The end of the XIX - beginning of the XX century in Russia is a time marked by complex shifts in both the social and spiritual life of society. One of the features of this stage was cultural contacts between Russia and Japan. The Russian intelligentsia discovered an original world of Eastern aesthetics, which in most of its features was close to the search for domestic symbolists and stimulated the development of their creativity.

Keywords: Russian symbolists, cultural contacts between Russia and Japan, Japanese poetic forms, synthesis of painting and poetry, Bryusov, Balmont.

Japan has long been a mystery to Europe. Only at the end of the XIX century. K. M. Azadovsky and E. M. Dyakonova note that "the fashion for' everything Japanese ' came, of course, from Western Europe, where <...> after the appearance of Edmond de Goncourt's books Utamaro (1891) and Hokusai (1896) interest in Japan is growing rapidly<...>. The most popular Russian magazines <...> published translations from Japanese literature: legends, fairy tales, poems, as well as essays about the Japanese and Japan" [Azadovsky and Dyakonova, 1990, p. 45]. V. E. Molodyakov also writes that the main feature of "Japanismism"is that it is a very important feature of the Japanese culture. The role of Russian cultural and everyday fashion at the turn of the century was that "it was a European influence, and not the result of direct contacts" [Molodyakov, 2005, p. 58]. Igor Grabar, Mstislav Dobuzhinsky and Sergey Shcherbatov, artists who returned from Munich, expressed their admiration for the ukiyo-e color woodcut in St. Petersburg. Members of the Mir Iskusstva art association created a fashion for "Japanese" in Russia, as previously-for the French style or the Russian portrait of the XVIII century. The Russo-Japanese War (1904-1905) also contributed to an increase in interest in everything Japanese.

Imitations became a natural process in Russian literature. The poets tried not only to embody in their work the external exoticism of the Far Eastern culture, but also to comprehend its philosophy, which is attractive to European aesthetes. Poets of the Silver Age, representatives of various literary trends admired Oriental sensitivity and refinement, actively adopted intricate Japanese motifs, investing their understanding in them. As a result, readers received reinterpreted Japanese images, conveyed in the creative manner of a particular poet, thereby enriching Russian culture with new imagery.

V. Solovyov argued that modern philosophy with the logical perfection of the Western form seeks to combine the fullness of the content of spiritual contemplations of the East. In his work " China and Europe "(1890), the philosopher formulated the idea of unity, synthesis and fusion of Western and Eastern European cultures. -

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Solovyov wrote the works "Three Forces" (1877), "China and Europe" (1890), "The Enemy from the East" (1892), "The World of East and West" (1896), "Three Conversations about the Future of the World" (1896). war, progress and the end of world history "(1899-1900), poems " Light from the East "(1890), " Panmongolism "(1894), etc.

However, the Japanese theme was most clearly reflected in the works of Russian symbolists, such as V. Bryusov, K. Balmont, A. Bely, M. Voloshin, and others. A. Bely's tragic perception of the Russo-Japanese war through the prism of V. Solovyov's idea was captured in his novel "Silver Dove" (1909). A. Bely expressed his idea of Japan in 1916-1918 in poems stylized as a tank: "Water "(1916) and " Life "(1916), etc. The Japanese theme occupied an important place in the work of A. Bely, and first of all in his novel "Petersburg" (1913). The pages of this book describe an apartment with a Japanese interior, in which the most important events of the novel take place. The owner of this apartment, Sofya Petrovna Litukhina, is the main fan of everything Japanese. Later, in the novel "Moscow under Attack" (1926), A. Bely depicted a significant meeting of his compatriot with the Japanese.

M. Voloshin, known not only as a poet, but also as a watercolorist, followed the guidelines of classical Japanese artists. Therefore, his work is related to Japanese art by the synthesis of painting and poetry, which was expressed in Japanese prints (the latter were necessarily accompanied by poems, often anonymous). M. Voloshin emphasized the inseparable connection of his poems about nature, the state of the human soul with watercolors, which connected the aesthetics of the poet-artist with the aesthetics of the East. In the work" Faces of Creativity " (1914), M. Voloshin wrote about the cultural influence of Japan on Europe. You can also build a comparative chain: Japanese prints by Utamaro Kitagawa and Katsushika Hokusai-landscapes by Voloshin - his Koktebel cycle of poems " Cimmerian Spring "(1918). In addition, M. Voloshin began to study Japanese and was going to go to the exotic East for him. However, these plans failed to materialize.

O. Mandelstam was fascinated by Buddhism and Far Eastern culture, which naturally influenced the poet's work. Examples of this are such works as the article " The Nineteenth Century "(1922), poems "Cold Rose in the snow" (1930), " Midnight in Moscow. Sumptuously Buddhist Summer "(1931). N. Gumilyov published the poems " In a Strict semi-dark Hall "(1907), "Return" (1912), "Chinese Girl" (1914), the three-line "Haiku" (1917), and the collection " Porcelain Pavilion "(1922). the poem "Buddhist Mass in Paris" (1906); in M. Kuzmin - poems "Fusius in a saucer" (1917), "It's all about the present, my friend" (1920), in Vyach. Ivanova - poem "Imitation of Japanese" (1935), etc.

The futurist Velemir Khlebnikov (1885-1922) was keenly interested in the East, which was reflected in the poems "No fragile shadows of Japan..." (1908), " O Asia! you torment me... "(1921)," Asia "(1921), in the poems" The Coup in Vladivostok "(1921)," Blue Fetters " (1922). So, the following lines from the "Blue Shackles"attract attention:

Drip, drip, drip!
Cherry trees fell in a jug:
Scarlet tears of the gardens

[Khlebnikov, 1987, p. 376].

Flying cherry blossoms remind us of the transience of life [Japanese Poetry, 2000, p.601], and tears of grief are metaphorically called red, as if stained with the blood of the heart [Japanese Poetry, 2000, p. 594].

Interest in Japan is also confirmed by some facts from the biography of V. Khlebnikov, who corresponded with Russian-speaking Japanese. In the newspaper " Russkoe

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word " of September 21, 1916, two letters were published from Yosuke Maruta, Shiotaro Yaman and Teoeo Morita, in which they called on Russian young men to unite with them. V. Khlebnikov's well - known response, "A Letter to two Japanese People" (1916), in which he proposed to hold a youth congress in Tokyo at the Asian Congress to discuss issues of interaction - the foundation of the first "Higher Educational Institution of the Future", the creation of the Language of Numbers, etc. It is noteworthy that the poet himself has never been to Japan, but since 1904 he began to study the Japanese language independently.

S. Mirsky wrote the work "The East in the Works of Velemir Khlebnikov" (1975), in which he wrote: Khlebnikov's "East", or" Asia", includes Muslim, Indian, Egyptian, Far Eastern cultures, Hyperborean tribes of Siberia, and ancient nomadic tribes of the south. The differences between these " Orientalists "are not very significant for V. Khlebnikov, since he calls the samurai" the warrior of Mamai" and recalls Islam in connection with him " (Mirskiy, 1975, p.34). Confirmation of this point of view can be found, for example, in the following poems:

And the battle would ring in my heart:
And Mohavira and Zarathustra,
And Savaji, struggling.

From the poem " O Asia! I torment myself with you... "[Khlebnikov, 1986, p. 88].

Nor the fragile shadows of Japan,
Not you, India's sweet-sounding daughters,
They can't be more funereal,
Than the last supper speeches.

From the poem " No fragile shadows of Japan... "[Khlebnikov, 1987, p. 99].

Thanks to Russia's steady interest in the East, the literature of the Silver Age was enriched with a fundamentally new imagery, which includes various realities of everyday and traditional culture of the Far Eastern peoples, primarily Japan. Russian writers and poets of the late 19th and early 20th centuries used the oriental flavor in accordance with the tasks of the literary trends and trends that they represented. Symbolists linked their ontological search with the East; Acmeists, describing the East, tried to make it more understandable and somewhat devoid of the mystery inherent in symbolism; futurists celebrated the Eastern unknowability as the antithesis of the West that was already known and had come to a certain dead end. Thus, the poets of the Silver Age, through their appeal to the theme of Japan, introduced many realities into Russian literature that were identified with a different, previously unfamiliar culture. We can talk about expanding the image system at the level of concepts that reflect various spheres of life: from the most abstract ("East", "Buddhism", "Japanese") to everyday life, associated with traditional values of different plans ("haiku", "cherry"). Japan became an integral part of the creative consciousness of most writers and poets of the late 19th and early 20th centuries. However, Japanese problems were most fully reflected in the poetry of Russian symbolists.

Japanese images in the works of Valery Bryusov. V. Bryusov's work was significantly influenced by the Russo-Japanese war, which helped in the development of" civil " themes in the lyrics. He perceived the war with Japan as the fulfillment of a century-old historical mission of Russia. This was clearly reflected in the poems "To the Pacific Ocean" (1904), " To fellow Citizens "(1904), "Tsushima" (1905), " Yes! Chains can be beautiful" (1905). In the manuscript of the last poem, V. Bryusov made a note: "Regarding the conclusion of peace with Japan and on other occasions." Like many Russian writers, V. Bryusov showed an interest in Japanese poetry, thereby wanting to expand the horizons of his work. At the height of the war, two issues of Libra (1904, N 10-11), a journal of Russian symbolism, were published, which, on the initiative of its ideological leader V. Bryusov and publisher S. Polyakov, were designed specifically in the Japanese style and combined " Japanophobic journalism with admiring traditional Japanese art "(Molodyakov, 1991, p. 65). he wrote the poem " About-

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the Awakened East " (1911), included in his unfinished book of stylizations on the themes of oriental poetry "Dreams of humanity" (1913) several tanka and "hai-kai".

As you know, tanka involves 31-complex pentastitches, consisting of five-and seven-syllable verses with a stable alternation of syllables according to the scheme: 5-7-5-7-7. The Japanese five-line originated as a message to the forces of nature, the gods, and man. Poetry served as a kind of intermediary between people and the world around them. For the author of the tank, nature and the surrounding world were a set of symbols that were used to communicate feelings, to hint at them. It was not necessary for the poet to see what he was writing about, i.e. in tanka the impulse came from the human heart, from his own feelings.

A very different premise is observed in haiku. Rhythmically, this is a 17-complex poem divided into three unequal groups of syllables (5-7-5). A haiku poet has a completely different attitude to the world around him. In order to create a haiku, he must first of all feel-see, hear, touch what he will compose a poem about, while noticing something unusual in its ordinariness, catch the element of eternity of the momentary appearance. Haiku is open to speculation - the poet, by depicting or" naming " any particular detail, encourages the reader to co-create, to use his imagination to complete the overall picture on this detail, i.e., to become, as it were, a co-author of the haiku. An indispensable attribute of haiku is the "seasonal word", which ensures the correlation of the poem with a certain time of year. According to T. L. Sokolova-Delyusina, " most haiku have an element of common humanity, which makes it possible for people belonging to a different culture to understand them. The main thing is to learn to see the world as a poet sees it: to catch the signs of eternity in the concreteness of being, to feel the fusion of natural and human" [Sokolova-Delyusina, 2000, p. 34].

V. Bryusov has all seven works of the cycle "Japan" in the book "Dreams of Humanity " (1913) repeats the rhythmic structure of classical Japanese forms. Clearly verified by the number of verses and syllables, they all have such an important characteristic as the presence of a " seasonal word "(a word that characterizes a certain time of year). The cycle creation date is October 12. Hence, mainly autumn landscapes created by symbolically rich Japanese images. This is what poem number 3 looks like:

On the waves of the river
Relentless wind from the mountains
Chases the petals

[Bryusov, 1973, p. 334].

The image of red autumn leaves covering mountain rivers in a continuous carpet is a constant one in Japanese poetry. There is also another, no less vivid image:

It is you, luna,
who are tormenting my soul with longing,
How pale is a dead man?

[Bryusov, 1973, p. 334].

An ancient poetic tradition connects the idea of a dead white color with the autumn wind. The seasonal word "moon" also points the reader to autumn, because at this time the air is especially clear, and the moon shines brighter than at other times of the year [Japanese Poetry, 2000, p. 599].

It should be noted that, according to K. M. Azadovsky and E. M. Dyakonova, without a traditional reader, a haiku poem "is dead, because the context does not work, that is, the entire thickness of the poetic tradition. (...) Transferring the haiku genre from Japanese soil to any other context means breaking with tradition and destroying the verse" (Azadovsky and Diakonova, 1990, p. 99).

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As already mentioned, the tank is characterized by the non-necessity of the poet's perceptual contact with nature, but in V. Bryusov, in each poem, you can find an indicator of the presence of visual and auditory perception of the surrounding world. Moreover, the poet gave preference to optical interaction: "I fixed my gaze", "my dear gaze was darkened by a tear", "if I saw your gaze"," I see the face of the moon"," a white stork is reflected in the blue of the pond"," a splash of water is heard","who called Love".

In the article "V. Ya. Bryusov and Japanese Poetry", Tsuchida Kumiko writes that the hi-ku, placed in the cycle at number 7, is a reworking into the form of a three-line tanka Kiyohara no Fukayabu (c. X century). Cf.:

Who could it be,
What gave love
Such a name?
A simple word-death
It could also apply

[Tsuchida Kumiko] (translated by V. Mendrin).

Who called Love?
He could have given her a name
And another: Death...

[Bryusov, 1973, p. 335].

The same article contains an analysis of Bryusov's translation of the famous work by Basho (1644-1694), located in the cycle at number 6. Cf.:

Oh! the old pond!
Frogs jump into it -
Water splashes

[Tsuchida Kumiko] (translated by V. Mendrin).

Oh, the drowsy pond!
Frogs jump deep into the water,
A splash of water is heard...

[Bryusov, 1973, p. 335].

It is important that Japanese poetry did not know rhyme, and in V. Bryusov you can find original ways of mixed rhyming: in tanka-mainly the abcbb method, and in addition, aaaba and ababa; at the same time, haiku from the Russian poet do not rhyme.

If we trace the emotional state of the lyrical hero in the central poems of the cycle, it is obvious that he is in melancholy, inspired by the separation from his beloved: "It is you, luna, who torments my soul with longing", " How can I live from now on?", "And dreams torment me", "Your image is enclosed in a poor heart forever". Such sentiments are probably caused by personal experiences - an affair with the young poetess N. Lvova, painful for both of them, and her suicide in November 1913.

The first poem begins with the line "I fixed my eyes", and the last one ends with the word "Death" - at the beginning of the cycle, the hero's moods contain hope and expectation, but everything ends with oblivion. However, if we take the Japanese interpretation of death, then in this context the poem cycle opens up other possibilities. In Japanese culture, there is no concept of bodily immortality, the Japanese aestheticizes death, admires the fragility, fragility of feelings, their own existence; cultivates a kind of will to die.

The first poem of the cycle draws attention to itself from the point of view of the embedded meaning through compositional construction and the use of "seasonal words":

I fixed my gaze,
The nightingale clicked a little,
To the evening garden;
There, among the dark branches,
Month - dead paler

[Bryusov, 1973, p. 334].

The lyrical hero, as soon as he hears the song of the nightingale, whose songs symbolize the arrival of spring, directs his gaze to the evening garden - the time of day denoting late spring

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autumn (similar to night - winter). Both the dead color and the moon (month), as already noted, also refer the reader to autumn. The annual cycle is built up: early spring, the expected onset of summer (the nightingale, having begun to sing, continues in the summer). Further, the poet, directing his gaze, transports the reader to autumn. And nothing is said about winter. In the tradition of Japanese triplets, V. Bryusov left the possibility of speculation.

Thus, V. Bryusov, studying classical Japanese poetry, noticed its formal features: rhythm, the relationship of the poem with the time of year. The poet used "seasonal words" - "fallen leaves", "mountain rivers", "moon", "nightingale", "evening garden", etc. However, he didn't draw the line between tanka and haiku. Speculation and co-creation were typical of haiku. It is noteworthy that this technique is found in tanka. In V. Bryusov it is placed in the cycle at number 1. Despite the fact that "seasonal words" characterize haiku, V. Bryusov introduced them into the texts of all poems in the cycle. The images of fallen leaves, the moon, death, nightingale and others used by V. Bryusov through the prism of Japanese culture give rise to a new perception that is unusual for the Russian reader.

K. Balmont not only admired Japan from a distance, but also made a two-week trip to this country in 1916. As a result, the poet left a rich legacy related to that period of his work: an essay " Country-Poem "(1916), an article on Japanese poetry "Folk Art" (1916), a translation of Japanese tanka "Japanese Songs" (1916) , an essay on impressions "Playing Shells" (1916), a cycle of poems "From Japanese Impressions" (1916), the poem "Japan" (1917), etc.

In the period from 1916 to 1924, K. Balmont published several poems about Japan in various publications. In Balmont's perception, starting with the first poem "To Japan "(1916), this country is represented as diverse and diverse, which is emphasized by appeals to it: from the neutral" Japan "to the poetic, exclusively Balmont - "The Basis of the Sun, the Root of Light". In the following poems, the poet's admiring gaze is directed to everything that represents the traditional culture of Japan: love of work, Japanese women, geisha, tea drinking ceremony, samurai warriors, Buddhist temple, poetry. Thus, the subject world of Japanese culture is recreated, which in a broad sense means "the realities that are reflected in the work, are located in the artistic space and exist in the artistic time" [Literary Encyclopedia..., 2001, p. 796].

In many poems, the objects of the poet's admiration are placed in the headlines: "Japanese woman", "Geisha", "In the tea house"," Samurai","Buddhist Temple". This fact alone makes it impossible to speculate, as it is in traditional Japanese forms. Of course, it makes no sense to compare them, if only because the rhythmic organization here is completely different. Balmont in many poems of that period chose a peculiar form, similar to the sonnet: abba abba cdd cee. In each poem, the poet noticed the subtlety and elegance of all Japanese: "carving everything is a patterned dream", "that in every line keeps a love for work, an elegant look".

Using a rich set of artistic and visual means, K. Balmont owns images with Japanese sophistication. His Japanese woman is like a blooming iris, "whose perfume is fragrant and the stem is thin," he compares her to a moth on the fly, and her half-parted lips are like " a little sung verse." Geisha - "like the waves of a running river", "water stalk in the semi-darkness". Speaking about the samurai, K. Balmont recalls the eastern predators-the tiger, the kite and the snake. His poets are distinguished by high passion, like "a moment of goodbye", Fujiyama (in K. Balmont - "Fuji-Yama") - "the tune of the finest lines", New Month (new moon) - "the samurai's saber was twisted".

In Japanese culture, the leaves of the iris, which the poet likens to Japanese women, are thin and flat, resembling the blade of a cold weapon. Therefore, the iris in Japan is the personification of-

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ryayet samurai spirit and symbolizes success and health. There was a belief that a bath made from iris leaves prevented diseases by having preventive properties [Kalendarnye uslovy..., 1989, p. 188]. The moth represents carelessness and frivolity, as the Japanese women sung by K. may seem. Balmont. So the poet managed to painstakingly weave "talking" images into the fabric of his poems. However, there are moments when exclusively Japanese images are placed in a purely Russian cultural context. For example, to the same Japanese woman, he addresses "you are a swallow and you are a kitten." In the minds of the Russian people, these are well-established affectionate addresses to a woman.

The poem "Samurai"is noteworthy:

When were you in a hurry to fight a bold battle
In spring, full of fire,
Seeing the cherry tree in front of you,
I didn't tie my horse to it

(cit. by: [Azadovsky and Diakonova, 1990, p. 151]).

Under the cherry tree, the image of sakura is recognized here. However, it is difficult to imagine a wild cherry tree growing alone in the middle of a field, as Japan has a long tradition of cultivating, worshipping and creating entire gardens of this tree to admire its flowering in spring. But it is precisely this very Russian image, which entails an almost folklore association with birches in the field (despite the mention of cherries), a horse with ribbons in its mane, created by K. Balmont. In the poem "Buddhist Temple" there are lines:

That song is a creation
Countries of the world
And flourishing
Tree over the field

(cit. by: [Azadovsky and Diakonova, 1990, p. 153]).

In the language of Russian poets, the poetic image of a field or arable land is often found. In addition, the vocabulary here, with its highly expressive coloring, refers the reader to works with elements of the Old Slavonic or Old Russian language: "song", "trees", "believe the fatherland with all your heart", "give yourself to the gods"," there were indirect eyes", "yoke does not know", "a hung iris like a lamp, it".

The poem "Buddhist Temple" is interesting for its compositional and rhythmic organization. Consisting of four parts, in the first, introductory part, the poet describes the temple and the beginning of the sacrament of prayer: "Here dreams are immaculate, prayer is fervent." The second part draws attention to itself precisely by the peculiarity of its rhythmic construction: it is similar to impulsive thrusts aimed at creating emotional arousal. Taking alliteration also contributes to this:

Green
-voiced, Green-noisy People
Dreams consonants
And the dreams are crazy.
What is the aspiration for,
Forever aimless?
There is only a mile here,
Such a lullaby.
No hesitation,
There is no captive spirit,
When there is a building
Near perfect

(cit. by: [Azadovsky and Diakonova, 1990, p. 152]).

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In the final, fourth part, emotions fade away, the call of a measured, muffled gong is heard, and a moment of enlightenment is reached:

And everyone leaves.
To one country,
To the vastness of Nirvana,
Where the light shines in your dreams

(cit. by: [Azadovsky and Diakonova, 1990, p. 154]).

K. Balmont uses the technique of color painting in his characteristic manner. There is a lot of light in the poems: "Japan is the Basis of the Sun, the Root of Light", "spring is bright", "moonbeam", "temple candles", "chrysanthemums shine"," stars shine in the sky", "iris is like a lamp"; the use of scarlet and pink flowers is frequent:"lips are gently parted", "nezhnorozovy flowering" geishas, "there was a flowering of terry cherries", "The sun is a bright scarlet ball", "the charms of cherry blossoms are great". Often there are also shades of blue: "blue sky", "blue color owns me", "there were clusters of wisteria there". In the text of these poems, there are cases when you can find the juxtaposition of red and white colors:

There was a flowering of double cherries,
There were clusters of wisteria there,
The scarlet in white was quieted down
And softened to a soft blue

From the poem " In the Tea House "(cit. by: [Azadovsky and Diakonova, 1990, p. 150]).

Instants white weave headdress
With a red underside

From the poem "In Kamakura "(cit. by: [Azadovsky and Diakonova, 1990, p. 157]).

Such a neighborhood is easy to notice in Japanese history: since ancient times, the national flag of Japan is a white canvas with a large red circle in the middle, representing the rising sun. The poem "I remember the land beloved by the Sky" draws readers to the mythical story of the creation of the Japanese islands. One day, the god Izanagi (the first male) was talking to his consort, the goddess Izanami (the first female), while standing in the ocean and dipping a spear into the water and taking it out. Drops of water on the spear thickened and, falling into the ocean, formed the first of the Japanese islands [Mifologii..., 1977, p. 411].

I remember the region beloved by the Sky.
Pearly he's a shell in the sea
Appeared long ago, and the waves in a long chorus
They sing to him: "Live. Don't die"

(cit. by: [Azadovsky and Diakonova, 1990, p. 156]).

In 1917, a series of poems by K. Balmont "Japan" was published, consisting of seven numbered three lines. The similarity to Japanese haiku is purely external, and the differences rather indicate an attempt to correlate the Japanese poetic form with one's own perception. Instead of the 17-complex tradition, K. Balmont used 21 syllables in each poem of the cycle. In addition, there is a continuous rhyme, which is not present in haiku as such. As already mentioned, Japanese triplets are characterized by "seasonal words", which find a place in the poetry of K. Balmont. For example, when leaving, spring takes away memories of the beauty of blooming wisteria (poem number 1). There is a direct reference to winter in three lines 6:

Winter is coming to change the years,
But the frost is gentle,
Where life is alive, there is no death

(cit. by: [Azadovsky and Diakonova, 1990, p. 98]).

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K. Balmont's haiku-like speculation and co-creation is realized in its own way. The poet's speculation takes place in the context of the entire cycle. At the same time, in Japanese haiku, each three-line is a complete whole, in which there are many associative connections.

Thus, the opened aesthetic world of Japan was deeply felt by K. Balmont, primarily at the level of cultural perception of traditional images. Japanese culture passed through his own creative worldview and was transformed in a special way in the poet's lyrics: K. Balmont's poetry shows a different rhythm of poems, the presence of rhyme, the presence of his own author's manner, he clearly noticed (perhaps intuitively) and was able to display significant characteristic features of Japanese poetry.

V. Bryusov and K. Balmont demonstrated the process of interpenetration of Japanese canons into Russian culture. Silver Age poetry has enriched the poetic space with a new imaginative system. When considering the subject world of Japanese realities in the poetry of symbolists, one can distinguish a real thesaurus consisting of appeals to Japanese culture: geisha, samurai, Buddhist temples, tea ceremony, poetry, Fuji, moon, nightingale, etc. All these concepts are represented in large-scale terms: without going into detail, but in the form of naming. Objects placed in a certain context act as self-valuable, colorful-textured phenomena of the world depicted by poets. These realities, while remaining Japanese in the consciousness proper, "create supra-objective, broader and more universal meanings" [Literary Encyclopedia..., 2001, p. 798]. V. Bryusov and K. Balmont included in the subject world of Japan and traditional genres of poetry (haiku and tanka). Japan in the understanding of Russian poets of the late XIX-early XX centuries was reflected in a number of essential components, the first of which was the vocabulary that takes into account the national flavor of Japan. Symbolists partly managed to get into the Japanese worldview: lightness, fragility, momentary existence. In addition, Russian poets experienced the peculiarities of Japanese literature at the level of poetic genres and embodied them in their work. Thus, the subject world of Russian symbolism poetry includes Japanese images that reflect the cultural aspects of the East in various forms: from verbal embodiment to genre stylizations.

list of literature

Azadovsky K. M., Dyakonova E. M. Balmont and Japan. Moscow, Nauka; GRVL, 1990.

Bryusov V. Sobranie sochineniy [Collected works]. In 7 vols. Vol. II. Moscow, 1973.

Calendar customs and rituals of the peoples of East Asia. Annual Cycle, Moscow, Nauka; GRVL, 1989.
Comments / / Japanese poetry. St. Petersburg: Publishing House "North-West", 2000.

Literary encyclopedia of terms and concepts / Edited by A. N. Nikolyukin, Moscow: NPK Intelvak, 2001.

Mythologies of the ancient world, Moscow: Nauka; GRVL, 1977.
Molodyakov V. In the lemon harbor of Yokohama / / Homeland. 2005. N 10.

Molodyakov V. E. The East of Xerxes (Japan in the Philosophy of History by Vladimir Solovyov and Andrey Bely) / / Problems of the Far East. 1991. N 1.

Sokolova-Delyusina T. L. From the heart to the heart through the centuries / / Japanese poetry / Comp. by T. L. Sokolova-Delyusina. SPb.: Publishing House "North-West", 2000.

Khlebnikov V. V. Poems. Poems. Dramas. Proza [Prose] / Comp. by R. V. Duganov. Russia, 1986.

Khlebnikov V. Creations. Moscow: Sovetskiy pisatel ' Publ., 1987.

Tsuchida Kumiko, V. Ya. Bryusov and Japanese Poetry . http://mion.isu.ru/filearchive/mion_publcations/sib-japan/6.htm (10/09/2010).

Japanese Poetry, Moscow, 2000.
Mirskiy S. Der Orient im werk Velimir Chlebnikovs. Miinchen, 1975.

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