On October 28-30, 2013, the Institute of Oriental Studies of the Russian Academy of Sciences hosted the Third Annual Conference "Written Monuments of the East: Problems of Translation and Interpretation", organized by the Department of Written Monuments of the Peoples of the East. Its participants, experts in various fields of Oriental source studies, focused on problems related to both reading and authentic interpretation and translation of monuments of Eastern literature and historiography, folklore texts and legislative documents, interpretation of the figurative language of Oriental art and concepts of traditional aesthetics. The conference featured 27 reports, including reports from researchers from Iran, Malaysia and Uzbekistan.

In the NYU report that opened the conference. Chalisova University (RSUH) ("Parisan concept in Persian poetic images: broken harmony and lost unity") it was noted that in the intellectual culture of the medieval world of Islam, the opposition of "scattered" and " collected "is already represented in the Arabic and Persian designations of two sections of the" beautiful word": nathr, letters," scattering", i.e. prose, and nazm, i.e. ordering or stringing the scattered, similar to making a pearl necklace.

According to the researcher, in the aggregate, the canons of Persian classical poetry regulate not only the form of verse, but also the repertoire of stock "ideas" and "terms of poets", creating a special semantic space that can be called the Iranian traditional poetic picture of the world. Among such concepts, which are key to the poetic system as a whole, belongs parisani (absent-mindedness, dispersion; disorder; restlessness, excitement, confusion, anxiety, disorder; poverty, misery), which is present in the overwhelming majority of lyrical texts, indicating a special state of thoughts and feelings, words, deeds, the fate of a person, community, state, world. The report examined the range of images that use the concept of parisani and its various oppositions (unity, order, harmony) in the Diwan of Hafiz, and discussed options for translating them.

In the report of A. S. Desnitsky (IB RAS) "Syntactic and discourse restructuring in modern Biblical translation", a number of examples from the author's experience in translating the Bible into various modern languages, mainly Turkic, were proposed. According to the researcher, syntactic rearrangement of the text in translation is a common thing, but working with the discursive structures of the text is much more difficult. Raising questions about the structure of the original text and the extent to which they should be imitated, the author gives an extensive number of examples of translating Biblical texts into a number of modern languages and comes to the conclusion that when translating Ancient Eastern texts, their syntactic and discursive rearrangement remains the most important part of the translation task.

N. I. Prigarina's report "Tariqat"by Khoja Nasreddin (Institute of Internal Affairs of the Russian Academy of Sciences) was distinguished by an original approach to the literary material under study. (The experience of studying a modern text in the context of medieval tradition). The object of her analysis was the famous book by L. Solovyov "The Tale of Khoja Nasreddin "(part 2: "The Enchanted Prince"). Placing the "Story" in a general Sufi context, the researcher analyzes the character of the truth-seeking dervish and his teachings, which reveal analogies in Iranian Sufism. Developing the theme of "the seeking man" and "the perfect man", the author of the report examines the idea of the Path (external and internal) on the example of such heroes as Khoja Nasreddin and the thief of Baghdad, and traces its stages, showing that the result of the spiritual journey for a Sufi, according to the formula of Muhammad Iqbal, is "Staying in the Truth" and "Return to the people".

M. V. Toropygina's report "Mountain Roses and Frog Voices: Reading an Etching by Ando Hiroshige (1797-1858)"was devoted to identifying early literary associations associated with the work of one of the greatest Japanese artists. The subject of consideration in the report was one of the artist's engravings, which contains not only a drawing, but also a poem. The researcher analyzes the symbolism of the rivers, flowers and frogs depicted in the engraving, as well as the entire range of artistic and literary associations that arise in the Japanese audience.

The poem on the engraving is written using the technique "following the original song", it quotes lines from the poem of Prince Kaneakira (Kaneakira Sinno, 914-987) from the anthology "The Second Izbornik" (Gosyuishu, 1086, poem No. 1154). Together with a small prose preface, Kaneakira Shinno's song provides a background that is also used in the poem, which is part of the composition of the Hiroshige engraving.

Report by M. L. Reisner (MSU ISAA) "'Affirmation of Monotheism' (tawhid): from a religious concept to a poetic theme" was dedicated to one of the key religious concepts of Islam. In poetics, the term tawhid appears very late - in the XV century, although already in the early epic poetry in the New Persian language - "Shahnameh" by Firdousi and" Vis and Ramin " by Gurgani (X-XI centuries), the motifs of praise to the Lord served as marking the beginning of the composition. In the subsequent period in the epic tradition, the tawhid theme becomes canonical, and it is traditionally assigned one of the introduction chapters in classical Persian Masnavi poems, regardless of their genre orientation.

Only in the 12th century did tawhid become one of the themes of the Persian Qasida. Having penetrated into the lyroepic genre by transposition (tilt) from the epic (Masnavi), these motifs received a new interpretation in the Qasida canon, retaining partly their compositional function. Poems dedicated to the "affirmation of monotheism" were placed at the beginning of the divan, a collection of monorithmic verses, according to the rule of arrangement of verses. The researcher emphasizes that in the early collections of Persian poetry (XI century), poems of spring calendar themes could be considered as the "opening" qasida, which are identified by a number of signs as a substitute for tawhid motifs.

In the report of D. N. Vorobyova (Moscow. museum of modern art. Images of Gandharvas in Indian art. Connection of description and image " literary descriptions of celestial musicians - Gandharvas - in the Hindu, Buddhist and Jain traditions were compared with their images in the art of India, with an emphasis on the sculpture of the cave complexes of Ellora, Ajanta and Aurangabad. It allowed the author to draw conclusions not only about the characteristic features of these images, but also about their significance in the iconographic program of churches.

As the researcher was able to show, the visual representations of Gandharvas do not strictly follow the canonical precepts contained in religious literature. Even in Jainism, with the tendency of its authors to total systematization and structuring, the iconography of the lower celestials often does not correspond to the canons at all and, apparently, in reality was not strictly regulated. Moreover, their images in the temples of the three religions are almost identical, and the change in imagery is due only to a change in artistic styles, which is primarily due to the peripheral position of semi-divine musicians, their proximity to the original folk beliefs.

V. Y. Shelestin (GAUGN) devoted the report "The death of Ebla and Babylon in the epics of the XVI-XV centuries BC: in search of a winner" to the reflection in the epic works of the Hittites ("The Epic of Liberation from Captivity" and "The Epic of the Defeat of Samsuditana") of the changing geopolitical situation in the Near East at the turn of the XVII-XVI centuries. In particular, the campaigns of the Hittite ruler Mursili I.

A fragmentary study of the "Epic of the Defeat of Samsuditana", which has been preserved, has shown that its winner is the king of the "Seaside Dynasty" Gulkishar, although, according to historical data, these were the kings of the Kassite dynasty. The available fragments of the monument, as well as the Akkadian language of the text, indicate an attempt to create a "seaside" version of the death of the First Babylonian (Amorite) dynasty, propagated among the population of Babylonia.

The "Epic of Liberation from Captivity", which tells about the death of one of the provincial centers of Yamhad-Ebla, is preserved on more than a hundred fragments of tablets found in one of the temples of Hattusa, and represents Hurrieto-Hittite bilingualism. According to the author of the report, the Hittite text of the epic is not only the result of the propaganda activities of the court chancellery of Tudhaliya I (II), but may also reflect the Hittite version of the memory of unrestrained victories, which became relevant at the end of the XV century BC.

In the report of E. S. Lepekhova (IB RAS) "Perception of the text of Buddhist sutras in the Japanese literary tradition setsuwa Bungaku of the VIII-XIII centuries", stories about the " Lotus Sutra of the Good Law "(abbreviated "Lotus Sutra")were considered in a number of sources of the VII-XIII centuries. Speaking about the first experiences of public reading and interpretation of Buddhist sutras in the court environment (VII century), the researcher noted its ritual nature, designed to mobilize the omnipotent forces of Buddhas and Bodhisattvas in favor of those who recite sutras. Over time, in Japanese Buddhism, the sutras were determined, the veneration of which was attributed to the greatest effectiveness in attracting higher forces to their side. Numerous copies of the sutras were distributed to the provinces, and local monks were instructed to hold public readings and interpretations of these sutras every month.

The subjects and images of the "Lotus Sutra" are reflected in both religious and secular paintings, sculptures, decorative and applied arts. The sutra also had a profound impact on Japanese literature. Special attention was paid to the recitation and visual perception of its text as one of the ways of worship and a means of miraculous salvation. In this, the researcher sees the influence of the esoteric Buddhism of mikke, which spread in Japan from the beginning of the IX century. The syncretism of esoteric Mikke Buddhism and Mahayana Buddhism is evidenced by the mention in the Setsuwa literature of the magical power of the Lotus Sutra text and its signs.

G. M. Ismailov (Uzbekistan) in his report "The initial stage of borrowing Russian military terms in the Old Uzbek language in the XIX century" described how the Russian-language newspaper "Turkestan Vedomosti" influenced the formation of the periodical press of the Turkestan region. Soon after its appearance (1870), the first newspaper in the Uzbek language, Turkiston Viloyating Gazetasi (Turkestan Vedomosti), was published as an appendix to it and with the direct participation of its publishers under the same name.

The absence of rules for writing words borrowed from the Russian language in the Arabic script, which was characteristic of the beginning of the XIX century, actualized the problem of ordering spelling rules and norms. As the speaker noted, this circumstance was the main reason for the discrepancy in the spelling of certain words and terms in the press of the XIX century, published in the Uzbek language.

In the report "On the "simple" and "enlightened" reader: on the example of interpretation of Farid al-Din 'Attara's short stories "Ilahi-nama" about the danger of loving a beautiful face" L. G. Lahuti (IB RAS) considered the question of the reader's understanding of the stories from the first chapters of masyavi by the Persian Sufi poet of the XII-XIII century Farid ad- Dina 'Attara Ilahi-nameh (conditional translation of "The Divine Book"), emphasizing that all the poems are.masiavi 'Attara in one way or another are devoted to the description of the spiritual path of the mystic and the study of the properties and aspirations of the human soul. According to the poet himself, any reader, both "simple" and "chosen", can benefit from his books.

S. P. Gakh's report "Advertising in the story of Santo Keden 'The Legend of the Hermit Hamamushi' " was devoted to the phenomenon of introducing advertising into works of fiction created by the greatest Japanese fiction writers at the turn of the XVIII-XIX centuries. As an example, we considered the work of the famous writer of that era, Santo Keden (1761-1816), who, after gaining fame as a writer and artist, became a merchant. Advertising for his store included pages of his own works, in particular the illustrated story "The Legend of the Hermit Hamamusi" (Hamamusi-nyudo mukasibanasi, 1813). The book contained four inserts with ads: two in the middle of the book and two at the end. Three of them advertise various products from Keden's store, and one of them announces his new books.

As the author of the report notes, the presence of "ad breaks" inside works of popular literature indicates their commercial nature and serves as a reminder that it is important to consider them not only in an aesthetic, but also in a socio-economic context.

M. Bahraman (Iran) in his report "On the translation of Persian metaphors: based on the material of "Shahnameh"" considered the problem of interpretation and translation of metaphors in the English translation of Ferdowsi's epic " Shahnameh "(X century). The work was carried out on the basis of the original text and English translation made by the famous American Iranist D. Davis . Shahnameh, the Persian Book of Kings. N.Y.: Penguin, 2006). The author of the report compared approaches to the problem of metaphor in the" culture of the original "(Persian) and "host culture" (European, in this case - Anglo-American) and considered a wide range of problems: recognition, composition and typology of metaphor and possible translation strategies: ways and boundaries of finding a translation equivalent, the possibility of preserving aesthetic value in translation. and

emotional components and national-specific components of the metaphor. The author tried to find out what methods of metaphor translation were used by D. Davis. The study showed that a literal translation of a metaphor that is not recognized by the translator leads to a distortion of the meaning, and the refusal to preserve metaphoricity in translation leads to a decrease in the aesthetic, cognitive and emotional impact of the text.

The study of legislative codes as the most important source for studying socio-economic and political relations of the "warring provinces" era was devoted to the report of S. A. Polkhov (IB RAS) "Sengoku Daimyo Regulations in the context of the legal and political history of Japan". The author noted that during the Sengoku period (1467-1590), the country was divided into many principalities and small possessions controlled by virtually independent rulers (Sengoku daimyo). Under these circumstances, the emergence of a series of legislative codes during the "warring provinces" period became an important event in the history of the Japanese state and law.

1950s edition of " Chusei Hosei shiresu. Buke-kaho " ("Collection of sources on the legal history of the Middle Ages. Laws of military houses") It was the first publication of the Sengoku Daimyo code and contained texts reconstructed on the basis of a comparison of extant lists, as well as their textual analysis. The creators of the codes sought to streamline legal proceedings, and were also guided by considerations of prestige and increasing their own authority. However, nothing is known about the practical application of a number of codes and the duration of the functioning of the laws contained in a number of codes. According to the author's observation, there is no direct connection between the laws of the Sengoku Daimyo and Tokugawa law. It is only known that during the Tokugawa period, for one reason or another, they lost their power. However, nothing is known about the practical application of a number of codes and the duration of the functioning of the laws contained in them.

In the report of T. A. Metchikova (IB RAS)" Tazkirat al-awliya "by Farid al-Din' Attar. Problems of Translation " was considered one of the fundamental works of Sufism, which became a model for all subsequent Sufi literature in Persian. The author of the report emphasizes that in the ' Attara language, the doctrinal language of Sufis is inextricably linked with poetic imagery, and the translator needs to reflect this combination of poetic and metaphorical text, which generates polysemy, with a strict terminological series that requires unambiguous interpretation.

According to the researcher, the difficulty in translation is related to the need for the most possible unambiguous transmission of Sufi terminology, so as not to lose the intertextual connections that exist between different texts of 'Attar and texts of other Sufi authors, and are traced precisely through the use of certain words and terms. As an example of such difficulties, the author of the report cites the problem of translating the title of the work, which in the Russian tradition is translated in different ways - "Note on the Saints", "Lives of Saints", "List of Saints", "Commemorations of Saints", and the translation of "Anthology of Saints" or "Reminder of Friends [of God]"is also possible. Each of these translations reflects one of the facets of the meaning of the name, but none of them is able to convey all its volume and ambiguity. The word tazkirat is derived from the Arabic root z-k-r with the meaning "to mention", "to name", "to remember", "to praise" and has acquired a special contextual meaning: the story of each Sufi is a form of regular remembrance of God and the friend of God. Starting with 'Attar, in Persian literature, the word 'Attar' is used as a word for 'Attar'.tazkira began to be understood as an "anthology" and used not only in the hagiographic genre, but also in a number of others.

The report of S. V. Lahuti (RSUH) "Principles of composing an electronic corpus of messages in the Shahnameh" noted the important place that the communication of characters, in particular their oral and written messages, occupies in Ferdowsi's poem. There are about 300 of them in the text of the poem, and together with the fragments directly related to them, they occupy a volume of about 10 thousand lines. According to the author of the report, this layer of the poem has specific properties and seems to be a productive object of research from various points of view-philological (literary studies, literary history), historical, linguistic, text theory, translation theory, communication theory.

To ensure the possibility of such a comprehensive study of the source, the researcher is working on compiling a parallel electronic corpus of messages from the Shahnameh in the original and in Russian translation. In the corpus, unlike a regular collection or archive of texts, each text is assigned a set of parameters in accordance with the research goals, which allows you to study and compare messages by specified parameters or a combination of parameters.

In his report "Two ancient traditions of the history of early Parthia", A. S. Balakhvantsev (Institute of History of the Russian Academy of Sciences) analyzed the existing theories related to the problem of the emergence of the Parthian state and based on the epitome compiled by Justin "Historiae Philippicae" by Pompey Trogus, "Geography" by Strabo and the works of Byzantine authors Zosimus, Photius and Syncellus. Analyzing the arguments of historians G. A. Koshelsnko and V. A. Gaibov, the author of the report disputes a number of their conclusions and sees no reason to deny the connection of the reports of Zosimus, Sinkell and Photius with the Parthica of Flavius Arrian. But since the main source of information about the emergence of the Parthian state in Pompey Trogus and Strabo was the" Parthica " of Apollodorus of Artemis, the researcher considers it necessary to restore historical justice and, along with the tradition of Arrian, talk about the tradition of Apollodorus.

The report by O. A. Kazakevich (MSU) "Lone Wanderers (texts of traditional personal songs of Northern Selkups: problems of translation and interpretation)" considered texts that were recorded in the 1980s in the Upper Basin by the Krasnoselkup local historian V. V. Rudolph, and deciphered (transcription of texts and their translation close to verbatim). In the summer of 2013 (almost 30 years after the recording), the author wrote a report with the help of native Selkup speakers from the village of Tolka in the Krasnoselkupsky district of the Yamalo-Nenets Autonomous District. The authors also considered the lyrics of songs recorded by the researcher in the last decade.

The earliest recordings, dating back to the beginning of the last century, were made on wax rollers by the Finnish linguist K. Donner in 1913-1914. during his trip to Siberia, but the quality of the recording does not allow us to restore the full text of the songs, only individual words are identified. Recordings of Selkup personal songs made in the era of film and cassette recorders (1960-1990s) are suitable for decoding, but until recently, researchers have practically not been engaged in this.

The largest collection of traditional Selkup songs, collected before the sunset of this genre, is the audio archive of V. V. Rudolph, stored in the Krasnoselkup Museum of Local Lore. According to the author of the report, the main motive of most of these songs is loneliness: the hero (singer)is a lonely wanderer in a world where the sun rises and sets, and at night the stars twinkle, the roots of trees growing in the sky. Loneliness can only be broken by the appearance of a deceased ancestor, usually a great shaman, ready to help from another world.

N. V. Alexandrova's report "Lalitavistara in the light of the Fa-hu translation (IV century)" was devoted to one of the fundamental sutras of Mahayana Buddhism, which belongs to the vaipu-lya Sutras, i.e. "extensive sutras" found in Nepalese monasteries*.

Yu. G. Atmanova (MSU)spoke about the formation of a new, more realistic image of a person in the illustrations of historical and biographical literature during the reign of Mughal Padishah Akbar (1556-1605) ("On the interpretation of the concepts of chehregoshai and Chehre-i nami in Mughal miniature painting"). She noted that in this era, due to the emergence of the portrait genre, special signatures appeared on the margins of miniatures illustrating manuscripts, including the words chehre-i nami and chehregoshai. Although earlier in art history it was customary to consider these terms as synonymous concepts, the researcher came to the conclusion that they implied a different specialization of miniature painters.

The term chehre-i nami (literally "person with a name" or "famous person") indicates the specialization of the artist who wrote out the faces of specific historical characters on the miniature, trying to capture individualized features, while the signature of chehregoshai (literally "opening the face", "removing the veil from the face") indicates the artist who created images of secondary characters, sometimes created by the master's imagination, when the artist's task was not to convey the portrait image. similarities. The report provided direct and indirect evidence to support the assumption of a distinction between these concepts.

In the report of A. S. Oskina (RSUH) " The problem of translating Izaei Nikki by Nun Abutsu (1221? 1283): quotations and allusions" a work was considered that has the genre designation nikki ("daily notes", "diary"), but in content, style and composition does not quite correspond to the traditional canon of diary literature. Its complexity for translation is primarily due to the abundance of quotations, allusions and reminiscences. Abutsu's poems strictly follow the old tradition of versification, which is proved by the poems where she addresses

* For more information about this report, see Vostok (Oriens), 2014, No. 4, pp. 191-195.

He also uses clichés and allusions to other famous poems, creating a mood of nostalgia and sadness for the passing era.

According to the speaker, even the reader of that time found it difficult to understand the text of Abutsu's diary. Apparently, she wrote a diary for her descendants, being sure that they would understand why she mentions or quotes certain texts, what people she means and what events from her personal life she hints at. From this point of view, the translation of the diary is extremely interesting, since it is inextricably linked with the life story of the writer and the people around her.

In his report " Translation problems and ambivalence of meaning in Literary monuments in Akkadian and Sumerian (Enuma Elish, the Epic of Ninurta)", I. A. Svyatopolk-Chetvertynsky (Institute of Linguistics of the Russian Academy of Sciences) focused on a number of specific examples of semantic games and anagrammatic techniques used in the monuments he considered, as well as on the fact that how the division of a string into lexemes generates variability in reading the text and the associated ambivalence of its meaning. The subject of reflection for the researcher was, in particular, the exegetical translation from Sumerian to Akkadian of the " Epic of Ninurta "and the question of whether this translation is"a translation of the meaning of the source or a translation of what is behind the meaning".

The result of many years of research on the largest monument of Malay historiography was the report of Ahmad Adam (Malaysia) "Krusenstern's list of Malay genealogies: revisions and dating (Sejarah Melayu Naskhah Krusenstern: satu perbincangan mengenai resensi dan tarikh)". In it, the author makes a detailed textual comparison of the so-called Krusenstern manuscript (1798) from the archive of the Institute of Oriental Manuscripts in St. Petersburg with one of the earliest lists of the monument-manuscript No. 18 from the collection of T. S. Raffles (Royal Asiatic Society of Great Britain). A detailed analysis of the structure of the text division into chapters, proper names mentioned in the monument, language features, spelling, etc. allowed the scientist to shed light on the history of the" Krusenstern manuscript " and clarify the possible degree of its relationship with the Raffles list.

The report of E. V. Tyulina (IB RAS) "Features of the description of space and dimensions in treatises on architecture (vassuvidye) in the canonical puranas" was made on the material of treatises on architecture and sculpture, which are part of the Agni-, Matsya - and Garuda-puranas (VI-IX centuries) and are devoted not so much to construction, but rather to the construction of buildings. description of various spatial structures in their correlation with the overall picture of the universe. Since the descriptions in the treatises were made without using any drawings, calculation records, etc., all problems could be solved only by means of text. The situation was complicated by the fact that construction treatises are poetic works in which a large number of synonyms with a different number of syllables were used to create the desired rhythm.

The key to understanding such descriptions is provided by the square schemes used during construction-mandolas divided into small squares (64 and 81), respectively, which were located 45 gods, guardians of the construction site, whose names in the text served to indicate the cardinal directions and various parts of the building space. Another series of designations gives the image of Purusha, the anthropomorphic being from whose body parts the universe originated. Purusha in the form of a seated human figure was also depicted on construction mandalas. Parallels in the definitions of space, in the names of structural elements of various constructions, and even in the names of measures and numbers show that they reflect deep ideological structures, according to which numbers, measures, and geometric forms were grouped around an anthropomorphic image that served as a guarantee of the integrity of the model of the world.

The report of M. Y. Ulyanov (ISAA) "On the translation and interpretation of the names of a number of social groups of the Chunqiu period (771-453 BC): On the question of Guozheng" was devoted to one of the aspects of the analysis of the social structure of this period - the first stage of the Eastern Zhou era. The analysis of messages from written (narrative) sources allowed the author to offer his understanding of such a concept as gozhen (literally, "person/people of the kingdom").

In the translations of these sources into Russian, there are several ways to understand the concept of guozhen and, accordingly, its historical interpretation, determined by the author's version of the translation. The researcher raised the question of whether we are talking about a specific social group, social reality, or a certain concept used exclusively in written sources.

A study of all the contexts of references to Guozhen in Chunqiu Zuozhuan (Spring and Autumn with a commentary by Zuo) allowed the speaker to assume that Guozhen is a kind of " chronicle

formula " (i.e., a specific element of the language of historical writing) that appeared in the text of written sources at a certain stage of their existence, as a result of reduction and unification of the source texts of written or oral historical narratives.

In his report "The Divinatory Text of the 128th Chapter of Shiji by Sima Qian and the Mantic texts of Zhi Shu from Shuihudi: The Problem of Translating Divinatory Terms", M. S. Tseluiko (HSE) drew attention to the difficulties that researchers face in translating and interpreting this text. The main problem was the translation of hieroglyphs denoting parts of the human body ("head", "legs", "hands", "set apart", "brought together"), but obviously related in one way or another to the divination procedure. As a translation hypothesis, the speaker suggested that these terms refer to the divinatory "crack", the process of obtaining which is also described in chapter 128. This remained a plausible but unproven hypothesis until the third-century BC epigraphic text Zhi Shu revealed a drawing of a man with cyclical signs around him, which clearly indicated that the man and his body parts were associated with divination in a certain way.

Further research by comparing the set of divination rubrics in Chapter 128 and the rubrics in Zhi Shu showed that both texts belong to the same tradition and that their authors have very similar priorities. This allowed the speaker to assume that Sima Qian's 128th chapter of Shiji included a text from the third and second centuries BC or later, but belonging to the same tradition and genre.

The report of A. A. Yankovskaya (St. Petersburg) " Ibn Battuta on Sumatra and the Malacca Peninsula "was devoted to the work of the famous Arab traveler of the XIV century, entitled" A gift to contemplatives about the curiosities of cities and the wonders of travel "and known as"The Journey of Ibn Battuta"*.

Summing up the conference, I would like to note that over the past years a permanent core of participants-employees of the Institute of Oriental Studies of the Russian Academy of Sciences and other Russian and foreign scientific and educational institutions-has been formed.

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