

Abstract

The
Uighur that politically dominant on the stage of history since the 8th century,
spread across different geographical regions based on such political
structuring encountered different languages and cultures due to political, cultural
and religious reason and interacted with these. There is court of Buddhist in
those different interacted fields, too. The work called Maitrisimit translated
from Tocharian is one of texts of Buddhist court that took an important place
in Old Uighur Turkish works. GABAIN and TEKİN previously laid emphasis on the
fact that Maitrisimit which has a dynamic and dramatic narration was a
theatrical production and staged. Based on these remarks, this assertion in
which the theatrical terms and concepts in the work were first identified
focuses on the question why such a religious work includes theatrical aptitude
style wise by giving examples from the Berlin (B) collection and the copy of
Hami (H). It is seen that this work in an attempt to convey the Buddhist
doctrines to the public in a more understandable way can be considered more of
a civilian life documentary in terms of language and style, as compared to Sūtra
and Abhidarma’s, the other religious texts of the period, which belong to Buddhist
community.

Keywords

Maitrisimit, Old Uighur, Buddhism, theatre

A Civilian Life Documentary in Uighur: Maitrisimit

Abstract

The
Uighur that politically dominant on the stage of history since the 8th century,
spread across different geographical regions based on such political
structuring encountered different languages and cultures due to political, cultural
and religious reason and interacted with these. There is court of Buddhist in
those different interacted fields, too. The work called Maitrisimit translated
from Tocharian is one of texts of Buddhist court that took an important place
in Old Uighur Turkish works. GABAIN and TEKİN previously laid emphasis on the
fact that Maitrisimit which has a dynamic and dramatic narration was a
theatrical production and staged. Based on these remarks, this assertion in
which the theatrical terms and concepts in the work were first identified
focuses on the question why such a religious work includes theatrical aptitude
style wise by giving examples from the Berlin (B) collection and the copy of
Hami (H). It is seen that this work in an attempt to convey the Buddhist
doctrines to the public in a more understandable way can be considered more of
a civilian life documentary in terms of language and style, as compared to Sūtra
and Abhidarma’s, the other religious texts of the period, which belong to Buddhist
community.

Keywords

Maitrisimit, Old Uighur, Buddhism, theatre

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