Abstract: The study and attribution of works of fine art remains one of the most important activities of modern art museums. This task is particularly relevant for regional museums, whose collections were formed in the 20th century due to transfers from the State Museum Fund and the capital's state collections. Attribution of works not only allows establishing authorship, but also provides an opportunity to reach the level of deeper generalizations, fills in existing gaps in the history of art, and finally leads to an understanding of the general laws of artistic development. The article highlights some of the research experience of recent years of Italian paintings of the XVI–XVIII centuries from the collection of the Omsk Regional Museum of Fine Arts named after M. A. Vrubel. Attribution was carried out on the basis of an integrated approach involving the use of comparative stylistic analysis, technical and technological research, as well as work with archival documents. The works of Soviet art historians B. R. Vipper, V. N. Lazarev, as well as publications by leading Russian specialists I. V. Linnik, V. E. Markova, I. S. Artemyeva, and others were of methodological importance. The study showed that the focus of the study of Italian painting is not only on the issue of establishing authorship, but also on the problem of identification itself – establishing affiliation to a national school, identifying original works, identifying copies and imitations. In the course of the research, previously accepted attributions were revised, and individual works that were considered nameless acquired the author's name. The introduction into scientific circulation of previously unknown works by Italian masters of the XVI–XVIII centuries from the collection of one of the largest regional museums, as well as the identification of new paintings by artists significant for the history of Western European art, enriches the picture of Italian painting, which determines the novelty of the study. In addition, the obtained data from technical and technological research can serve as comparative material in the study and proof of attribution of works of Western European painting.

Keywords: artist, collection, technical and technological research, stylistic analysis, national school, Italian painting, attribution, museum, copy, State Museum Fund

Abstract: The object of the study is Alexander Sergeevich Terekhin, a researcher of the architecture of the Kama region. The subject is his activities in the field of protection of historical and cultural monuments in the 1960-1970s. The purpose of the article is to characterize the role and contribution of the researcher in the process of identifying monuments of the industrial heritage of the Perm region in the specified chronological period. The relevance of the stated topic is that at present it is very important to consolidate all available forces in order to preserve the remaining monuments of the domestic industrial heritage. There are no studies on this topic, which determines the scientific novelty of the study. As part of the preparation of the article, archival materials were used from the Perm State Archive of Socio-Political History and the State Archive of the Perm Territory. In the latter, the personal fund of A. S. Terekhin is most important. The research methodology is presented by general scientific methods, as well as special historical ones: chronological, historical-genetic and historical-comparative methods. The author came to the conclusion that the activities of A. S. Terekhin in identifying monuments of industrial heritage were very effective. In the 1960s - early 1970s. with his active participation, a field survey and study of a number of monuments of industrial wooden architecture, as well as factories and dams in the Perm region, was carried out. As a result of the activities of A. S. Terekhin, a number of industrial heritage objects were put on state registration as monuments of local significance. And some of the objects have undergone museumification within the framework of the Architectural and Ethnographic Museum “Khokhlovka” and the “Museum of Salt of Russia”.

Keywords: Khokhlovka, ethnographic museum, industrial architecture, wooden architecture, identification, Perm region, A. S. Terekhin, monument, industrial heritage, factories

Abstract: This article is devoted to the history of creation of the memorial monument dedicated to the Red Banner Ladoga Flotilla and rivermen of the Northwestern River Steamship Line in Novaya Ladoga. The article provides a comprehensive study of the architectural and designer project of E. A Zhuk and it's implementation in 1985. The methodology of the research is based on the historical-chronological, structural-functional, and semiotic approaches. Based on the historical and cultural analysis of the dynamics of creation of the monument, the article distinguishes a few innovative techniques and functions fulfilled by the monument, such as: representative; memorial, recording the remarkable achievements of the team of authors and contractors; artistic, within the ensemble perception of the object. The article shows the improvement of the project in the process of working on it. It also illustrates the design solutions, embodied in the construction. Texts and documents contemporary to the architectural idea and it's implementation are analysed. Based on the conducted study, it's concluded that the memorial represents an object perfect in function and artistic image, reflecting the synthesis of innovative techniques, accounting for the specifics of the landscape, and communicating the author's cultural experience. The relevance of the topic is related to its characteristics that are unique to the world's practice of military memorabilia. The scientific novelty of the research is in the attribution of the monument which embodies the patriotic idea of protection of one's Motherland in combination with a memorable artistic image. The monument reflects the socio-cultural code of Leningrad and the region. This indicates that the architect E.A. Zhuk belonged to the Leningrad school, which is characterized by a set of aesthetic views that are inherent in Leningraders.

Keywords: Flotilla, Ladoga, to the Red Banner, To the sailors, memorial monument, Zhuk, Evgeniy, architecture, design, landscape

Abstract: Chinese women's music, as a branch of China's traditional musical culture, has shaped its aesthetic characteristics in close relationship with gender culture, social ethics, and power structures. The evolution of the aesthetic characteristics of Chinese women's music is essentially a story of the interaction of gender discourse and musical semiotics. This cultural practice reflects both the social power structures of specific historical periods and the agency of women in artistic creation. The aesthetic characteristics of Chinese women's music show dual tension: on the one hand, formal norms are formed under the influence of Confucian ethical discipline, characterized by the principle of "Yin gentleness"; on the other hand, through technological innovations and the awakening of subjectivity, a stable expression develops in the intervals of the ritual system. From the individual narrative of the musical and poetic works of Yuefu of the Han era (112 BC) to the artistic self-awareness of the court musical institutions (jiaofang) of the Tang era (618-907), this process culminated in the 20th century with the modern transformation from a "ritual instrument" to an "artistic instrument." The article consists of four parts: the first part is devoted to the basic concepts of women's music. The second part is devoted to the aesthetics of women's music in the system of rituals and music. The third part is devoted to the aesthetic construction of women's music of the XX century. The fourth part is devoted to the duality of aesthetic characteristics of Chinese women's music. In conclusion, the author considers that the transformation of the aesthetic qualities of women's music represents not only a renewal of the artistic form, but also acoustic evidence of the transformation of gender power relations in Chinese society, offering a unique aesthetic dimension for understanding the modernization of traditional culture.

Keywords: culture, China, musical anthropology, aesthetic construction, gender culture, aesthetic characteristics, music, Chinese culture, women's music, female

Abstract: Since the concept of "local knowledge" proposed by Clifford Geertz was introduced into ecological anthropology and cultural anthropology, local ecological knowledge has remained a hot research topic. The Lopliks have long lived on the desert fringe of the extremely arid Lop Nur region in the southeastern part of the Tarim Basin, Xinjiang, China. Based on their adaptation to the harsh ecological environment, they have developed a rich and effective local ecological knowledge system. This paper aims to explore the traditional local ecological knowledge of the Lopliks,mainly focusing on the economic and cultural foundations, main content, types, and the underlying cultural logic of the local ecological knowledge of the Lopliks. This article primarily employs qualitative research methods, specifically adopting anthropological fieldwork, delving into the living environments of the subjects, and obtaining a large amount of firsthand data through in-depth interviews, participant observation, and other means, laying an important foundation for the analysis presented in the article. The traditional ecological knowledge system of the Lopliks is built upon their cognition of the surrounding ecosystem. These local knowledge and cognitive schemas are integrated with their diverse religious beliefs, cosmology, and cultural customs, fully demonstrating their strong vitality and cultural rationality in adapting to specific ecological environments and protecting the ecosystem. By examining local values, belief systems, social structures, and ritual traditions, anthropology provides unique insights into the interplay between culture and the environment. This allows us to uncover the ecological wisdom, significance, and value embedded within local cultures, and identifying the root causes of environmental problems and potential solutions derived from the local cultural context.

Keywords: multifaceted economy, local knowledge, folk beliefes, ecological consciousness, adaptation, the Lop Nur Region, anthropology, ecological environment, the Lopliks, taboo

Abstract: The article is devoted to a comparative analysis of the Jesuit architecture of the XVI–XVIII centuries in three key Asian regions – Japan, Goa and Macau. The study examines the influence of the European architectural tradition based on the "Instructions" of Carlo Borromeo and the principles of the Jesuit Baroque on the development of religious buildings in conditions of socio-cultural and geopolitical diversity. The novelty of the work lies in the comparative analysis of the Jesuit architecture of Japan, Goa and Macau, which allows us to identify patterns of synthesis of the European Baroque tradition with local construction practices. The general patterns and differences in architectural solutions are revealed due to the level of colonial control, political restrictions and interaction with local building traditions. It is shown that in Japan, the Jesuits were forced to adapt their architecture to local conditions as much as possible, creating portable modular temples, whereas in Goa their architecture almost completely followed European canons. Macau has developed a unique synthesis of Chinese and European architectural traditions, which is reflected in a special combination of Baroque forms and oriental decorative elements. The results obtained allow for a deeper understanding of the mechanisms of intercultural interaction and adaptation of the European architectural heritage in Asia. The research is based on an interdisciplinary approach combining historical and architectural analysis, comparative typological method and elements of a cultural approach. The paper analyzes primary and secondary sources, including written testimonies of Jesuit missionaries, historical chronicles, as well as preserved architectural monuments. The novelty of the research lies in a comprehensive comparative analysis of Jesuit architecture in three different cultural and historical contexts, which makes it possible to identify patterns of adaptation of European architectural traditions to Asian conditions. Unlike most works examining the architecture of the Jesuits in colonial America and Europe, this study focuses on the mechanisms of synthesis of Baroque architecture with local traditions in Asia. For the first time, one study conducted a detailed comparison of the Japanese, Goan, and Macau architectural experiences and showed how the level of political autonomy of the region, economic support for missions, and the attitude of local authorities to Catholic expansion determined the nature of the adaptation of architectural forms. And also analyze and give examples one by one according to the situation in different regions.

Keywords: colonial architecture, The Catholic Church, architectural syncretism, missionary activity, Japan, Goa, Macau, The Baroque, Jesuit architecture, The Jesuits

Abstract: The subject of the study is the impact of virtual reality (VR) on theatrical practice, the embodiment of the actor and the audience in the context of digital technologies in theater in the 21st century. Virtual reality (VR) opens up new perspectives for studying embodiment, and modern technologies allow us to rethink the boundaries between the embodiment of the actor, the viewer, and the digital space. This article analyzes the influence of VR on theatrical practice and discusses the main philosophical approaches to the concept of embodiment. Particular attention is paid to the phenomenon of the "virtual body," the concept of bodily extension, and the impact of digital reality on the perception of the human body. Examples of theatrical productions that use VR technologies are examined, including performances "The Cage with Parrots" (Gogol Center), "In Search of the Author" (Tyumen Drama Theater), "I Killed the Tsar" (Theater of Nations), and "Biomechanics VR" (New Stage of the Alexandrinsky Theater named after V. E. Meyerhold). The research method includes an analysis of philosophical approaches to the concept of embodiment and the study of examples of theatrical productions utilizing VR technologies. The research methodology entails qualitative analysis based on the interpretation of theatrical practices and their impact on the perception of embodiment. The novelty of the research lies in a comprehensive examination of the phenomenon of the "virtual body" and the concept of bodily extension in the context of virtual reality in theater. The study covers the intersection of technology and art, emphasizing the significance of VR as a tool for transforming the perceptions of artists, performers, and audiences of stage productions. The findings of the research show that virtual reality not only expands the possibilities of theatrical art but also changes traditional notions of embodiment and interaction in theater. The implementation of VR technologies creates unique spaces for interaction between the actor and the audience, opening new horizons for theatrical creativity. The study also analyzes the impact of VR on the emotional and psychological perception of viewers, offering new approaches for creating immersive theatrical productions.

Keywords: audience communication, antropological technologies, vr-technologies, immersive, contemporary technologies, vr-performance, digital anthropology, theatre, corporality, virtual reality

Abstract: The subject of the study is the peculiarities of Chinese installation at its current stage. The object of the research is installation compositions made by Chinese artists. The author examines in detail such aspects of the topic as national specifics, the main themes and typical artistic materials of the Chinese installation. Special attention is paid to the factors that influenced the formation of this artistic trend in China. The importance of the impact of the Western artistic experience is emphasized. Iconic examples of works by Chinese artists and the main trends that stand out in Chinese installations today are considered. The specifics of the female and ecological installation are investigated as well as the interaction of elements of traditional culture and innovative technologies in the installation compositions. The role that installation art plays in shaping China's international image is also mentioned. In the framework of this research, the following methods were used: historical and comparative, as well as critical analysis. The scientific novelty of this study lies in the fact that the author identified the specifics of the Chinese installation, as well as identified the factors that influenced the formation of this specificity. The main conclusions of the study are: despite the significant contribution that the study of foreign experience has made to the formation of installation art in China, modern works by Chinese artists are independent and distinctive. This is achieved through experimentation with traditional cultural objects in the process of creating compositions, as well as artists' reflection on the historical and social experience of China. The modern Chinese installation combines both the use of high technologies and the disclosure of pressing issues for modern Chinese society, as well as close attention to the country's centuries-old cultural heritage.

Keywords: women's installation, ecological installation, art materials, composition, contemporary art, China, national culture, installation, Chinese art, art

Abstract: The object of research is designing the interiors of psychological relief rooms for professional assistance. Subject: methodology for creating an adaptive and multifunctional learning environment. The goal is to draw attention to the non-adaptive approach in the design of such premises. Most of the modern interiors of psychological relief rooms are monofunctional, which does not meet the needs of users who are faced with various stress-forming factors. Professional co-design of a designer and psychologist allows to create adaptive spaces for different tasks. And the proposed set of project tools, which includes «static» and adaptive «scenario» tools for creating a transformable environment that compensates for the negative effects of stress. The principles of space organization are aimed at optimizing the performance of its main function-neutralizing stress. The adaptive interior space of psychological relief rooms helps to apply personalized therapy. Within the framework of this study, a comprehensive methodological approach was applied, including the following methods: Empirical (collection and analysis of images of interiors, rooms of psychological relief, from open sources); Theoretical (study of scientific publications and methods of designing interiors of rooms of psychological relief); Environmental approach to the organization of the subject-spatial environment; Computer modeling (visualization and optimization of design decisions). The scientific novelty of the study lies in the method of designing an adaptive multifunctional, controlled interior for rooms of psychological relief, for various tasks based on the stress-forming factors of visitors. The integration of the psychologist's work with the adaptive subject-spatial environment developed by the interior designer helps to effectively reduce nervous tension and improve the psychosomatic state of visitors. The relevance of applying a personalized and multifunctional approach to the organization of psychological assistance through a subject-spatial environment is especially significant in rehabilitation centers located throughout the country, where SVO fighters restore their health. As a result of the study, the proposed methodology was tested in the design of psychological relief rooms in a boarding school in Yar-Sale village; in the Oryol special educational institution of closed type; in the Talitsky children's sanatorium of the Regional Clinical Tuberculosis Dispensary. The design methodology is applied in the interiors of institutions that differ in geoclimatic conditions (Far North, Central European part of Russia) and profile specialization.

Keywords: interior design, personalized approach, multifunctional interior space, design tools, modern technologies, health-protecting environment, psychological relief rooms, adaptive space, interior of recreational facilities, design methodology

Abstract: The subject of the study is the socio-cultural conditionality of walking practices that exist in world religions and were used by world-famous philosophers for health and personality-building purposes, who turned their walks into self-knowledge, ritual, meditation, a way to activate creative abilities and a political gesture. In particular, the article examines kinhin and kayhege as meditative pedestrian practices of Buddhism; Christian interpretations of pedestrian movement and its manifestations in the forms of pilgrimage, pilgrimage and walking through prayer labyrinths are also studied; information about walking presented in the Koran, Sunnah and Sufi literature is analyzed. The article considers the goals and consequences of regular walks in nature by J. J. Rousseau, F. Nietzsche and G. Thoreau; urban hiking by I. Kant and S. Kierkegaard, as well as political campaigns (marches) by M. Gandhi. The research methodology is a set of coordinated scientific approaches, namely: holistic, historical and dialectical. The principles of research include the principles of consistency, historicism and objectivity. The research methods used are theoretical analysis and synthesis, historical and systemic methods. It is determined that walking has the potential to achieve the integrity of human existence as a unity of body and mind, and it also ensures the unity of man and the world. The practices of meditative walking emphasize the existential restlessness of a person, his wandering supranationality. Walking is often a marker of liberation from the oppressive pressure of society and civilization. Prolonged walking in an optimally selected individual rhythm, in the case of regular repetition, forms an environment of fronesis as embodied in everyday practical reason. A moving body is more noticeable. Because of this, group walking (marches, hikes, etc.) is used as an effective form of demonstrating a political position, and since prolonged walking has a calming effect, it contributes to the embodiment of the critically important ethics of biophilia and nonviolence in promotional political walking. The creation of pedestrian infrastructure is a visible manifestation of the humanization of the settlement environment, and the popularization of walking and the systematic use of walking instead of traveling short distances by transport are a contribution to solving environmental problems, health problems, as well as to ensuring sustainable development.

Keywords: pilgrimage, fronesis, political marches, dynamic meditation, wandering, flanking, sociocultural determination, walking, the prayer maze, humanism

Abstract: The article is devoted to the description and opposition of culturological approaches to the perception and analysis of visual culture phenomena based either on "reading" the visual as a text, or on a special experience of its "visibility", fundamentally different from the experience of "reading" (which is designated in the article as a "desemiotic" approach). The first approach is implemented within the framework of semiotics, where the visual is really considered as a text, a system of signs, or even a language that can be analyzed through interpretation, search and isolation of meaning. The second approach arises under the influence of post-structuralist criticism of semiotics, interest in what is "hidden behind structures" and does not lend itself to semiotic reading: the visual is considered here as a special affecting experience that escapes from a fixed meaning. To analyze, disclose and contrast the selected cultural approaches, the article uses a comparative typological method. The main theoretical aspects of the semiotic approach to the analysis of the visual based on the work of R. Barthes "Rhetoric of the image", as well as the directions based on this methodology: visual semiotics and visual rhetoric are considered. A brief description of the "desemiotic" approach is given: the difference between visual and language and text is asserted, the semiotic approach is criticized for its limitations and some incompleteness. The focus of attention shifts to a different, direct, sensual, affective perception of the visual, or to the range of social effects that it produces: its cultural and political functions, the ability to be a cultural representation, to construct relationships with the perceiving subject. The approach is presented on the example of the works of such researchers as W. Mitchell, J. Elkins, H. U. Humbrecht, N. Mirzoeff, I. Rogoff.

Keywords: interpretation, visual turn, visual, image, picture, desemiotization, visual rhetoric, visual semiotics, visual studies, visual culture

Abstract: In the article, the author addresses the study of the cultural aspects of a unique accessory of traditional Moksha clothing, the nakosnik puloker. The reasons for the millennia-long appeal of the nakosnik, which has become a symbol not only of the Moksha woman but also of Mordovian culture, are considered. Moreover, it is important to understand the origins of the modifications in the form of the nakosnik that followed from the 10th century. The absence of scientific works on the topic emphasizes the relevance of the ongoing research. The results of studying this unique ethnic symbol of the Mordovian people are necessary for addressing scientific and practical tasks in ethnography, cultural studies, museology, and the attribution of canonical art pieces aimed at preserving cultural heritage. Ancient artistic images are currently a valuable resource for the development of jewelry and decorative applied arts in Russia, as well as a source for studying the art of traditional costumes of the peoples of our country. The article employs general scientific methods, a comparative-historical method for analyzing artifacts from the archaeological sites of the Mordovian people, and a method of semantic analysis of Mordovian mythology and costume art. The study of the nakosnik, thanks to systematic and cultural-anthropological approaches, allows for an understanding of the spiritual culture of the Mordva and tracking its connections with neighboring peoples. Firstly, the role of spiritual values shaped by pagan culture, in which solar symbols Shi and Chi—day and sun—were central and initially deified in female images—Shiava (m.) and Chiava (e.)—is revealed. The main concepts in a woman's life, marriage (avaksshi) and motherhood (tyadyaksshi, avakschi), were defined in accordance with solar religious images. Secondly, the longevity of the nakosnik in traditional women's costumes of the Mordva-Moksha is determined by its practical function, supporting activities related to food preparation. Furthermore, the authors conclude that starting from the 10th century, which became a turning point in the history of the Mordovian people, changes occurred in the political, economic, and migrational aspects of culture, leading to a gradual transformation in the morphology of the nakosnik. This transformation was related to the understanding by women of the impossibility of preserving the original spiral method of making the nakosnik. Married women transitioned to a more practical and quicker way of styling their hair, using a pre-made sheath for the braid made of bast or tree bark. The spiral wrapping was preserved later only for the purpose of decorating the puloker.

Keywords: change in the method of shaping, practical function, marriage, pagan religion, spiral method of shaping, braid, jewelry art, traditional costume, Mordvin-Moksha, Mordvin people

Abstract: The subject of the study is the records of the account books of the Patriarchal State Order, which provide information about the activities of its administrative servants, primarily clerks, related to the compilation of books based on primary documentation that has not reached us, as well as material assistance to those in need on behalf of the patriarch. The purpose of the study is to determine the powers of the clerks of this order in relation to these issues. The author examines in detail the mechanism of creating expense books as a whole and defines the place of clerks in it along with other officials — treasurers and clerks. As for the participation of the clerks in the patriarchal charity, namely in the procedure for issuing money, special attention is paid to their "handouts", as well as the distribution of alms in prisons and almshouses.  The methodology is based on methods of auxiliary historical disciplines: first of all, Russian paleography, which allows analyzing and comparing the handwriting of officials in book entries, as well as historical chronology and historical metrology. The analysis of the texts of the expense books carried out by the author is the basis for a comprehensive description of the charity of the Moscow Patriarchal House in the second half of the 17th century, which has so far received insufficient attention in modern historiography, in particular with regard to the problems of the history of everyday life. The results of the study indicate the active participation of the clerks of the Patriarchal State Order both in the compilation of expense books and in the direct distribution of alms to recipients, including during a special ceremony during patriarchal outings. The reconstruction of the procedure for issuing handouts indicates the great financial responsibility of the clerks and the high level of trust shown to them personally by the patriarch. It was also possible to establish the fact that the patriarchs, during their exits, as a rule, did not give alms with their own hands, but delegated this task to the clerks who accompanied them.

Keywords: Moscow beggars, a handout alms, patriarchal alms, Patriarchal charity, Patriarchal House, Patriarchal orders, Patriarchal Government Order, The Russian Church, expense books, account books

Abstract: The focal point of this study pertains to the role of fundamental structural and compositional elements of infodesign of transport schemes, which collectively influence the viewer's perception of visual language. These elements have been delineated as 'graphemes'. The analytical framework encompasses their structural components, the functional role they play in navigation, the aesthetic principles that govern the organization of scheme space, and the cultural-semiotic significance that reflects local identity. A particular focus of the study is the interaction of graphemes with the user, exploring how their shape and composition influence information perception, emotional response, and navigation facilitation within the context of urban transport systems. The objective of this study is to explore the role of 'graphemes' in the design of transport schemes, and to attempt to develop a methodology of approaches to the introduction of certain symbols or signs into the design of metro schemes, taking into account their cultural, functional and aesthetic criteria, expressed in our own interpretation of the St. Petersburg metro scheme based on this approach. The research was conducted using the following methods: information design, semiotics and psychology. These methods included prototyping, comparative analysis, case study and narrative method. The results of the study confirm that the integration of graphemes increases the intuitiveness of the systems and their cultural adaptation strengthens the identity of the urban environment. Using the author's interpretation of the St Petersburg metro scheme as an example, it is shown how local symbols (e.g. historic buildings) can be organically integrated into the design. The following necessary steps for further research are highlighted as prospects: testing the proposed solutions through sociological surveys of passengers to assess their practical effectiveness; developing flexible methods for scaling 'graphemes', taking into account the expansion of transport networks and changes in the urban context.

Keywords: symbol, design semiotics, prägnanz, infographics, infodesign, sign, subway scheme, subway, grapheme, navigation system

Abstract: The article continues the author's research on the phenomena of symphonic creativity of Andrei Yakovlevich Eshpai, an outstanding master of modern Russian musical art. The composer's selected opuses are considered in the aspect of intertextuality, which is one of the most in-demand in the humanities, including in musical science. Due to the variety of existing scientific interpretations and the availability of a wide range of research perspectives, this aspect of the study seems to us particularly relevant. The article attempts to comprehend intertextuality as a significant, but not the only form of dialogue functioning in the musical and textual space of Eshpay's compositions, and thus apply a differentiated approach to such an ambiguous phenomenon as intertextual dialog interactions. Within the framework of this work, it seems necessary to turn to Mari folklore as one of the fundamental axiological guidelines of the composer's work. The object of the study is quotations from Mari folk songs used in the Second Symphony "Praise the Light!", as well as in the Third and Eighth Symphonies dedicated to the memory of his father, Ya.A. Eshpai. When studying the mechanisms of integration of Mari folklore into the author's text and identifying strategies for the functioning of the corresponding textual elements, an integrated approach was used, including a system-structural method, as well as methods of comparative and semiological analysis. As a result of the research, the role of intertextual strategies in the implementation of artistic concepts of symphonic compositions is revealed. It is established that the cited material concentrates the deep content and has significant potential for its deployment, activating the processes of mutual influence and contrast. The transformative effect of the folklore component on the linguistic mechanisms of texts and on their compositional and dramatic solutions is significant. At the same time, intertextual dialogue is realized through intonation transformations as well as through timbre-textured and harmonic "voicing" of folk melodies. At the same time, the composer's careful attitude to quotations turns out to be a very remarkable stylistic marker. In conclusion, it is emphasized that the intertextual dialogics of the texts of symphonic scores is close to the phenomena of stylistic synthesis. Strategies of this type become one of the clearest indicators of the author's style. They define the poetics of the genre and create a unique aura of Andrei Eshpai's works.

Keywords: citation, Mari folklore, contemporary music, conceptuality, symphonic dramaturgy, symphony, Andrei Eshpai, dialogical strategies, Intertextuality, musical genre