The study is based on documentation of the late Soviet experience, theoretical generalization and interpretation of empirical data and archival documents. The phenomenon of a university as a set of incarnations of all members of the university community, aggregated in a certain way, is currently one of the most important scientific topics, but this issue, for all its relevance, has not yet received proper development and requires close attention from researchers.

The article presented by us is aimed at analyzing the anthropological microworld of university everyday life in the 1970–1980s, which contains such criteria as the disclosure of a person’s potential, the possibility of realizing the tasks set by the state and the leading party for the individual and society in the socio-political conditions of the late Soviet era. The study examines the value parameters that characterize the teaching staff: motivation for work, attitude towards colleagues, as well as their ability to develop a vision of the role of the economy and other significant factors in everyday life: personal, collective, Soviet society, the country as a whole, etc.

The study of the university topic is interesting for the possibility of creating a local version of the collective past of the late Soviet era, describing the atmosphere of that time, lifestyle, mentality, stereotypes of consciousness, and the peculiarities of the mentality of a Soviet person. The study of the scientific and educational team as a specific, original and unique “human” community involves the fixation and analysis of the existing relationships and interactions that unite university society.

The history of Galdan Boshigt of Oirat is one of the most important studies in Mongolian-Russian relations in the 17th century. The history of Galdan Boshigt’s relationship can be traced back to his reign in the Dzungarian Empire. Galdan Boshigt’s foreign policy and operations should focus on relations with Dzungaria, Central and East Asia, and the Manchu Dynasty. However, a number of Chinese and Russian scholars have studied the issue. Therefore, I did not touch on the issue of Galdan Boshigt’s relations, and The author tried to focus on how he interacted with Russia, the specifics of his relations, the historical situation at that time.

One can derive a great deal of information on Chinese music from images painted during the first millennium along the Silk Road, including Dunhuang, especially if combined with Chinese texts. Long before the arrival of Buddhism in China, music held an important place in Confucian and Daoist ritual. With the arrival of Buddhism, its followers demanded no less, but they required instruments quite different from the ritual instruments used during the first millennium b.c.e. — bronze bells, stone chimes, and large drums. The instruments brought by Buddhists were light (lutes, harps, flutes, reed instruments, and small drums). Most survived in China, but harps (konghou) disappeared shortly after 1000 c.e. as Buddhism declined. One of the last depictions of harps is found in cave 465 at the Mogao Grottoes (thirteenth century). This paper attempts to compile what is known about these ancient instruments, information vital to conservators, art historians, instrument makers, and musicians who wish to revive earlier practice. Harps died out in China, but replicas are now played in several places, for example, the Dunhuang Academy, the Shanghai Conservatory, Jeonju (Korea), and Tokyo.

The unique musical culture of the Altai people is largely based on traditional folk music. National musical instruments have sacred, magical functions when communicating with the spirits of nature — this fact is reflected in folklore works and folk performances. The article attempts to comprehensively clarify the relationship of the sacred, magical functions of folk musical instruments with a variety of cult rituals that exist in the life of Altai society, with established stereotypes in the texts of oral folk art, as well as in oral stories of representatives of the ethnic group. One of the oldest samples of musical instruments found by archaeologists, the Pazyryk harp, is considered in detail. The scientific study of this unique artifact, as it seems to us, will help to expand our understanding of its existence in the past, to understand the main substantive components of the “Scythian harp” in order to preserve them during reconstruction and revive the ancient musical instrument for the modern generation of musicians and listeners.

The study of the national musical instrument, the Pazyryk harp, as one of the most valuable sources of the historical and cultural heritage of the Altai people is very relevant and is of scientific interest to Russian and foreign experts, folklorists, archaeologists, culturologists and modern musicians.

The article examines the genre of magtal in the aspect of the greatness of bladed weapons on the examples of magtal poems in the poetry of Aksen Suseev, David Kugultinov and Mikhail Honinov. If “Uldin magtal” (“The Greatness of the Sword”) is included in A. Suseev’s poem “Teegin urn” (“Son of the Steppes”, 1939) as part of three magtals addressed to the greatness of the hero, horse and his weapons, before 12 songs-chapters, then D. Kugultinov’s poems “Aakun shor-uld taig” (“The sword-cane of Oka”, 1956) and M. Honinov’s “Khazg Chashkin ir ...” (“The blade of the Cossack saber ...”) are separate magtals dedicated to the heroes of fellow countrymen. A. Suseev and D. Kugultinov have magtals addressed to the hero of the Civil War O.I. Gorodovikov, M. Honinov — the hero of the Patriotic War B.B. Gorodovikov, defenders of the Fatherland. Comparative-typological analysis of folklore analogues in the epic “Dzhangar” and literary magtals revealed both common and different in the glorification of the hero through the glorification of his weapons — sword, saber, Cossack saber.

The Kazakhs and Mongolian-speaking nomadic peoples in the past had many unique and diverse types of games. Their national games were mostly associated with the economic activities of nomads, who were mainly engaged in cattle breeding. It is quite natural that the younger generation was well acquainted with the habits and anatomical structure of domestic animals, which, of course, influenced the specifics of children’s gaming entertainment. The aforementioned nomadic peoples had both outdoor games that developed strength and dexterity in children and adolescents, and intellectual games that contributed to the development of the mind and logic of young people. In the research literature, outdoor games have been subjected to scientific analysis to a greater extent, but, relatively speaking, the second group of games that develop the intellect of the younger generation has received much less attention. Among intellectual games, a special place is occupied by such a folk game, which has become traditional in the nomadic environment, as “eight features of the lumbar vertebrae”. This intellectual game was widely spread among the tribes of the Hun Empire. A comprehensive analysis of this game, carried out in the article, revealed its specific features, showed that this is not just a common children’s entertainment, but part of the cultural heritage of the Turkic-Mongolian peoples.

The Golden Light Sutra is one of the most revered scriptures in Mahayana Buddhism. The Golden Light Sutra was translated from the Tibetan language into the Oirat language by Zaya pandit. From the middle of the seventeenth century onwards, for a hundred years after the text was translated into Oirat, the scriptures were only in manuscript form. It was published in the middle of the 18th century by xylography in the Dzungarian Empire, and later in the Kingdom of Kalmykia by the Volga Kalmyks during the Donduk-Dashi period (1741–1761). A copy of this Kalmyk xylograph is kept in a private collection of Sh. Uvelzen (Tekes, Xinjiang, China). The recent translation of the “Golden Light Sutra” has not escaped the notice of Russian scholars. A 1655 translation document explains whether Altangerel used strange dialectal words in the text of the Mahayana sutras, how they were related to the correct spelling of the Mongolian written language, and how he copied the words correctly. In bold script, like the Mongolian script, pay attention to the end of the word, depending on whether the root of the word ends in open or closed, the suffix has two variants, beginning with a vowel and beginning with a consonant. Thus, the bold letters and the suffixes of the Mongolian script can be said to be the same, but the quality seems to be different.