Abstract: The subject of our article is the identification of cultural codes of Eastern European shtetl towns in the play by Grigory Gorin "Memorial Prayer", the libretto of which was written by the author based on the works of the famous Yiddish writer Sholom Aleichem. The author of the article describes the history and conditions of localization of Jewish culture in Eastern Europe and the Russian Empire, the peculiarities of its transformation, the tragic history of the Jewish theater in the first third of the twentieth century. After the disappearance of the towns and the disuse of the Yiddish language, the preservation of the history of the characteristic everyday and philosophical way of life of the shtetls became the goal of museum figures, historians, writers, playwrights, and artists. In the work, using the example of Tevye the milkman, his family and environment, characteristic images of the inhabitants of small towns, their habitat, types of thinking and actions are revealed.  The article uses the methods of historicism in the retrospective of the culture of Shtetl towns, the method of analysis in the identification of Shtetl archetypes, the method of synthesis in the generalization of a set of characteristic cultural codes. The main conclusions of the study are:
1. Eastern European Jewish shtetl towns are small urban-type settlements with a predominantly Jewish population, whose unique culture was determined by the Jewish faith, everyday and religious traditions, the Yiddish language, as well as the localization of residence in a small area.
2. During the period of large-scale social upheavals of the early twentieth century and the subsequent expansion beyond the boundaries of the towns, their unique culture became a mythologeme, the foundation for writers, artists, musicians, and theater figures who emerged from it. One of the milestones in the preservation of this culture was the Jewish theater GOSET, whose existence was tragically cut short in the middle of the twentieth century.
3. The play "Memorial Prayer", written by Grigory Gorin based on the works of Sholem Aleichem and staged at the Lenkom Theater by Mark Zakharov, became the quintessence of the characteristic images of the shtetl, and at the same time the revival of authentic Jewish culture.
The author's special contribution is to highlight in the play the images-the archetypes of the Shtetl, which have become cultural markers, or codes of Jewish Yiddish culture.

Abstract: The cultural landscape as a concept is not a homogeneous formation, but, like a mosaic, includes patterns of cultures, both ethnic groups and state and other entities, religions, professional traditions, art, literature, science. Outstanding personalities who have contributed to the culture of the area have a separate role. The Crimean cultural landscape is rich and diverse, which is natural for a multiethnic region with a rich centuries-old history. Many outstanding figures of culture and art have contributed to the cultural landscape of Crimea, such as artists I.K. Aivazovsky, M.A. Voloshin, K.F. Bogaevsky, poets and writers A. Mickiewicz, A. S. Pushkin, I. Shmelev, architects A. N. Beketov, P.Ya. Saferov and N.P. Krasnov, composer A. Karamanov, ethnographer and sociologist N.Y. Danilevsky and many others. The subject of this article is the contribution to the cultural landscape of Crimea of the outstanding writer, cultural and philosophical figure, Leo Nikolaevich Tolstoy. Research methods used in the article are: the method of historicism in retrospect of the details of the cultural landscape of the Crimea, the method of historiography in clarifying the concept of cultural landscape, the associative-artistic method in comparing what L.N. Tolstoy wrote about the Crimea and its contribution to the cultural landscape. The scientific novelty of the research consists in understanding L. N. Tolstoy's contribution to the cultural landscape of Crimea. The cultural landscape of Crimea is rich and diverse due to both the unique natural and climatic zone and the geographical location of the peninsula on the way from east to west, which since ancient times has led to the polyethnicity, polylingualism, and multi-confessional nature of the Crimean cultural ecumene. The formation of the Crimean cultural landscape was influenced not only by communities, but also by prominent personalities who lived and/or visited the peninsula at different times. The contribution to the Crimean culture of the famous writer, philosopher, educator L. N. Tolstoy consists in his deep philosophical understanding of the local cultural flavor, expressed in the cycle "Sevastopol stories", as well as in the diaries of the writer, where he talks about Crimea as a place whose beauty and harmony embodies the philosophical harmony of thought, understanding by man and his the eternal pursuit of goodness and light as the goal of life.

Abstract: The subject of the study is the cultural code of "Numbers", covering numerical symbols and their embodiment in the pictorial semiosis of the Jews of the Crimea. The object of the study is the traditional compositions and images associated with the symbolism of numbers in the pictorial practice of the Jews of the Crimea. The research uses methods of semiotic and semantic analysis in deciphering the meanings of numeric symbols and their embodiment in the Jewish pictorial semiosis of the Crimea, the method of analyzing previous research on the topic, the synthesis method in generalizing the meanings of numeric symbols. In the article, the authors consider such aspects of the topic as: the codes of the pictorial semiosis of the Jews of the Crimea are defined, their system, etymology, key meanings and the main code are indicated. The code of the Number and its features are considered in detail.     The main conclusions of the study are:
1. The result of the consideration of the traditional culture of the Jews of the Crimea was the definition of five codes of the Jewish pictorial semiosis, including groups of images: phytomorphic, zoomorphic, skewomorphic, numerical. The Sefer code (Book) is a generalizing one. The interrelationships of the codes are structured, as a result of which the key meanings are revealed – Creation, Paradise, Torah persons, Messianic aspirations. The semantic center of the codes is defined – Aron Hakodesh - the repository of the Torah, which is the source of all Jewish doctrine.
2. The considered Number code includes images, the number of which has a symbolic meaning, the basis of which lies in the Torah. The main numbers mentioned in the Torah, their meanings and their embodiment in traditional pictorial practice are considered. In addition to the direct mention of numbers in the Torah, the meanings of numeric symbols follow from Kabbalah, which translates alphabetic values into numeric ones (due to the same spelling of numeric and alphabetic symbols in Hebrew).
Scientific novelty of the study: for the first time, the interrelationships of cultural codes in the pictorial semiosis of the Jews of the Crimea were determined. The author's concept of the sacred geometric code of numbers in Judaism is presented on the basis of the study of the Torah, as well as the classical philosophy of the Pythagoreans and Platonists.

Abstract: The Art Nouveau style in architecture of the late XIX-the first third of the twentieth century was distinguished by the synthesis of all previous styles and the free variability of the composition of both the main architectural volumes and their decor. Depending on the predominance of a particular style in a particular building, it is classified as a sub-style, for example, Neo-Gothic, Neo-Baroque, Neo-Renaissance, Neo-Russe, etc. A characteristic feature of modernity is also the use of various ethnic elements by architects. The subject of the article is the cultural characteristics of villas and palaces on the Southern coast of Crimea and the individual character reflected in them by architects in accordance with the requirements of customers, their national and professional affiliation, interests and hobbies. A special contribution of the authors is the analysis of the examples of architecture and its decoration, not abstractly, but in close connection with the personality of their owners and customers. The article uses the methods of historicism and the comparative method in the analysis of the belonging of an architectural object to a particular style; methods of analysis and synthesis in the characteristics of styles of both individual parts of architectural monuments and the entire building as a whole. The scientific novelty of the study lies in the fact that for the first time the authors described the villas and palaces of the Southern coast of Crimea not only from a historical, architectural and historical-art historical point of view, but from the point of view of matching the styles of buildings to the individual characteristics of the personalities of their owners.
Conclusions.
1. The Art Nouveau style spread in Western and Eastern Europe, including Crimea, from the end of the XIX century, and existed on the peninsula until the 1930s. The elegant character of country villas and palaces, mostly white, was especially relevant in Crimea, contrasting with the blue sky and sea and bright vegetation, creating a typical southern the color of the resort area.
2. The cultural landscape of Crimea is made up of a diverse variety of ethnic cultures, the heritage of state entities, as well as outstanding personalities who have contributed to it. In this sense, the unique buildings and their connection with the personalities of their owners represent one of the characteristic features of the historical and cultural landscape of Crimea.

Abstract: The subject of the study is the Spanish-Moorish Mudekhar code in the cultural landscape of the Crimea. The object of the study is the Spanish-Moorish stylistics in the decor of the architecture of the Crimea. The following methods are used in the work: culturological (ontological and semiotic) analysis in determining stylistic elements, the method of analysis of previous studies, the method of synthesis in identifying stylistic features of the Crimean architecture of the Modern period. The article reveals the following aspects of the topic: the features of the Spanish-Moorish Mudejar style and its application in the architecture of the Crimea of the Art Nouveau period, as well as the reasons for the popularization of this code in the cultural landscape of the Crimea are identified. The main conclusions of the study are:
1. The multiethnic Crimean cultural landscape is represented by the cultures of ethnic groups that inhabited the Crimea from ancient times to the present day. The main factor in the identification and self-identification of ethnic groups is religious affiliation, reflected in folk traditions. Folk art is the most characteristic example of the manifestation of ethnic identity.
2. The spread of the Spanish-Moorish Mudekhar style in Crimean architecture is not accidental, since the synthesis of eastern and Western features is organic for Crimea, which has been lying on the way "from the Varangians to the Greeks" since ancient times, at the intersection of trade routes from Europe to Asia. The Moorish style has become part of both the geographical and cultural landscape of the Crimea, organically entering the architecture of summer palaces and mansions.
3. A special contribution of the authors to the development of the topic is the identification and justification of the Mudekhar code as one of the most popular in the Crimean Art Nouveau style.
The scientific novelty of the research consists in the identification and stylistic analysis of the Mudekhar code in the Crimean cultural landscape.

Abstract: The subject of the study is the cultural code "Bestiary", which combines symbolic images of animals and chimeras in the Jewish pictorial semiosis. The object of the study is traditional symbolism in Jewish pictorial practice. The article uses the methods of semiotic analysis in deciphering the meanings of the elements of the traditional pictorial Jewish semiosis, the method of analyzing previous studies, the method of synthesis in substantiating sets of signs. In their work, the authors consider the following aspects of the topic: the main codes of the Jewish pictorial semiosis are highlighted, their morphology, interrelationships, key meanings and the main code are substantiated. The Bestiary code, its features, etymology and reading are considered in detail. The main conclusions of the study are:
1. Based on the study of Jewish traditional culture, five main codes of pictorial semiosis in Judaism were identified, uniting a group of symbols: skewomorphic (subject), phytomorphic (plant), zoomorphic (animal), numeric. The primary source of all codes and the unifying code is the Sefer code (Book). The interactions between the codes are revealed, the key meanings are the symbolism of Creation, Paradise, Torah persons and Messianic aspirations. The semantic center of the codes – the Torah and Aron Hakodesh, as a repository of the Torah, is revealed.
2. The Bestiary code considered in detail represents the symbolism of traditional images of animals and chimeras, which is connected with the prohibition in Judaism on the image of a person. Images of representatives of the world of animals, birds, fish, as well as mythical creatures in the Jewish reading convey the meanings of human virtues and negative qualities, and also indicate Messianic hopes laid down in the Torah and especially in the Midrash Talmud.The scientific novelty of the study consists in the fact that for the first time a culturological analysis was carried out and the interrelationships of cultural codes in the Jewish pictorial semiosis were structured, with an emphasis on the Bestiary code.

Abstract: The subject of the study is the cultural code "Rimon", covering phytomorphic symbolic images in the Jewish pictorial semiosis. The object of the study is the traditional symbolism in the pictorial practice of the Jews of the Crimea. The article uses the methods of semantic and semiotic analysis in deciphering the meanings of plant symbols of the pictorial semiosis of the Jews of the Crimea, the method of analysis of previous studies, the method of synthesis in structuring groups of signs. The authors consider the following aspects of the topic: the codes of the pictorial semiosis of the Jews of the Crimea are designated, their morphology, semantics, key meanings and the main code are substantiated. The phytomorphic Rimon code and its features are considered in detail.   The main conclusions of the study are:
1. As a result of studying the traditional culture of the Jews of the Crimea, five main codes of the Jewish pictorial semiosis were identified, covering the following groups of symbols: skewomorphic (subject), phytomorphic (plant), zoomorphic (animal), numeric. The source of all codes and the generalizing code is the Sefer code (Book). The interrelationships between the codes, four key meanings – Creation, Paradise, Torah persons and Messianic aspirations are revealed. The semantic center of the code system is defined – the Torah and Aron Hakodesh, as a repository of the Torah.
2. The considered phytomorphic code Rimon is a symbolism of traditional images of plants, the mention of which is found in the Torah, as well as in the Talmud and Midrash. The images of plants in the Jewish reading convey the meanings of human virtues and negative qualities, and also indicate the Messianic hopes laid down in the Torah and especially in the Midrash of the Talmud.The scientific novelty of the study consists in the fact that for the first time a semantic-semantic analysis was carried out and the interrelationships of cultural codes in the pictorial semiosis of the Jews of the Crimea were determined, with an emphasis on the Rimon code.

Abstract: The subject of the study is the transformation of the main Jewish cultural code of the Sefer -Book, from stratum to stratum in the culture of Jewish shtetls. Shtetls were called urban-type settlements in Eastern Europe - the Jewish pale of settlement. The Sefer code, originally embodying the foundations of Jewish law and worldview, the written and oral Torah, pointed to the path to the Almighty through its study. The perception of the rules within each stratum differed in a number of features: the Misnageds, as well as the Karaites and Krymchaks, had strict adherence to the laws, and the Hasidim had an emotional perception. With the advent of the Jewish Enlightenment-Haskalah, and later the globalization of the twentieth century, the Sefer code began to personify the light of knowledge as a whole, as the main goal, including both religious and secular sources. Education in the religious stratum was perceived as the knowledge of God and his creations, and in the atheistic environment - as an end in itself, remaining the main goal in all strata.
The obtained research results can also be applied to ethnocultural studies of other ethnic groups. The study applied the method of historicism in retrospect of the functioning of the Jewish communities of Eastern Europe, the comparative method in the comparative characteristics of cultural and religious concepts of various Jewish communities, methods of analysis and synthesis in the formulation of the scheme of cultural codes and their conjugations. The study for the first time characterizes the author's universal morphological scheme of Jewish cultural codes, from which the hierarchy and interrelationships of the main groups of symbols, as well as the key meanings and the main meaning, which is the center of intersection of all codes, are understood.
Conclusions:
1. The cultural area of the Eastern European shtetl towns was distinguished by stable patterns associated with the compact residence of the Jewish population and traditional occupations, as well as a worldview based on the Jewish religion. After the disappearance of the shtetls due to globalization, the cultural and ideological foundation became the basis of the activity and thinking of scientists, literary and artistic figures who emerged from it.
2. The Sefer cultural code embodies not only the Torah and its derivatives, but also identifies the main goal - the acquisition of knowledge, which is the same for representatives of all social strata of the Shtetl - Ashkenazim, Sephardim, Jews, Karaites, Krymchaks, Misnageds, Hasidim, representatives of Haskalah, and later atheists and agnostics.

Abstract: The subject of the study is the characteristic of the Baroque style and the integration of its elements into the decor of the architecture of the Crimea of the Art Nouveau period. The object of the study is the architecture of the Crimea and its decor of the period of the late XIX – first third of the XX century. The research uses the methods of art criticism analysis of Baroque visual forms and their integration into modernity, the method of analysis of previous studies, the method of synthesis in conclusions regarding the connotations of Baroque symbolism. The author considers such aspects of the topic as: a general overview of the origin of the Baroque style; features of the architecture of the Crimean Art Nouveau; integration of Baroque elements into the decor of the Art Nouveau of the Crimea.     The main conclusions of the study are:
1. The appearance of the Baroque style in architecture and decor is attributed by architectural historians to the XVII century. However, its origins should be sought in the Middle Ages, since many Baroque elements repeat Arabesques brought by the Crusaders to Europe. Baroque has established itself as a church and palace style. In turn, the Asia Minor (Turkish) Baroque was a synthesis of traditional Arab elements and Western European influence in the XVIII century.
2. The Art Nouveau style in architecture and its decor is a synthesis of various elements of previous styles, arbitrarily used by architects in accordance with their personal tastes, as well as with the wishes of customers. The basis of the Crimean Art Nouveau, represented in country villas, mansions, palaces, apartment buildings, is classicism, Renaissance and Mudekhar style, with the introduction of individual features into them with the help of decor. The use of Baroque elements enlivened the buildings, giving them an elegant, southern flavor.
A special contribution of the author to the study of the topic is to clarify the periodization and origin of the Baroque style.
The scientific novelty of the research lies in the fact that the author for the first time analyzed the decor of the architecture of the Crimea of the modern period, identified and analyzed the elements of the Baroque, their origin and role in the style of modernity.

Abstract: The subject of the study is the Seljuk cultural code in the cultural landscape of the Crimea. The object of the study is the Seljuk style in the decorative and applied arts and architecture of the Crimea. The article uses the following methods: culturological (ontological and semiotic) analysis in deciphering the meanings of Seljuk elements, the method of historicism in the ontology of Seljuks in the Crimea, the method of analysis of previous studies, the method of synthesis in the identification of ethnic signs. The article discusses the following aspects of the topic: The semantics of the Seljuk code in the cultural landscape of the Crimea is revealed, examples and ways of applying Seljuk stylistics in decorative and applied art and architectural decor of modern and postmodern are considered. 1. The multinational cultural landscape of Crimea consists of the cultures of ethnic groups that inhabited the Crimea in different periods. The leading marker of the definition and self-determination of ethnic groups is religion and folk mythology, embodied in national traditions. A clear example demonstrating ethnic identity and its continuity is folk art.
2. The appearance of the Seljuks in Crimea and the wide spread of the Seljuk style, which has become one of the main components of the "Crimean style" in modern and postmodern architecture, is not accidental and is due to centuries-old ethnic migrations and the mutual influence of cultures. The Seljuk style, therefore, ceases to be purely ethnic, and becomes part of the cultural landscape of the Crimea, used in the decor regardless of the ethnic origin of the author / owner.
3. A special contribution of the authors to the study is the identification and justification of the Seljuk code as one of the main ones in the Crimean stylistics.
The scientific novelty of the research consists in the semiotic and stylistic analysis of the Seljuk code in the cultural landscape of the Crimea.

Abstract: The subject of the study is the cultural code of Judaism in the visual semiosis of the Crimea. The object of the study is the traditional symbolism in the decor of the Jews of the Crimea: Ashkenazi Jews, Karaites and Krymchaks. The article uses the methods of cultural (semiotic, ontological and hermeneutic) analysis in the continuum of signs of the traditional Jewish semiosis, the idiographic method in the concept of the totality of signs, the method of analysis of previous studies, the method of synthesis in substantiating the morphology of signs. The following aspects of the topic are considered in the study: five main codes of Jewish culture are identified, their morphology and interrelationships are substantiated, as well as key meanings and the main central code.     The main conclusions of the study are:
1. The multiethnic landscape of Crimea is made up of the cultures of numerous ethnic groups. The main feature of the identification and self-identification of cultures is religion. The Jews of Crimea include Ashkenazi Jews, Karaites and Crimeans. A single source for cultural codes in the Jewish semiosis is the Torah (the Mosaic Pentateuch) for all three ethnic groups, and for two of them (Jews and Krymchaks), the interpretation of the Torah is also the Talmud.
2. Based on the studied material, five main codes of the Jewish visual semiosis of the Crimea are identified, each of which unites a certain group of symbols: skewomorphic, phytomorphic, zoomorphic, numeric. The unifying code and the primary source of all codes is the code Book (Torah). The interrelationships between the codes, the key meanings – symbols of Creation, Paradise, Torah persons and Messianic aspirations are revealed. The semantic center of all codes is the repository of the Torah – Aron Hakodesh, and the Torah itself. Thus, the ring pattern "from Torah to Torah" is revealed.
3. A special contribution to the research of the topic is the systematization of the cultural codes of the Jewish semiosis of the Crimea.
The scientific novelty consists in the fact that for the first time a culturological analysis was carried out and the interrelationships of cultural codes in the visual semiosis of the Crimea were structured.

Abstract: The subject of the study is ethnic cultural codes that are broadcast in the visual semiosis of decorative and applied art and architecture of the Crimea. The object of the study is architecture and decorative and applied art of various ethnic groups of the Crimea. The research uses methods of semantic, semiotic and artistic analysis of traditional images, the method of analysis of previous studies, the method of synthesis in conclusions regarding the formation of a unified Crimean style in visual semiosis. In the study, the author considers aspects of the topic: morphology and semantics of the elements of the visual semiosis of the Crimea and their belonging to a particular code of ethnic cultures; polyethnicity in the formation of the Crimean style of architectural and subject decor. The emphasis is placed on the multiculturality of the Crimea in the process of forming a semiotic universe in the visual semiosis. The main conclusions of the study are:
1. Crimea is a multicultural ecumene due to its geographical location, the interaction of ethnic groups on its territory generated various cultural processes, ranging from reception to integration, which led to the formation of a unique Crimean style in the visual arts. The elements of this style were the details of the ethnic art of various peoples who inhabited the Crimea from the first centuries of our era to the present.
2. Ethnic cultural codes defining the identification of the presence of a certain national artistic culture in the unified Crimean semiosis of architecture and decorative and applied art are elements and symbols characteristic of the traditional semiosis of a particular ethnic group. Over time, they have changed and experienced mutual influence, but the most persistent of them are still identified as belonging to a certain national and/or religious culture.
3. The scientific novelty of the research consists in the fact that the author for the first time conducts a semantic analysis of pictorial symbols in the visual semiosis of Crimea, identifies individual ethnic cultural codes, analyzes their genesis, commonality and differences of elements as part of a single Crimean stylistics.

Abstract: The subject of the study is the role of stained glass in the visual semiosis of religious buildings in Crimea. The object of the study is the stained glass decor of the sacred architecture of the Crimea. The research uses the methods of cultural (hermeneutic and semiotic) and artistic (idiographic and structural) analysis of stained glass art in the sacred space of Crimean architecture, the method of analysis of previous studies, the method of synthesis in conclusions regarding the development of stained glass in the Crimean cult architecture. In the study, the authors considered the following areas of the topic: the development of stained glass art of the Crimea in sacred architecture; the meaning of color and subject symbols in stained glass compositions of religious buildings of the Crimea.     The main conclusions of the study are:
1. Stained glass art, more precisely, its subject component, is not authentic for the Crimea, it appears in the decor of residential and public buildings during the late XIX century, the beginning of the eclecticism of Art Nouveau and imitation of Gothic and Byzantine models. Colored glass in earlier periods decorated the windows of well-to-do houses of representatives of various Crimean ethnic groups, however, stained glass as a phenomenon was not characteristic of sacred structures.
2. Due to its geographical location, Crimea is a multicultural and multi-confessional territory, where various religious trends developed: ancient pantheism, Byzantine Orthodox Christianity, Catholicism and Protestantism with the colonization of Catherine's time, Islam, Ashkenazi and Sephardic Judaism. Stained glass windows in religious buildings of various faiths, in addition to decorative function, play a symbolic role, conveying through color, symbolism of abstract and object forms one or another sacred meaning.
3. A special contribution of the authors to the study of the topic is the cataloging, art history and cultural description of examples of stained glass art in the sacred architecture of the Crimea.
The scientific novelty of the study is that the authors for the first time carry out an ontological analysis of stained glass art in the sacred visual semiosis of the Crimea and analyze its semiotic aspects.

Abstract: The subject of the study is the historical accidental font used in the works of members of the Jewish art organization. "Culture League".The object of the study is the accidental font as an instrument of semantic and stylistic definition of these works within the framework of Jewish culture.
The research uses methods of analysis of visual symbols in the works of members of the art section of the "Culture League" and their semantics, methods of synthesis and historicism in the formulation of the definition of historical accidental font.
On the basis of the studied works of A. G. Shitsgal, T. O. Ivanenko, V. I. Lesnyak, the definition of historical accidental font is formulated; on the basis of the works of A. Amishai-Maisels, G. Kazovsky, B. Khaimovich, the prerequisites for the emergence of the Jewish artistic avant-garde and the foundation of the association "Culture League" are determined; works on avant-garde stylistics and semiotics of Jewish art by I. A. Sergeeva, O. A. Lagutenko, E. Frenkel made it possible to carry out a semantic and stylistic analysis of the accidental font in the works of artists of the "Culture League".
      The main conclusions of the study are:
1. The historical accidental font is a marker of a certain epoch and ethno-national culture. Its application allows artists to convey at the semiotic level not only the verbal meaning of the text, but also to expand its meaning to a global, socio-cultural level.
2. The Jewish association "Kulturliga" was part of the global artistic avant-garde of the first third of the twentieth century. The main goal and program of the association was the development of Jewish culture using new stylistic methods in the spirit of the times, with the use of avant-garde styles. The accidental Jewish traditional font was a clear indication that the work belonged to the Jewish branch of the artistic avant-garde.
A special contribution of the authors is the formulation of the definition of "historical accidental font".
For the first time, the authors analyzed the use of accidental font in the works of artists of the "Culture League".
Keywords: historical accidental font, "Culture League", avant-garde, cubo-futurism, expressionism, Jewish shtetl.

Abstract: The subject of this research is the continuum of ethnic symbols of the ornament of the Crimean Jews. The object is the traditional decorative and applied art of the peoples of Crimea following Judaism: Ashkenazi Jews, Karaite and Krymchaks. The symbolism of ethnic art is viewed based on the analysis of traditional decor. The article employs the methods of comparative analysis, analysis of previous research, method of synthesis in conclusions pertinent to connotations of symbols. The author explores the morphology and semantics of visual symbols in decorative and applied art of the aforementioned people, as well as connotations of symbols. Special attention is given to aspects that characterize polyethnic cultural landscape of Crimea in the context of phylogenesis. The main conclusions are as follows:
 
1. Crimea is a polyethnic region with various cultural processes – from reception to inculturation and integration of ethnoses, which ultimately formed the Crimean cultural landscape. Its peculiarities are represented by ethnic ornament, such as decorated household items and ritual attributes
 
2. Symbolism of the elements of traditional art of Ashkenazi Crimean Jews, Karaite and Krymchaks has common connotations due to the Torah that underlies the religious confession of all three ethnoses, as well as similar morphology. The art of Karaite and Krymchaks are more identical to each other than to Jewish.
The author’s special contribution lies in systematization of the morphology of visual symbols in the art of the three ethnoses. The scientific novelty consists in carrying out a comparative analysis of the art of three Crimean ethnoses, revealing foundations of the genesis and continuum of its elements, their similarities and differences.