Inner Asian Studies

The study of traditional societies continues to generate significant interest in social
phenomena such as “taboos.” Within the framework of prohibitions and restrictions that
govern daily life, food taboos emerge as a prominent aspect. Some of these taboos are
grounded in rationality, reflecting an understanding of the intimate link between dietary
practices and human health, while others appear more arbitrary, serving to ward off negative
occurrences in individuals' lives and within society. This research delves into the extensive
network of food taboos prevalent in the traditional culture of the Turko-Mongolic peoples
of Inner Asia. These taboos governed various facets of people's lives, with their justification
rooted in the preservation of physical well-being, particularly among children, the promotion
of societal harmony, and the prevention of conflicts. Additionally, these prohibitions and
restrictions reveal a concern for individuals' appearances. Many of the prohibitions related
to meat consumption exhibit clear discrimination, restricting women and children's access
to valuable meat types while relegating them to consuming entrails and other inedible parts
of the animal carcass.

This article continues the studies of human anatomy in the traditional views of the Turkic and Mongolic peoples of Inner Asia. From the standpoint of mythological anatomy, typical of the traditional worldview of the Turkic and Mongolic people of the region under study, hair is an essential part of the human body as the center of the human soul. The traditional studies of the structure of the human body and how to maintain the body’s health by the Turkic Mongols contain the views on the connection of hair with a person’s vitality. In the vast range of meanings and functions of hair in the culture of the Turkic — Mongolic peoples, the connection between hair and human life is most prominent: various rituals and restrictions associated with intrauterine hair attest to this. The tradition of decorative hairstyles, various prohibitions, and rituals convey the connection between the life force of brothers and sisters, spouses, a girl, and a woman enclosed in hair. The ideas about hair, hairstyles, etc., reflect more general ideas about the relationship between members of society: mothers and children, nephews and maternal uncles. The notion of the soul and the life force is predominant here. In the afterlife after death, hair was also significant: its preservation during earthly life guaranteed the possibility of continuing human existence in the other world.

Mahmud Kashgari, who wrote his work to show that Turkish was equal to Arabic and to teach Turkish to the Arabs, presented his work to the Islamic caliph of the time. The work was written in Arabic; attempts were made to teach 11th century Turkish to Arabs both with the standard written language, Karakhanid Turkish, and with other Turkish dialects that differed from this standard written language. The city of Baghdad, where the work was completed, was under Seljuk rule at the time, and the Abbasid caliph of the period continued his religious leadership under the auspices and control of the Seljuk sultans. What could have been the reason for presenting a work like DLT to the caliph, who had a symbolic administration? Did Mahmud Kashgari present this work as a sign of respect to the caliph, who sat at the highest rank in the Islamic religion, as a requirement of his religious belief? Or was there an understanding and message of sovereignty underlying the presentation of this work? When DLT is examined carefully, it is possible to see that Mahmud Kashgari has placed a secret decree in his work within the Turkish decree tradition and that the decree carries elements of the Old Turkish decree tradition.

Uvs Province, located in the northwestern region of Mongolia, is rich in ancient archaeological and cultural monuments. Among these, numerous stone monuments represent different historical periods. Since 2015, the joint Mongolian-American “Western Mongolia” research project team has been conducting archaeological surveys and excavations in the territory of Zuunkhangai sum, discovering, documenting, and excavating various archaeological sites. This article reviews 32 deer stones, including 16 previously recorded stelae and 16 newly discovered ones from the area of Zuunkhangai sum. Most of these deer stones belong to the category without animal depictions, while a few feature realistic or abstract images of deer. Some of the stones have preserved traces of ochre paint in the carved recesses, as well as distinctive engravings, such as a large bow and arrow and a pair of spears.

Деятельность Государственного Эрмитажа
в период 1927–1932 годов отражалась в ряде научных публикаций, но по понятным причинам достаточно обрывочно, поскольку акцент делался на
музейных распродажах. Архив Государственного
Эрмитажа располагает достаточным массивом
письменных источников, которые позволяют пристально рассмотреть отдельные, на первый взгляд
незначительные события, каждое из которых превращается в отдельную увлекательную детективную историю.

Special issue “Ideologies and Encounters of Ideas at the Crossroads of the Ancient World”
Edited by Andrew Schumann, Zozan Tarhan, Vladimir Sazonov
Studia Antiqua et Archaeologica 30 (2), 2024

You may find it on the link below.
http://saa.uaic.ro/issues/no-xxx-2-dec-2024/

This issue of Ethnologia Polona is devoted to the integration of ethnic diversity in Russian warfare from an anthropological perspective. This is our response to repeated references in public discourse to the participation of non-Russian peoples in the war.
There are reports of a disproportionately high number of casualties being mourned in Russia among non-Russian peoples, but Western media also portrays non-Russian cultures as being the backbone of the Russian war effort. Stereotypes and prejudices regarding the lack of humanistic values among non-Russians are propagated, take, for example, an extreme but telling statement by Pope Francis (America Magazine 2022). This shows how distorted the perception of ethnic and cultural diversity is in relation to the war against Ukraine. One reason for this is certainly limited knowledge but perhaps also the insufficient depth and breadth of social science research
carried out among non-Russian peoples. This includes such questions as the level of their integration into state war policy and propaganda, the role of ethnic diversity in Russian military operations and armed conflicts, as well as those concerning military mobilisation and ideology and the reaction of the non-Russian population to it. Compared to other geographical regions, especially North America, it is striking that the literature on Indigenous warfare and military culture and especially on participation in contemporary wars is relatively scarce (Sheffield and Riseman 2018, Gorter-Gronvik and Suprun 2000, Poyer 2022). This is all the more astonishing given the importance of the memory of the Second World War in public discourse
and military propaganda inside Russia today. More recent armed conflicts, such as the war in Afghanistan, the wars in Chechnya and the war in Ukraine, are all placed in this context in public memory and, above all, in state propaganda.

La Chine d'aujourd'hui couvre une surface deux fois plus grande que l'Union européenne et abrite trois fois la population de cette dernière. Densément peuplé, ce pays est donc, surtout dans son tiers oriental, un immense chantier de villes en expansion. La tension entre l'importance des découvertes archéologiques pour le tourisme et pour ancrer le discours officiel d'une Chine plurimillénaire d'une part, et le développement économique au sein d'une immense diversité géographique et culturelle d'autre part, fait de l'archéologie une discipline-clé au sein de ce pays. 1. Histoire de l'archéologie chinoise Chimère, Danyang, allée funéraire de l'empereur Wudi des Qi du Nord (mort en 493). Prospection de Victor Segalen en 1917 : © Gallica, BNF Vase à boire gu en ivoire de la tombe de

Catholic missionaries were active among rural populations in Manchuria, in northeast China, around the turn of the 20th century. Their presence influenced everything from the role of women in religious and family life, to the adoption of new material culture, to local burial customs. This investigation of the Pianliancheng cemetery in Jilin Province, in use from the 1890s to the 1930s, reveals the material and embodied traces of this history. Archaeological, bioarchaeological, and historical evidence for cultural hybridization and transnational connections are presented. Specific findings include the history of individual Catholic priests in the mission, the hybridization of Catholic and Confucian burial practices by the Chinese converts, material connections to Chinese immigrant communities abroad, the labor burden and nutritional status of various members of the community, the continuation of foot binding in rural Manchuria, and the influence of conversion on gender roles and family life.

In the 1920s and 1930s, the Communist Party and the Soviet Government strived to combine the pursuit of the country’s interests with the promotion of world revolution which resulted in serious political conflicts within the USSR and affected the development of Soviet scholarship. The article examines the problem focusing on life and scholarship of Soviet Kurdish and Iranian studies specialist Fedor Rostopchin (1904–1938). Based on archival materials, it attempts to reconstruct his biography studying it in the context of the development of the Soviet state and the revolutionary movement of that time. He was a prominent representative of Soviet Oriental Studies in the pre-WWII period, characterized by searching for new ways of scholarship development, rejecting colonialism and promoting national and social emancipation of non- European peoples. Rostopchin not only engaged in fundamental academic research in the field of Iranian and Kurdish studies but also designed plans for promoting the revolution “in the East” and collaborated with the Comintern bodies. In the period of growing political confrontation within the Soviet state and related repressions, many brilliant Orientalists, especially those associated with the Comintern, also became victims; and one of them became Rostopchin. Despite his general loyalty to the Soviet state, he was arrested and executed; while a number of his later works were published without mentioning his authorship or under someone else’s name. Thus, restoring and perpetuating the memory of this prominent scholar and his achievements in the field of Kurdish and Iranian Studies, is of particular importance for the history of Oriental Studies in Russia

《一神論》寫於約公元六四一年，發現於二十世紀初，佐伯好郎把它列為景教文獻，為阿羅本公元六三五年抵達長安後「翻經書殿」的作品之一，但他沒有就此提出實質的論證。相反，文中多處顯示《一神論》並不是上書皇帝之類的作品。另一方面，行40-41「喻如從此至波斯，亦如從波斯至拂林，無接界時節」顯示作者是在波斯以東一個與之接壤的地方，所以應是西域（見《漢書．西域傳》）。西域東部的高昌「國人風俗政令、文字亦同華夏」。本文發現，《一神論》內容所顯示的寫作地社會結構（聖主、國王、能自作）、字詞特徵（「苟」、「𤗊布」）和比喻的本地化現象，都和吐魯番高昌國為寫作地之論吻合。《一神論》的神學語言和本地化情況成熟，究竟其教會群體、歷史、神哲學等為何，需作研究。其與阿羅本入華和八世紀中的景教文獻關係，也是重要的研究課題。

While there is no consensus as to when the Marāgha observatory, centre of a Eurasian-scale intellectual network, ceased to function, given that no historical sources mention such a date, by focusing more on the Īl-Khānid political context than on the scientific activities at the observatory that have so far attracted scholarly attention, I argue that the termination of the observatory's activity overlapped with the downfall of Aṣīl al-Dīn b. Naṣīr al-Dīn (d. ca. 1317) in 1309/10. Naṣīr al-Dīn al-Ṭūsī (1201-1274) acquired the office of trustee of the waqf endowments for the observatory. This office was inherited after his death by his sons. However, the family property related to the religious endowments was targeted, which resulted in the family's fall. Thereafter, the eighth īl-khān, Öljeitü (r.1304-1316), did not station his mobile court in Marāgha, which marked a shift of the intellectual centre of the Īl-Khānid dynasty away from the observatory.

Querfurti Brúnó kijevi útja: kérdések és feltevések a historiográfia tükrében Querfurti Brúnóra mártírhalálának ezredik évfordulóján kitüntetett figyelem irányult. 1 tevékenysége alapján joggal, és a kutatás szempontjából szerencsére, hiszen személyisége többnyire szent Adalbert árnyékában maradt, akinek tanítványa volt. Brúnó valamikor az ezredforduló táján járt kijevben, de ennek az útnak ideje, eseményei korántsem tisztázottak. Brúnó előkelő szász családból származott, rokona (consanguineus) és iskolatársa (conscolasticus) volt a későbbi krónikaíró Merseburgi Thietmarnak. Ez utóbbiról magától Thietmartól értesülünk, aki név szerint említi Brúnó szüleit is, apját Brúnót és anyját, ida úrnőt. 2 Brúnó Thietmarral közel egyidős lehetett a magdeburgi iskolában egyidejűleg folytatott tanulmányaik alapján. Brúnó útja előbb iii. ottó császár udvarába, majd rómába vezetett, ahol az Aventinuson lévő szent Bonifác és Elek kolostor novíciusa lett. 3 Adalbert példája nyomán lett a keresztény misszió elkötelezett szolgálójává. Adalberthez való kötődésének jele, hogy megírta Adalbert második életrajzát: Sancti Adalberti Pragensis episcopi et martyris vita altera. 4 Ezt a legendát 998-1004 között írhatta Brúnó, Monte Cassino-i tartózkodása idején. Brúnó lengyelországi tevékenységéről tudósít egy másik, ugyancsak általa írott legenda: Vita quinque fratrum eremitarum, amelyet valamivel később-1006-1008 körül-alkotott lengyelországi tartózkodása idején. 5 térítő tevékenységének legautentikusabb összefoglalása az a levél, amelyet közvetlen halála előtt ii. henrik (akkor még) királynak írt: Epistola ad Henricum regem. 6 A levél keletkezése önmagában arról tanúskodik, hogy Brúnó mesteréhez, Adalberthez hasonlóan közvetlen kapcsolatban állt uralkodójával. De amíg Adalbert és ottó császár elképzelései lényegében megegyeztek, Brúnó-levele szerint-henrik politikai fordulatával nem tudott azonosulni, és az ottók időszakának keleti politikája mellett érvelt. ii. henrik uralkodásával szemben Brúnó ütött meg kritikus hangot, tevékenységét általában kedvezően ítélik meg a korabeli források. 7 Brúnó ii. henrik háborúinak egy részét "bellum iniustum"-nak ítéli, ezek közé sorolja a pogány ljuticsokkal a lengyelek ellen vezetett hadjáratot. 8 Brúnó tevékenységét megörökítő kortárs feljegyzések sorát Merseburgi Thietmar krónikájának (Chronicon) (1018 előtt) információi nyitják meg, és ugyanehhez a környékhez köthetők az

Problémák és vitás kérdések a keleti szláv krónikák kutatásában A fogalomhasználat problémái Az "óorosz" nyelv Kelet-Európa középkori viszonyainak leírására nem könnyű egyértelmű fogalmakat találni, mivel a történet-, az irodalom-és a nyelvtudomány fogalomhasználata sem mindig egyezik, nem szólva a köznyelvben elterjedt kifejezésekről. Ugyanazon fogalmak pedig eltérő tartalommal jelenhetnek meg, attól függően is, hogy mely mai keleti szláv nyelv közegében járunk. A magyar nyelvű történeti irodalomban az utóbbi évtizedekben szerencsére visszaszorult (de nem tűnt el) a mindent egyöntetűen "orosz"-nak definiáló gyakorlat. A középkorban a Kijevi Ruszról, illetve a széttagolódás korszakára vonatkozóan a Rusz régióiról beszélünk, csak a Moszkva körüli szerveződésre alkalmazható az orosz megjelölés. Bonyolultabb az ukrán és a belorusz megjelölések alkalmazhatóságának időbeli kezdete. A Kijevi Ruszt történetileg mind ukrán, mind belorusz részről előzménynek tekintik, ami teljesen helyénvaló, de ahogy a Kijevi Rusz nem volt orosz, így nem volt ukrán és belorusz sem. 1 Elsősorban a nyugat-európai és az amerikai középkor-kutatásban terjedt el az altrussisch / old-Russian fogalom, 2 de a magyar nyelvű irodalomtörténet is következetesen használta/használja az óorosz megjelölést. 3 Ezt indokolttá tette az a történeti körülmény, hogy a 14. század előtt nem beszélhetünk a keleti szlávok közötti differenciálódásról, ugyanis ekkor tapinthatók ki (korabeli dokumentumok nyomán) azok a nyelvi-kulturális különbségek, amelyek a mai keleti szláv nyelvek és népek jelenlétére utalnak. 4 A korábbi századokra alkalmazva az óorosz fogalom nyelvi megközelítésben azt is sugall(hat)ja, hogy létezett egy egységes nyelv, ami a 14. századtól kezdve differenciálódott. A keleti szláv nyelvi egység koncepcióját hosszú ideig fenntartotta a cári orosz, majd a szovjet korszak politi

“Монголын ургамлын аймаг” цуврал бүтээлийн 5-р дэвтэрт
Холтсонцэцэгтэн овгийн 20 төрөлд багтах нийт 155 зүйл ургамлын адилцах нэрсийн тойм, төрөл ба зүйл таних түлхүүр, зүйл тус бүрийн дэлгэрэнгүй ойллого, цэцэглэх болон үрлэх хугацаа, ургах орчин, монгол орны болон ерөнхий тархалт, ховордлын статус, тэмдэглэл зэрэг холбогдох мэдээллүүдийг багтаасан (70 зүйл ургамлын бие бүтцийн 41 зураг, 90 зүйлийн тархалтын цэгэн 90 картыг хавсаргав).

Globalization has changed traditional society's many aspects. The relevance of this study lies in the fact that one of the consequences of globalization is the loss of nomadic peoples' traditions, culture, ideology and uniqueness, including post-nomads. The purpose of this study is a detailed analysis of the literature on how the post-nomads' consciousness changes from globalization processes, and how nomads adapt to such processes. Having analysed all the problems and challenges for the post-nomads' consciousness in the adaptation to globalization, it was revealed that the post-nomads' cultural identity in the Kyrgyz Republic, with successful adaptation to modern living conditions, remains important. It is established that it is more expedient to introduce original development, in the form of a harmonious combination of traditions and innovations, to improve living standards. In the course of the study, recommendations were developed for the revival and preservation of post-nomads' traditional values and culture, in the context of globalization, to preserve identity and ethnic identity.

The Qing court produced an extensive history of the Ming empire in the Manchu language, which has survived in manuscript form in the Palace Museum under the title Ming gurun i suduri (History of the Ming State). Based on a close reading of this manuscript and scrutiny of related archival documents, this article elaborates on three observations. First, the Ming gurun i suduri resulted from the earliest stage (1645–1669) of the Qing compilation of the Ming history. With a primary focus on producing a chronicle in Manchu, it exemplifies the mid-seventeenth-century development of Inner Asian historiography. Second, it recounts Ming history by juxtaposing and connecting translated extracts from the Ming shilu 明實錄 (Ming Veritable Records) whenever it exists. This approach that combines compiling and translating, in effect, offers a reassessment of key political events and figures. Third, in light of the Ming gurun i suduri thus contextualized, the 1739 Ming shi 明史 (Ming History) is best seen as a product of a century-long history of negotiation (1645–1739) during which the ideological agenda and intellectual achievements of the early Qing court gradually sank into oblivion.

third-party websites referred to or in this book. All internet addresses given in this book were correct at the time of going to press. The author and publisher regret any inconvenience caused if addresses have changed or sites have ceased to exist, but can accept no responsibility for any such changes.

The fall and subsequent sack of the city of Baghdad by Mongol armies commanded by Hülegü in 1258 CE is a turning point in the history of the city. The general understanding is that after the Mongol conquest, the Abbasid capital underwent a long process of cultural decline affected by a loss of demographics, the destruction of infrastructures and the removal of its cultural centrality in the Islamic world. Accounts of the destruction of Baghdad by the Mongols, and especially the destruction of books during the sack of the city, became a topos across Muslim historical accounts in the pre-modern period, particularly among Arab historians. However, more recent research has shown that after the initial sack of the city, cultural activity in the city recovered, if not to a former glory, to the point that, only decades after the surrender of the city, books were being copied, read, and distributed in Baghdad. This presentation offers a survey of surviving Persian manuscripts produced in Baghdad before, during, and after the Mongol conquest. It highlights their diversity in literary genre, authorship and the scribal habits that characterise these codices. The presentation shows that, in addition to some evidence of a presence of Persian writing in Baghdad before the Mongol invasion of the city, manuscript production in Persian clearly increased once the Mongols appropriated the city in the mid-13th century. Further, this talk addresses the role of Mongol patronage in this cultural shift, noting the close relationship between Persian scribes and Mongol officials. It suggests that despite the initial impact that the Mongol invasion of Baghdad had on the cultural landscape of the city, cultural production and intellectual activities recovered in Baghdad under the direct influence of Mongol rule. Ultimately, this paper argues that while Arabic remained prevalent, Persian flourished as a literary language in Mongol Baghdad, reflecting the city's integration into the broader Persianate world.

The word ovoo means “heap” or “pile” in Mongolian. The ovoo are highly significant features of Inner Asia’s sacred landscape and are present in Mongolian-speaking areas (Mongolia, Inner Mongolia, Buryatia, Kalmykia), as well as in Turkic-speaking Tuva. Depending on the area and the immediate environment in which they are erected, the ovoo have various features, from simple round heaps of stones and branches to more elaborate structures, such as a circular mound of stones with a central pole topped with brushwood and decorated with prayer flags and/or colored ribbons. Built by local people for centuries, the ovoo serve as territorial markers and ritual altars. Ovoo found on ritually significant mountains are worshipped annually by a given social group (people from the same village [sum], a clan, an ethnic group, etc.) to propitiate the various divinities of the land, ensuring protection and prosperity. Like other ritual activities, ovoo worship was banned in Mongolia, China, and Russia as a result of communist antireligious polices. In the early 21st century, ovoo worship constitutes a revived religious practice in all three countries and has drawn the attention of politicians and scholars.

Introduction. The problem of studying the history of the All-Union Pioneer Organization (AUPO) named
after V.I. Lenin, which for a long time (1922-1991) played an important role in the education of the younger
generation in the USSR, is of relevance, theoretical interest and practical value for modern Russian teachers in
terms of studying the glorious past of our country in general and the pioneer organization in particular, restoring
historical justice against a number of prominent teachers of the past, and using the experience accumulated by
Soviet teachers-practitioners in organizing work with the younger generation today. The purpose of the issue
is to study circumstances of the occurrence and characterization of the most important events in the history of
the AUPO, to show the value content of its activities.
Materials and methods. Research methods – analysis of historical, pedagogical, methodological and fiction
literature on the subject of research, biographical and historical methods, axiological approach in revealing
valuable content in the structure of the characterized facts and phenomena.
Results. In the Russian historical and pedagogical science in the last three decades, there are practically no
materials concerning the theory and practice of the work of the AUPO, its history and prospects for using the
experience of its work in modern conditions. Significant stages of the AUPO genesis were awarded with state
awards, reflected in cinematography and fiction. Along with the periodically changing official "Rules of the
Pioneers", which regulated the activities of the AUPO, local traditions, children's "oaths", the uniform of young
communists and pioneers played a significant place in their lives. Such, for example, was the solemn ceremony
"Octobrin", in which the pioneer E.I. Monoszon, the future academician of the USSR Academy of Pedagogical
Sciences, took part.
Discussion of the results. At all stages of its activity, the AUPO combined significant achievements and
shortcomings, primarily bureaucracy, formalism and paperwork. The defining indicators of the work of school
pioneer organizations were successful reporting, numerous demonstration events. The real interests of the
pioneers were often ignored. But still, the main reason for the liquidation of the AUPO was the cardinal sociopolitical events of the early 1990s in the USSR.
Conclusion. Currently, there is an urgent need to use the experience of AUPO in the work of existing children's
educational organizations.

“МИНИМАЛ ШИНЖ ХӨГЖМИЙН ЗОХИОМЖИЙН АРГА БАРИЛ БОЛОХ НЬ”
ХУРААНГУЙ
Орчин цагийн өрнө дэхний хөгжимд минимал хэмээх нэр томьёог анх хөгжмийн урлагт Майкл Нимэн оруулж улмаар 1974 онд хөгжмийн зохиолч Жон Кейжийн бүтээлүүдэд хийсэн судалгааны ажилдаа минималист гэх ойлголтыг бүр өргөн утгаар хэрэглэж минимал хөгжим нь цөөхөн эгшиг, хөгжмийн зэмсэгт хэрэглэгддэг “туршилтын” хөгжмийн түгээмэл төрөл мөн гэж үзжээ. Аялгуу, аяг (мотив)-ийн энгийн элементүүд дахин дахин давтагдан сонсогчдыг “ховсдох” нөлөөтэй  хэмээн үзэж давталт, давтамжид суурилсан урлагийг “минимал урлаг” хэмээн тогтсон байна. Энэ талаар Америкийн болон Европын орнуудын эрдэмтэн, мэргэд олон арван судалгаа хийжээ. Энэхүү урлаг нь машид түгээмэл дэлгэрч хөгжмийн урлагт минимализм гэх урсгал бий болж нийгэм, соёлын хүрээнд нэвтэрснийг харьцуулан жишиж судлах оролдлогыг монголын урлаг судлалд энэхүү нэг сэдэвт ажлаар нээж байгаа болно. 
“Минимал. Лат. Minimus-хамгийн бага. 1.Дээд зэргийн энгийн, нэг төрлийн хэлбэрийг ашиглан, хамгийн эгэл аргаар дүрслэх урлаг. Минимализмын үзэл баримтлал философи, гоо зүйн уран сайхны бие даасан зарчим болохыг нотлон судалсан нь саяхан мэт боловч минимал буюу давтамжит шинж нь хүн төрөлхтний ахуй амьдрал гоо сайхны сэтгэлгээнд өнө эртнээс шингээстэй байсан, давтамж нь сансар хорвоо, ертөнцийн шинж оршихуйн нэг тулгуур мөн байж гэдэгт эргэлзэх юмгүй мэт. Философийн ухааны тайлбараас үзвэл давтамж нь нэг талаас маш энгийн боловч, нөгөө талаас хүртэх, хүлээн авах ихээхэн өргөн утгыг хамруулж байна. Давтамж өнгөн талаасаа ижил мэт боловч явц болохын хувьд хувьсал юм. Уран бүтээлчийн дараалан гүйцэтгэж байгаа ижил давтамж яг ижил биш болох нь үүгээр нотлогдоно. Чухам үүнд урлаг дахь минимализмын сэтгэлгээний болоод уран сайхны утга учир оршино.  Аливаа том зүйл жижигтэйгээ адил, жижиг нь томтойгоо адил байх шугаман бус үйл явцын ул мөр болох фрактал зарчим монголын нүүдэлчний урлагийн сэтгэлгээний гол тулгуурын нэг гэж үзэж болохоор байна. Мөн монголын уламжлалт дүрслэх урлагийн бүтээл дэх давтамжит хээ угалзан чимэглэл хөгжим дэх давталтын арга барилтай нарийн уялдаа холбоотой байгааг харьцуулан авч үзсэн.
Монголын уламжлалт эд өлгийн зүйлсийн чимэглэл, хээ угалз, тууль хайлах, хамсран товшуурдах, хөгжмийн давталт бүхий ая, аялгын бүтцэд тогтонги шинжтэй байгааг бас давхар нотлохыг задлан үзэж тогтоосон. ¬¬¬Бид уг ажилдаа минимализмтай холбоотой хөгжмийн онолын нэр томьёо, зарим нэршлийг орчуулах, оноох, томьёолох, тайлбарлан хэрэглэх шаардлагатай бид тулгарсан. Энэ нь манай хөгжмийн шинжлэх ухааны салбарт үндэсний болоод дэлхий нийтийн судалгаа шинжилгээнд хэрэглэж байгаа нэр томьёо, ойлголт ухагдахууныг нэг мөр цэгцлэх зорилго тавигдаж байгаатай зохицох юм. Энэхүү судалгаандаа хөгжмийн урлаг дахь минимализмын үүсэл хөгжлийг шинжлэн үзэх түүхэн арга, аливаа үзэгдлийн шугаман бус үйл явцын фрактал бүтцийг авч үзэх синергетекийн онол, арга зүй, минималтай холбогдолтой мэдээллийг системчлэх болон ажиглалтын арга, зохиомжийн минимал зарчим, сэтгэлгээний хэв маягийг шалтгаант холбоонд авч үзэх диалектик арга, туулийн аязыг минимал арга барилтай холбон тайлбарлах герменевтик арга зүйг тус тус ашигласны зэрэгцээ  хөгжмийн бүтээлд судалгаа хийх анализ синтезийн аргыг үндэс  болголоо.
Аливаа цоо шинэ зүйл нь сайтар шинэчлэгдсэн хуучин зүйл байдгийн тод жишээ нь хөгжимд минимализмын урлах зарчмаас мэдэгдэнэ. Учир нь хөгжим дахь минимал аргачлал дорно дахины бодрол, бясалгал, тарнийн уншлага хөгжмөн илэрхийлэлтэй дүйх бөгөөд байнгын давталт бүхий аялгууны жижиг хэсэг нь бодит байдалд “ховсдол” бясалгалын хүчийг орлож байгаатай төстэй. Орчлонт ертөнц, ахуй сэтгэлгээний мөнхийн давтамжууд уран сайхны арга хэрэгслээр боловсрогдон төгөлдөржиж минимализм хэмээх нэгэн чиглэл урсгал болон бэхжиж цоо шинэ баримтлал бий болсон гэж үзэж болно.
Минимал урлагийн суурь зарчим болох давтамжийн мөн чанарыг тодруулан гаргахын зэрэгцээ, өрнийн хөгжмийн шинэ чиг хандлага болох минимализмын арга хэлбэр  монголчуудын хөгжмийн уран сайхны сэтгэлгээнд эртнээс эдүгээ хүртэл уламжлагдан (минимализм гэж тухайлан нэрлэж тодотгон судлаагүй л болохоос биш) ирснийг тодорхой урлагийн төрлүүд дээр нарийвчлан судлах, улмаар монголын орчин цагийн мэргэжлийн хөгжимд хэрхэн тусгалаа олсныг хөгжмийн шинжилгээ (анализ)-гээр илрүүлэхийг зорилготой. Үүнд: Өрнө дэхний орчин цагийн минимал урлагийн үүсэл хөгжлийг бусад шинэ чиг хандлагуудтай нь холбон авч үзэж, харьцуулалт хийж, хөгжим дэх минимал арга барил нь тодорхой тогтолцооны шинжтэй болохыг тодруулж, загвар гарган ангилсан.  (Стив Рейчийн хөгжмийн бүтээлээс) Энэ нь: эгшгийн давтамж (drone), давтах дахил (оstinato), үелсэн давтамж (layering), удаашрах давтамж (аugmentation), хурдсах давтамж (diminution), ноот хасах давтамж (note subtraction), ноот нэмэх давтамж (note addition), ноот өөрчлөх давтамж (metamorphosis), тогтонги зохирол бүхий давтамж (static harmony), эсрэгцүүлэх давтамж (phasing), хэмнэлийн цохилго шилжих давтамж (rhithmic displacement) гэсэн 11 арга болно. Энд хуурын татлагад бидний авч үзсэн минимал аргуудын 7, тууль хайлах үеийн товшуурын хөгжимдөлтөд 8, монголын орчин цагийн хөгжмийн зохиолчдын зарим уран бүтээлүүдэд 9 арга тус тус илэрч байна. Хэрэв бүх бүтээлд судалгаа хийж үзвэл бүх арга барил илрэх магадлалтай. Иймээс Монголын хөгжмийн зохиолчдын сэтгэлгээний онцлог, туурвин бүтээх арга барилд давтамжит шинж баттай уламжлагдаж байгаа нь тодорхой байна. 
Хөгжмийн минимал зарчим С.Соронзонболдын “Их домог” бүжгэн жүжгийн хөгжимд зохиомжийн үндсэн арга барил болохыг шинжих явцад тухайн бүтээлд үндэсний давтамжит хэв шинж, орчин цагийн минимал урсгалын ололтыг бүтээлчээр хослуулсныг харьцуулан гаргаснаараа нэг талаас: монголын уламжлалт урлахуйн ухаанд дэлхий дахинд шинэ гэгдэж байгаа урсгалд нөлөөлөхүйц арга барил, нөгөө талаас: энэ уламжлал шинэ ололтыг нэгтгэсэн бүтээл (зохиогчтой) манай мэргэжлийн хөгжим хийц, хэв шинж, арга барилаараа олон улсын жишигт нэгэнт хүрснийг тодорхойлж байгаагаараа онцгой ач холбогдолтой. “Их домог” бүжгэн жүжгийн хөгжимд давтах аргууд бүгд багтсан ба харьцааны хувьд өөр өөр хувиар, хэсэг болгонд харилцан адилгүй зохиомжлогджээ. 
С.Соронзонболдын “Их домог” бүжгэн жүжгийн хөгжимд минимал буюу давтах шинж, давтах шинжийг зарчмаа болгосон шинэ цагийн хөгжмийн дэг сургууль болох минимализм хөгжмийн зохиолчийн ухамсартай тавьсан зорилго, хүрсэн уран сайхны чамгүй үр дүн мөн байна. Энэ нь америкийн шинэ хөгжимд бие даан гарч ирж дэлхий дахинаа дэлгэрсэн минимал хөгжмийн урсгалын нөлөө, монголчуудын ахуй амьдрал, уран сайхны сэтгэлгээнд баттай суусан минимал давтамжит шинжийн уламжлалын цогц бүрэлдсэний учир шалтгаан болж байна. 
Горилогчийн энэхүү нэг сэдэвт судалгааны бүтэц нь: Удиртгал, 2 бүлэг, дүгнэлт, нэр томьёоны тайлбар, ном зүй нийт 172 хуудас бүхий бичвэр, хавсралт сэлтээс бүрдсэн.

Хураангуй
Морин хуур болоод түүнтэй холбоотой бүрдэл хэсгүүд нь монголчуудын уламжлалт ахуй соёл, уран сайхны салшгүй нэг хэсэг юм. Үүний нэг болох хуурын татлага нь өөрийн өвөрмөц шинж чанартай бөгөөд бүрдэл хэсэгт давтамж чухал үүрэг гүйцэтгэдэг. Энэ нь уран бүтээлчийн тухайн үеийн орчин, сэтгэлгээ, нөхцөл байдалтай холбоотойгоор тухайн цаг үедээ туурвигддаг. Иймд минимал буюу давтамж гэдэг нь хүн төрөлхтний бүтээн бий болгосон соёл, түүний онцгой ай болох урлагийн бүтээлийн  илэрхийлэлд сэтгэлгээний тодорхой зорил бүхий элементүүд бөгөөд энэхүү давтамжит шинж агуулгын болоод уран сайхны чухал үүрэг гүйцэтгэсээр иржээ. Хөгжмийн минимализм хэмээх ойлголт анх АНУ-д ХХ зууны 50-иад оноос яригдаж урлахуйн онцгой шинэ арга барил сэтгэлгээний зарчим болж тогтсон. Энэ талаар Америкийн болон Европын орнуудын эрдэмтэн, мэргэд олон арван судалгаа хийжээ.
Минимал шинж нь монголын уламжлалт дүрслэх урлагийн бүтээл дэх давтамжит хээ угалзан чимэглэл хөгжим дэх давталтын арга барилтай нарийн уялдаа холбоотой илэрдэг. Хөгжим дэх аливаа давтамж хүний сэтгэл санаанд “ховсдон” нөлөөлөх боломжтой нь тодорхой байдаг. Монголын уламжлалт аман зохиолын томоохон төрөл болох тууль, хамсран товших товшуурын аялгуу, хуурын татлага, бөөгийн хэнгэргийн давтамжит  хэмнэл, төл мал авхуулах, тойглох, хөөслөх, маани мэгзэм, тарни уншлагын үг хэллэгийн давтамж онгод хүчийг аргадах, тайтгаруулах, баясгах, итгэл бишрэлийг төрүүлэх зэрэг хүний дотоод мэдрэмжийн “биелэхүйн” хүчийг агуулж байдаг.
Аливаа том зүйл жижигтэйгээ адил, жижиг нь томтойгоо адил байх шугаман бус зарчим монголын нүүдэлчний урлагийн сэтгэлгээний гол тулгуурын нэг гэж үзэж болохоор байна. Минимализм дахь хөгжмийн давтамжийн 11 арга барилын хүрээнд хуурын зарим татлагыг шинжлэн авч үзсэн.  Энэхүү арга барил  монголын  уламжлалт хуурын татлагын хөгжмийн давталт бүхий ая, аялгын бүтцэд тогтонги шинжтэй байна 
Түлхүүр үг: хуурын татлага, минимал шинж, арга барил, илрэлт

This online newspaper article is about Pau Ti-san, the Soviet Chinese leader of a battalion (the Terek CHON Chekists were 800 in number). L. Kasimova is the author while JKC translated the article to English.

In April 1918, at the initiative of Kirov and Noah Buachidze, the Terek Council of People's Commissars decided to create the Vladikavkaz Chinese Battalion under the command of Pau Tisan (real name Pao Qing Shan). The battalion consisted of 450 men. Pau was probably the most "non-standard" Chinese internationalist: he was brought into Russia by a Russian officer as a servant during the Russo-Japanese War. Here he was able to get an education and even enter the Petrograd Institute of Technology in 1914. Pau smoked a pipe, brilliantly understood various techniques and mechanisms, wore a leather jacket and had a composure that was rare even by Chinese standards. The charismatic personality of Pau Ti-San attracted Chinese workers to the detachment, and by the summer the battalion already numbered 800 bayonets, becoming a serious support of Soviet power on the Terek.

Leonid Maksimenkov wrote an article the life and death of the military commissar, Shen Chenhuo, for the formation of Russian Chinese detachments [regiments] during the Russian Civil War. It was originally published in Ogonyok in the 1950s or 1960s (I believe). It was republished by Kommersant in 2017. JKC has merely translated the article into English.

This is an article by Grigorii Tsidenkov. JKC has merely translated it into English. All of the stories have been collected and collated from Soviet newspapers mostly from Ukraine and Russia that ran stories about Chinese contributions to the Russian Civil War. Some 40 to 50,000 Chinese men served in the Russian Civil War. Karpenko's book on the Chinese Legion is the best one on that history, but is in Russian. I have read or heard some of these stories before. I have also tried to interview some of the descendants of these Chinese men who served in the RCW. They grew up as orphans as their fathers were repressed (shot or sent to the camps) during 1937-1939. The men or women I interviewed were mixed race Chinese-Russian, Chinese-Ukrainian, Chin-Polish or Chin-Jewish.

The article considers the present stage of early medieval stone sculpture study in the Altai-Sayan region including the Altai Republic, the Tuva Republic and the Republic of Khakassia. This work summarizes results of the researches carried out in the 1990s and the beginning of 21st century. The results of archeological expeditions and interpretation of the obtained materials presented in this article are of great importance for identifying aspects that require further investigation. The author reveals main tendencies of early medieval stone sculpture study in the Altai-Sayan region which are the decrease of the research intensity, predominate exploration of the Altai Republic, further study of the problems posed earlier and the introduction of museum collection materials into scientific use.

Архив Государственного Эрмитажа располагает достаточным массивом письменных источников, которые позволяют пристально рассмотреть отдельные на первый взгляд незначительные события, каждое из которых превращается в отдельную увлекательную детективную историю. Чтобы вникнуть в смысл каждого такого невзрачного документа, написанного на хрупкой бумаге, как правило обороте и кусочке целого листа, приходится затрачивать много усилий.