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The article considers the work of independent artists of the 1960s and 1980s, rethinking the heritage of the avant-garde. In the unofficial art discourse, the ideas of the beginning of the XX century represent symbolic capital, significant for artists in the formation of new techniques. The appeal to the avant-garde tradition unites various regional schools of non-conformism in an effort to create a synthesis of contemporary artistic practices and art of the past. Unofficial art unites representatives of different disciplines, were separated from public ac-tivities due to long censorship. The creative and conceptual searches of the artists expressed a disconnect be-tween personal, emotional and inner world of artistic thinking in the late 1950s, tired of operating a single sys-tem. The appeal to the avant-garde tradition unites various regional schools of non-conformism in an effort to create a synthesis of contemporary artistic practices and art of the past. Moscow nonconformists developed a conceptual direction, representatives of the Leningrad underground experimented with methods of metaphysi-cal painting and abstract art, ideas of decorative symbolism were preserved in the works of Saratov noncon-formists. Interacting with the avant-garde, nonconformists form a unity of figurative and abstract painting, a dis-tinctive feature of unofficial art.

The present study is based on the materials of correspondence between the pianist and conductor A.I. Ziloti and his teacher P.I. Tchaikovsky in the period from 1886 till 1893. The last letter was sent by the great composer a month before his death. Throughout his life, Ziloti was a propagandist of Pyotr Ilyich's works and one of the best editors and proofreaders of his works. The study reveals little-known facts about the life and creative activities of outstanding musicians Alexander Ilyich Ziloti and Pyotr Ilyich Tchaikovsky. The letters trace the features of the relationship between two talented individuals who were congenial souls. The epistolary legacy was a testament to their fruitful friendship, which left a noticeable mark in the history of Russian musical culture at the turn of 19th and 20th centuries. The correspondence between A.I. Ziloti and P.I. Tchaikovsky can be called a document of the epoch, reflecting in detail the specifics of its musical life and creative process. The study is dedicated to two memorable dates – the 180th anniversary of Tchaikovsky's birth and the 75th anniversary of Ziloti's death.

The paper draws attention to one feature of Andrey Bely's philosophy. In his works, along with the concept of symbol, he uses the concept of emblem as a philosophical term, which seems unusual. The author of the paper emphasizes that in Bely's philosophical system priority is given to the philosophy of culture, and the most fundamental problem is the existential gap between unity and plurality, between God and the world, between the internal requirement of significance, value and perfection of the results of human creation and the visible meaninglessness, unsystematic and chaotic nature of civilization. The Russian thinker seeks to build an ontological "world between", a connecting structure, the role of which should be played by a symbol. But as a result of Bely's attempts to combine R. Steiner's esoteric philosophy with the logic of neo-Kantianism, it turns out that the symbol in his constructions became incomprehensible and imperceptible. So there is a need for an additional element, which becomes the emblem, acting as the external surface of the symbol. The emblem in Bely's philosophy is a form of present existence, through which cultural reality is created, constructed and cognized.

The paper deals with the cultural life of besieged Leningrad through the prism of the "Diaries of the War Years" by V.V. Vishnevsky. It reveals the social significance of the musical performance "The Sea Spreads Wide" created with Vishnevsky's active participation and the play "At the Walls of Leningrad", the main writer's work about the siege. Of particular interest are the diary entries about the author's participation in the difficult work on the documentary "Leningrad in the struggle". The paper characterizes Vishnevsky's personal perception of various aspects of cultural life in the besieged city, gives his assessment of the events, and describes the stages of the writer's work on the main wartime plays, the problems of cultural figures, caused not only by the difficult living conditions, but also by the strict control by the party leadership.