This study presents for the first time the document “Regulations on the shelter for young children at the Princely-Mikhailovsky Bolshederbetovsky missionary camp”. This source is devoted to the topic of missionary work and education on the territory of the Bolshederbetovsky ulus of the Stavropol province at the end of the 19th century. The scientific article presents the full content of this Regulation. The relevance of this work is that a visual study of such materials allows us to see in detail the main goals and objectives of the imperial policy in matters of introducing Kalmyks to Orthodoxy and spreading literacy among them. The Regulation also examines in detail all organizational aspects related to the organization of the educational and upbringing process. From the document, we can learn that the management of this shelter was carried out by representatives of the clergy and civil servants. It is worth noting that the functions of civil servants mainly included organizational tasks, while the clergy monitored the educational and upbringing process. According to the terms of the Regulation, Kalmyk children (baptized and unbaptized), as well as Russian children, were accepted to the shelter. Overall, this document is a clear example of the reflection of the imperial policy of acculturation of non-Slavic people on the outskirts of the Russian Empire through the introduction of Kalmyks to Orthodoxy and their subsequent education

Y-chromosome haplogroups (transmitted through the male line) C2, O and D are called Mongolian. Among the Kazakhs of Kazakhstan, 40–52 % are carriers of haplogroup C2, 8 % are carriers of O and up to 1 % are carriers of D. In total, Mongolian haplogroups are 49–60 %. In this indicator, Kazakhs are practically no different from Kalmyks. Four subclades have been identified in haplogroup C2: C2a1a2a-M48(×M504) «Kalmyks» (dominant in frequency among Kalmyks), C2a1a2b-M48(M504) «Kalmaks» (dominant among Kalmaks), C2b-F1067 «Khalkha» (dominant among the Khalkha Mongols) and C2-Y10418 «Avars» (not ethnically identified). Kalmyks and Kalmaks (Dzungars) are Oirat Mongols. Such distribution of subclade frequencies allows ethnic identification of Kazakhs, carriers of haplogroup C2. 21 arrays (number of tested — 6484) of population genetics data characterizing Kazakhs by regions of residence, zhuzes and clans were considered. Kalmaks made a decisive contribution to the ethnogenesis of Kazakhs of the Senior zhuz, Kalmyks — to the Junior zhuz. Their contribution to the genetic portrait of the clans of the Middle zhuz is differentiated. There were no Khalkha Mongols in the territory of formation of the Kazakh ethnic group (the eastern part of the Jochi ulus and the northern part of the Chigatai ulus). The frequencies of the Khalkha subclade among them are at the level of its frequencies among Kalmyks. The exception is the Kazakhs of the Turkestan region. They have 20 % of its carriers. The main mechanism of formation of the Kazakh ethnic group is social. Initially, the Kazakh hordes were formed in the same way as in Eastern Europe. From individuals who came from different social systems. Later, individual Oirat clans moved from the rigid feudal structure of the Kalmyk and Dzungar Khanates to the Kazakh hordes. The second most important mechanism is the creation of the shezhire as a national myth of the Kazakhs

This article is dedicated to studying the general characteristics of Kalmyk poetry in the first half of the 20th century, including its genre and thematic diversity, which reflect the spirit of the time and social consciousness. The research shows that Kalmyk poetry reflects cultural and social transformations, emphasizing its importance for understanding the literary process as a whole. The object of the study is Kalmyk lyric poetry from the first half of the last century, which represents an important aspect of cultural and literary heritage. The focus is on works that reflect changes in the genre system, as well as the influence of historical and social conditions on the creativity of poets during that time. The research material consists of a significant corpus of poetic works published in Kalmyk and Russian languages. The applied systematic approach includes cultural-historical, structural-functional, and comparative methods. As a result of the work, it was revealed that the 1920s were a turning point in the history of Kalmyk poetry. During this period, the exploration of new forms began with the song genre, reflecting profound social and cultural changes. The authors of these works were common people, participants in the Civil War, who created poetry in the context of revolutionary struggle, which gave their creativity unique relevance and importance. The ideology of the new regime required literature to express loyalty to the Soviet system and reflect socialist values, which had a noticeable impact on the content of the works. The author provides a detailed examination of several examples of Kalmyk lyric poetry from the period in question. The emergence of new genres enriched Kalmyk literature, providing authors with the opportunity to experiment with form and content, facilitating a more dynamic approach to expressing thoughts and feelings, as well as expanding the genre system of poetry. These processes also contributed to the preservation of cultural heritage and the development of Kalmyk literature, shaping a unique artistic world.

In this article, the authors analyze folk songs. The authors have recorded more than 80 songs in the Altay soum of the Kobdo aimag from 79-year-old Parz Tsagaana Myadag. The Zakhchin people live in this soum. Some of the songs are performed during the wedding ceremony. The wedding ceremony begins with the song “Zhargalt kheer mor”. The song “Unagan bietey ulaan” is performed when the bride is taken out of her parents’ house and the remaining guests sing “Ermen zhoroo bor”/ when the bride is taken to the groom’s house they sing the song “Golyn tsagaan burgas”, then they say good wishes to the bride’s mother and the groom’s side presents her with a gift, and also sing the song “Tsagaanaa tsohor mor”. The wedding ceremony ends with the song “Bichgen kheer mor”. The songs of Ts. Myadag preserved the dialectal features of the Zakhchin people. The authors of this article propose to continue collecting and publishing songs, replicating them on CDs, and also including them in the secondary school curriculum as a subject of regional competence in order to preserve the traditions of the folk song

Vandudnamjil (1844–1898), known the honored name of Khen Zai was twenty-fourth generation nephew of Zelem, a beneficent official of Chinggis Khan, and an inherited statesman, social activist, writer and poet of the Kharchin ethnicity residing in the Mongoljin Branch or Autonomous Branch of Mongolian nations in Liaoning Province of Fushin, Jun Wang of the late Qing Dynasty’s Kharchin Western Branch, current Kharchin Branch of Ulaanhad City of Inner Mongolian Autonomous Region. In the works of Kharchin Wang Vandudnamjil, the poems written for V. Injinnash, with whom he was a close friend, play a significant role. His poems reflect their close friendship in their youth. In this article, we selected the poems of Kharchin Wang Vandudnamjil for Injinnash Vanchinbal and analyzed content

Монголын орчин үеийн уран зохиолын түүхэнд гарсан томоохон ололт амжилт бол уран зохиолын олон төрөл зүйл шинээр бүрэлдэн бий болсон явдал юм. Энэхүү шинээр бий болсон төрөл зүйлүүдийн дотроос туурийн төрлийн үүсэл хөгжилд Б.Ринчен чухал үүрэг гүйцэтгэсэн болно. Зохиолч Б.Ринчений уран бүтээлийн нэгэн чухал онцлог бол түүхэн тууриудынхаа уран сайхны зөрчлийг гайхамшигтай най- рийн боловсруулсан явдал юм. Энэ бол түүний уран бүтээлийн бусдаас ялгарах гол онцлог болох тул зохиолч Б.Ринчений түүхэн тууриудын уран сайхны зөрчлийг тусгайлан судалсан болно.
Утга зохиолын онолд зохиолын гол баатар (protagonist) болон эсрэг баатар (antagonist)-ын хоорондын харьцаан дээр тулгуурлан зөрчлийг гадаад болон дотоод гэж ангилдаг. Энэ үүднээс Зохиолч Б. Ринчений түүхэн тууриудын зөрчлийг онолын үүднээс ангилан авч үзвэл “Нууцыг задруулсан захиа” (1957), “Шүхэрч Бунияа” (1957), “Ану хатан” (1959), “Гүнж” (1962) зэрэг ихэнх бүтээл нь гадаад зөрчилд тулгуур- лажээ. Харин “Мангаа Доогийн эцсийн зүүд” (1958) туурьт баатрын дотоод зөрчлийг, “Гар” (1966), “Эмгэн Сойвон” (1973) туурьт гадаад дотоод зөрчлийн хослолыг чадамгай боловсруулсан байна.
Зохиолын зөрчлийг шийдэх өгүүлэгдэхүүний тайлал хэсэг уран сайхны чухал үүрэгтэй байдаг. Зохиолч Б.Ринчений ихэнх түүхэн тууриудын уран сайхны зөрчил эмгэнэлт төгсгөл болох үхлээр шийдэгдэж байна.

The article is of a review nature and is devoted to the historiographic review of the international scientific and practical conference “Textual Tradition of Mongolian Buddhism: Written and Oral Traditions” (Budapest, April 8-9, 2025). It is noted that the study of the textual tradition of Mongolian Buddhism has gradually taken its place in Hungarian Mongolian studies. The evolution of the views of Hungarian historiography from the perspective of various aspects of Mongolian studies is presented. Based on the analysis of the most significant reports presented at the conference, the author identifies general trends, promising directions, new methodological approaches in the development of Mongolian studies. Particular attention is paid to the prospects for scientific cooperation between Hungarian, Kazakh and Kalmyk scientists in the field of studying the material and spiritual culture of the Turkic-Mongol peoples. The conference demonstrated the possibilities of consolidating scientific knowledge and practical experience in solving the problems posed.