The whole dissertation is composed of introduction, aesthetics and epic study, aesthetic objects of Jangar, aesthetic standard of Jangar, Jangar in relation to Mongolian aesthetic culture, conclusion and appendix. Introduction includes three parts: the significance and purpose of choosing this thesis, a survey to related researching works and the theories and methods that are used in this paper. In the section 1,I pointed out the status of epic Jangar occupying in Mongolian literature, Chinese literature and world's literature and emphasized that Mongolian great epic Jangar can match with the famous classic epic Iliad and Odysseus of Greece or Rdmayana and Mahabharata of India. In the second part, gave a brief account of history of collection and publicity of Jangar. The first Jangar text was found at Kalmaic steppe on the shore of downstream Volga, Russia, in 1804. It was therefore named as Kalimaic epic Jangar. Then, the same texts was also discovered from West of Mongolia, Oirads in Xinjiang of China in follow and brought to be published. Comparing with its collecting and publishing work, the studies of Jangar was a newly-launching task, in particular the studies from the view of aesthetics, which began in 1980s. And the studying works released in recent 20 years have, in spite of being directed to nature, society, heroes, motives and thesis in Jangar and discussing about Jangar's ideal of beauty and aesthetic sense on the basis of certain text, been lacked for conception of wholeness and, neglected internal aesthetic rules formulated in the course of epic composition, performance and circulating. As a result, there are hardly few systematical research works appeared. In their long movement of history, Mongolians have made outstanding, glorious causes and achievements. Epic Jangar is a traditional culture legacy that the ancient Mongolian left to their descendants, a wealth of culture, one of the living epics alive now on the world. Its aesthetic contents are important, because these aesthetic psyche and conceptions indicated by them are the traditional aesthetic culture handed down from the ancient times, and therefore the world view and view of life in Jangar are something deserved to study. So this paper took the Jangar as topic to study the epic speech of Jangar by methods of aesthetics, sociology, psychology and finished with a presentation of Jangar aesthetics, in order to give some inspirations to the studies afterwards. In the section 2,I gave a survey to the general situation of research, e.g. the history of Jangar study. It has already passed 200 years from the first discovery of Jangar up to now, during this time there have been more than 200 pieces, 200,000 lines of poems published. The studies of this epic, comparing to its collecting, seemed to be poor, but it is appropriative to mention the famous scholars involved in it, for example, Vladimirtsov, Poppe, Kichkov, Nekljudov in Soviet Russia and RinchinDorj in China. In the section 3, introduced the theories and methods used in this study, first of all, the Oral Formulaic Theory, structuralism are used to analyzed the epic's beauty external, then draw upon the theories of sociology, psychology, folklore study, mythology and science of history to read the beauty internal, eventually generate out the rules of beauties in epic and its transition tricks. The main body is composed of 4 chapters. Chapter 1 analyzed the relationship between epic study and aesthetics in division of 3 sections. Section 1 is directed to explain the relation between aesthetics production and epic. First of all, production of the human aesthetic senses and thoughts are not apart from human evolution process while the aesthetics as a science has lately appeared. Epic, as a cultural legacy untouchable, was composed under certain social background and from some historical origin, e.g. taken sources from praises for tribal warrior in the transitional time from primitive society to slave society. As a result, aesthetics and epic were all connected with the primary stage of human society. Section 2 discusses about object of aesthetics and truth of epic. Object in aesthetics is the beauty, an abstract concept, for this reason, all of western theorists and eastern scholars take a reasonable and touchable coat-nature and art-on the beauty. Natural beauties and art beauties were the studying object in aesthetics at the beginning, lately, along with the developments of sciences and humanities, the objects of aesthetics continued to deepen and gradually the art beauty and aesthetic psychological phenomenon has been the essential part. Epic, as its historical origin, grow from the root of truths. What made epic welcome to people is a belief that it used to be a truth existence, and therefore it can have appropriation values. After all, epic belong to language art and, unavoidably, there are some exaggerations, as a result, the beauty and the truth are incorporated into one whole thing in the epic speech. Section 3 explained the aesthetic classification and constitution of epic beauty. Along with their developments and consummations, the aesthetic theories have been continuing to infiltrate into every-field of human activities, and therefore have produced many types of doctrines, such as: psychoanalyst aesthetics, formalist aesthetics, structural aesthetics, literary aesthetics and or so, which provided the aesthetic study of epic with theoretical basis. According to the aesthetic theories, we can take up the epic in two aspect, one is in the superficial structure, e.g. discussing about the beauty of form in epic from language expression, order of the early and late, motive or so; another is in the internal structure, e.g. discussing about the beauty of contents in epic from the aesthetic matters, psychology and conceptions. Chapter 2 explored the aesthetic object in Jangar. There are many kinds of them, the esthetic objects in epic mainly focused on two types: lofty beauties and exquisite beauties, the lofty beauties not only were embodied in nature and behaviors of the heroes in epic, horses' movements and motives, but also in description speech of natural surroundings, characters and tools, e.g. lofty language styles. Seemingly, the exquisite beauties are embodied in the speech of the description of beautiful women's images and behaviors. Chapter 3 sums up the aesthetic conceptions in Jangar. Because of low-level production, the ancient people had always being in trap of lacking life materials in the primitive society and therefore their aesthetic psyche and conceptions were closely connected with the materials' practical use and richness. For example, the conceptions of "practical is beauty" and "rich is beauty" demonstrate this idea. Lately, along with the development of society, under the demand of constitution of slavery state, there appeared "harmony is beauty" and "goodness is beauty", expressing people's wishes to fine life. Chapter 4 explored to explain the connection between Mongolian aesthetic culture tradition and Jangar's aesthetic standards by division of 3 sections. In their formation and development course, the nationalities in the world have grown own distinctive internal culture sense-aesthetic conceptions. The aesthetic conceptions indicated by Jangar are something associated with the ancient Mongolians. Its formation, development and eventual determination took the sources from the origin of traditional culture, the first Heaven-fated idea, second sun worship, third Shamanist beliefs, which were the origin and foundation of the beauties composition and circulation in epics.
