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Kutadgu Bilig, one of the first Islamic period works, is an allegorical work created with symbolic expressions. The most important symbols in the work are Kuntogdı, Aytoldı, Ogdilmis and Odgurmıs, which are the four main heroes. When these heroes are considered, it will be seen that many cultural, language and religion interactions have been tried to be given through them or the items they use. In this context, although Kutadgu Bilig is the first Turkish-Islamic period work, it is possible to encounter the remnants of other nations and religions when the sub-lines in the work are examined in full. One of these religions is Buddhism. Although it is not known exactly when Buddhism started to spread among Turks, the Buddhist influence started to show itself more intensively in the 9th century and it continued until the 13-14 century when all the Uighurs were included in Islam. When the geography in which Kutadgu Bilig was written is examined, it is seen that different religions lived together in this geography and many works were written here in parallel, both Buddhist and Islamic. It is possible to see the Buddhist influence in Kutadgu Bilig. In this study, an investigation will be made on the Buddhist symbols in Kutadgu Bilig. [ABSTRACT FROM AUTHOR]

When we examine the history of religions, we see a lot of commonalities in terms of how each religion goes about practicing worship, as well as commonalities in terms of symbolism. The recitation of prayers and sacred word in order to approach the divine and in order achieve various gains is common to all religions, for instance. Tantric Buddhism is no exception to this rule, in which monks read the Buddha's dhâranî during mandala ceremonies and re-enact the Buddha through mantras. Reciting these mantras internally allows one to more easily reach whatever it they so seek. Numerous Old Uyghur texts, namely the 'Cundîdevîdhâranî/Buddha's dhâranî' depict the Cundî Buddha, and even instruct us on how one should paint it, citing that the Cundî Buddha should be depicted sitting in a lotus flower position, protected by two dragons in a lake, and surrounded by three-eyed of Cundî. The Cundî Buddha, moreover, has eighteen hands, each of which holds various objects. This study will focus on these symbolic expressions and their semantics in Old Uyghur within context of how the Cundî Buddha is described/depicted. [ABSTRACT FROM AUTHOR]

Numbers which measure the whole universe as mathematical value contain cultural and religious various meanings. In this context, the number 108, as found in examples such as rosaries with 108 beads, the repetition of a dhāraī 108 times, or the repetition of the 108 name of Mañjusri Buddha in Old Uyghur, carries with it important numerical value because of its significance in Buddhism as well as other religions. When the number 108 in the Old Uyghur language is examined more closely, we seen that this number represents three different creations: (1) Universe, (2) World, and (3) Human. Firstly, in the creation of the universe, the distances between the sun, the earth and the moon are concerned. The second is the creation of the world, and it is linked to the golden ratio rule 108, an important rule in the world or in nature. Finally, the human body and spirit are associated with the number 108. The number 108 indicates the 108 pressure points in the human body and the distance between the body and the god. In addition, the number 108, which has mathematical and astronomical value is also tied astrology as well. [ABSTRACT FROM AUTHOR]