The article describes the archival material contained in the Department of Manuscripts of the Russian State Library in the archive of the Orthodox missionary, sinologist, art historian, specialist in the history of the Bible and a member of the sixteenth (1881-1887) and seventeenth (1896-1898) Russian Ecclesiastical Mission in Beijing (RDM) Alexy Vinogradov, "Description of the urban life of the Chinese of the XIX century." The archival inventory attributes it to Palladius Kafarov. The article offers a description of the content of notebooks, determining the authorship of the source, as well as its dating. Based on the conducted research, the author comes to the conclusion that the source is connected with the activities of participants of the thirteenth Russian Ecclesiastical Mission (1850-1858) in Beijing.

Keywords: Russian Spiritual Mission in China, Alexy Vinogradov, archive, Palladiy Kafarov, Russia, China, urban life.

Hieromonk Alexy (in the world - Alexander Nikolaevich Vinogradov) (1845-1919) was an unfairly overlooked Orthodox missionary, sinologist, art historian, specialist in the history of the Bible and a member of the sixteenth (1881-1887) and seventeenth (1896-1898) Russian Ecclesiastical Mission in Beijing (RDM). Almost ten years of his stay in China allowed Hieromonk Alexy to become one of the most prominent Russian sinologists and religious scholars of the late 19th century.Fr. Alexy actively studied the works of Western Christian missions in China, the history of the Bible in the East (including the peculiarities of its distribution in China, Mongolia, Manchuria and Tibet). In Beijing, Hieromonk Alexy took part in the translation of Orthodox liturgical books into Chinese, 1 was engaged in icon painting and created a "marching church". Throughout his life, Fr. Alexy was interested in painting, was a correspondent of the Society for the Encouragement of the Arts in St. Petersburg and drew a lot himself. Since 1900, the hieromonk was transferred to Optina Pustyn, where, despite his illness and almost complete isolation from the scientific world, he continued to engage in scientific work. After the scientist's starvation death in 1919, his impressive archive from the Optina Pustyn Museum, which was closed in 1926, was transferred to the collections of the Lenin State Library of the USSR (GBIL), now the Russian State Library (RSL), where 2 is still kept.

The Vinogradov archive (the fund also contains documents of Father Hieromonk Alexy, Priest Nikolai Sergeyevich Vinogradov) is of great interest not only in the light of studying the works of the Russian sinologist and missionary, but also as a source of additional materials for studying scientific and research work.

1 For more information, see Chigrinsky, 2000, pp. 95-110].

2 See: [Department of Manuscripts of the Russian State Library, f. 52 "Vinogradovs"].

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activities of other RDM participants. In particular, the Vinogradov collection contains so-called Chinese notebooks, referred to in the archival inventory as "Description of the urban life of the Chinese of the XIX century" and attributed by the same inventory to Palladius Kafarov [Kafarov, OR RSL, f. 52, k. 67, ed. 1].

Archimandrite Palladius (in the world - Pyotr Ivanovich Kafarov) (1817-1878) - member of the twelfth RDM (1840-1849), head of the thirteenth (1850-1858) and fifteenth RDM (1865-1878), one of the most famous Russian sinologists who made a significant contribution to the development of the sciences of the East (sinology, Mongolistics): he found and published one of the most important sources of Mongolian history, The Hidden Legend, and almost completed the first full-fledged Chinese-Russian dictionary, in which the scientist, among other things, described in detail the specific terms of traditional Chinese religions.3
The notebooks came to the attention of Russian researchers several times, but they were never studied in detail. For the first time in the literature, they were mentioned in the article "P. I. Kafarov and his Epistolary legacy" by A. N. Khokhlov, a recognized expert on the history of Russian Oriental studies and Russian-Chinese relations (Khokhlov, 1979(2), pp. 129-130), after which the name "Kafarov's"was attached to the notebooks4. Nevertheless, the question of whether these works belong to the pen of one of the largest Russian pre-revolutionary sinologists is still open and requires clarification.

The materials found in the Vinogradovs ' archive are 27 notebooks measuring 175x105 mm, sewn together with a thin white thread, most likely by hand. The number of pages in notebooks varies: from the minimum number of 15 pages in notebook N 23 to the maximum number of 108 pages in notebook N 2. Pages are lined with pencil: pages with illustrations are divided into two parts: each page has space for illustrations and explanatory text; pages where there are no illustrations are divided into four columns for writing Chinese characters. In addition to notebooks, the archive folder contains several sheets of paper with sketches of drawings and drafts of hieroglyphs written in cursive. In total, the size of notebooks is 1088 pages, including scattered sheets. In notebook No. 3, on page 122, there is a round relief impression with the letters "S. F." and the signature "P. V." 5.

The content of the notebooks is devoted to the description of the life of the Qing Empire in the XIX century and looks very similar to the album of traditional Chinese paintings in the genre of Minsuhua (- "paintings from folk life")6. Drawings of this genre, as a rule, depicted street scenes, the work of artisans and merchants, tools and various household items. There were also illustrations of customs and rituals, entertainment and punishments. Especially popular among foreigners in the second half of the 19th century were "pictures from people's life", who wanted to get acquainted with the realities of "opened" China.7 The figures included an explanatory text in Chinese 8. The short text usually occupied the right side of the page and contained the necessary explanations and special terminology. In notebooks found in

3 For more information, see: [Khokhlov, 1979(1), pp. 3-90; Spiritual Culture of China, 2009, pp. 476-477].

4 In a personal conversation, A. N. Khokhlov informed me that he had looked through the notebooks even before the detailed inventory of the Vinogradov archive was compiled. This means that no one has studied the notebooks before. This is also mentioned by M. F. Chigrinsky in his publication [Chigrinsky, 1992, p. 340].

5 Probably, the stamp of the writing paper factory opened in 1850 on the right bank of the Sura River by the merchant of the 1st guild and three-time mayor of Penza Peter Vasilyevich Sergeev (1799-1874). For more information, see: [Papermaking in Penza; Sergeevs, merchants and Industrialists].

6 Other names of this genre are fengsuhua ( "custom paintings") and Lao Beijing hua ( "old Beijing paintings"). The genre's roots go back to the Han era (II century BC-III century AD). For more information, see: [Chinese fengsuhua; Minsuhua].

7 For more information, see [Popova, 2009, p. 7].

8 [Ibid., p. 6].

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Figure 1. Example of a page with an illustration and text

In Vinogradov's archive, the text written in black ink in Chinese is placed under the illustrations. The illustrations themselves, of which there are several hundred in total, with a rare exception of 9, are made with a simple pencil in a style more characteristic of European painting, however, the subjects depicted completely fit into the style of the Chinese Minsuhua genre. It is noteworthy that most of the drawings in the notebooks are made from nature, and not according to the template typical for Chinese albums with Minsuhua paintings, where the plots are repeated, but the composition always remains the same.

Many of the hieroglyphs in the notebooks are signed in pencil with a Russian transcription that is almost identical to the Palladium transcription system, which was founded by Iakinf Bichurin (Bichurin, 1839). The only significant difference is the transfer of the initial "j" as "dz" in the transcription author, in contrast to "zz" in the Palladium system. The nature of the transcription setup suggests that the original text was attempted to be read and was done with temporary interruptions. For example, in the first

9 The notebooks contain several color illustrations, most likely made in watercolors.

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due to the fact that it describes legal proceedings, the combination fanren (Rus. 'criminals') is very common, but the first character is signed in some cases, and in some cases it is not. Often the same hieroglyph can be signed on adjacent pages, and it is not uncommon to find hieroglyphs that almost always remain unsigned. In some cases, along with the transcription, there is also a Russian translation of individual hieroglyphs, as well as vertical lines that emphasize phraseological units or polysyllabic morphemes. A comparative analysis of notebooks and other materials from the Vinogradov collection, as well as a comparison of handwriting, can conclude that the transcription was signed by Alex Vinogradov10. However, this still does not answer the question of who the authorship of the notebooks belongs to, since Fr.Alexy's notebooks could have come to him during his stay in Beijing during his service at the RDM or in St. Petersburg, through contacts among artists who, like Vinogradov himself, were corresponding members of the Imperial Society for the Encouragement of the Arts 11.

In Chinese text, vertical lines are drawn in black, or more often red ink, marking individual expressions and phraseological units. In addition, punctuation marks are placed between the characters in the text, the role of which is performed by round" Chinese " dots and commas. Round dots in the hieroglyphic text of notebooks often serve as commas, which is typical of the classical literary language Wenyan (Chinese). The use of commas is, of course, part of a purely Western practice that did not come to China until the late nineteenth century, and their use in this text seems to suggest that they were put down by a European.

In notebooks, there are two numbers made in pencil at once. The first one is most likely made by the employees who made the inventory of the archive 12. This is a continuous numbering in Arabic numerals, which numbers not only the pages of each notebook from the first to the twenty-seventh (a total of 1087 pages 13), but also sets the sequential number of notebooks in the archive (from 1 to 28 14), and also indicates the exact number of pages in each specific notebook. The second numbering, which I have conditionally called the author's numbering, is not permanent and occurs from time to time, marking the semantic parts of the text. Most often, the author numbers text fragments that are not provided with explanatory illustrations. This numbering system most often uses Chinese numerals, but Roman and Arabic numerals are occasionally used.15 The working nature of the notebooks gives a large number of rough notes, corrections and "training" for writing individual hieroglyphs. Some fields clearly show traces of erased text. Some of the notebooks were burned along the edges, but the text and illustrations were practically intact.

10 The comparison was made based on the materials of O. Alexy. See: [Training material...; Sun Shan's address]. It is worth taking revenge that, unlike the Kafar notebooks, in both cases Vinogradov signed the transcription with the initial " j "as" tsz", while the handwriting of the Russian transcription in all three sources coincide. Probably, when Alexy Vinogradov studied the notebooks, for some reason he chose to use a different transcription of the specified initial. There is evidence that the scientist prepared several of his own dictionaries of the Chinese language for publication and developed phonetic pronunciation tables, which, however, were never published [Chigrinsky, 2000].

11 Created by a group of patrons in 1821 and lasted until 1929. It was aimed at promoting the development of fine arts in Russia, spreading artistic knowledge, providing assistance to talented Russian artists, organizing exhibitions and competitions, acquiring works by Russian and foreign artists, replicating them in lithography and woodcut techniques. For more information, see [Stolpyansky, 1928].

12 A similar numbering is found in some other manuscripts from the Vinogradov archive. See, for example: [Training material...].

13 This numbering includes drafts and sketches contained in the archive unit.

14 The last notebook is numbered with the number 28, but, based on the general numbering, it should follow the notebook N 26, which means that the author of the numbering was mistaken.

15 Apparently, this numbering also belongs to the hand of Vinogradov, who tried to sort out the manuscript that came to him.

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Figure 2. Example of a page with an illustration and text

In all notebooks, the hieroglyphic text is written in vertical columns from right to left, and therefore the order of reading notebooks is also from right to left. However, in notebook No. 1, this principle was violated, apparently due to the European origin of the author (or scribe): although the Chinese text is written from right to left on each page, the order of reading the notebook is European: from left to right.

As for the subject matter of notebooks, it is extremely diverse, but most often the author describes the life of the inhabitants of the Qing Empire, most likely its capital - Beijing 16, often without going into details where this or that plot takes place. Notebooks are divided according to the thematic principle, but the author does not always follow it, so the thematic division is conditional. The approximate contents of the notebooks are given in Table 1.

16 The text periodically mentions well-known Beijing place names: Xizhimeng (northwest gate of Beijing); Dong-yue miao (East Peak Taoist Temple), founded in the early 14th century and dedicated to the Lord of Mount Taishan (Chinese), is the largest temple of the Taoist School of True Unity (Chinese) in Northern China; Da- Zhong Si (Big Bell Temple), Baita (White Pagoda Buddhist Temple), etc.

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Figure 3. Example of a color illustration

Figure 4. An example of a pencil illustration

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Table 1

Sample contents of notebooks from the archive of Alexy Vinogradov

Notebook number

Number of pages

Sample topic

Note

1

56

Crimes, punishments, legal proceedings

The notebook should be read from left to right

2

108

Market trade, curiosities

3

100

Funeral customs and rituals

Stamp of the paper manufacturer on page 122

4

98

Agriculture, crafts, street performances, attractions

5

104

Wedding rituals, birth of children

6

76

Market trade, curiosities

The date is "December 13, 53" on page 279

7

48

Military operations, training camps, eight-banner troops ()

8

60

Clothing, shoes, hats, jewelry, palanquins and carts

There are color illustrations

9

102

Trade and agriculture

10

104

Trade and crafts

11

100

Architecture, furniture, home decorations

12

103

Home life, games

13

76

Events and everyday life

14

106

Trading

15

64

Everyday life, types of carts

16

88

Theater, dance, performances, street performers

17

68

Holidays, processions

18

86

Service, hunting, crime

19

56

Foreigners and their costumes

20

20

Military actions/theft

The notebook is made of two parts

21

56

Street performances

22

98

Mode of life

23

15

Chinese Catholics

24

52

Public House

25

24

Children's games

26

38

Court rituals

28

105

Discourses on Chinese and Western painting

The only notebook without illustrations

It should be noted that notebook No. 28 differs from the rest not only in the absence of illustrations, but also in its content. Its text is a reflection on painting, most likely belonging to some erudite Chinese who is familiar with the representatives of the RDM. The text constantly mentions a certain Lao Ye (or lao-ye) (Kit. )17, and sometimes in the plural (laoe-men) ()18.

17 The Palladian Dictionary gives the following translation of this combination of characters: "An ordinary title for the venerable (from the Yuan Dynasty). Maternal grandfather " [Chinese-Russian Dictionary, 1888, p. 39]. The dictionary of I. M. Oshanin gives the following translation: "dial., polite. grandfather, grandfather, father (to an elderly man)" [Big Russian-Chinese Dictionary, 1984, p. 313].

18 For example- " Foreign painting is similar to the paintings of Lao Ye (lao-ye)". [Kafarov, p. 1039].

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Later, the author of the text directly reports: "Lao Ye is originally from Russia"19. It is noteworthy that Lao Ye (lao-ye) ("grandfather" or "lord", possibly from the Russian address to persons of spiritual rank - "father", "holy father") is actively engaged in drawing. The main content of this notebook concerns issues of local (Chinese) and foreign (Western) painting. Given the above, this text was most likely rewritten by one of the RDM members. Hieroglyphs in all notebooks were written by one person - this is indicated by the peculiarities of writing some keys and graphemes. Moreover, the scribe was most likely not a Chinese - the notebooks completely lack cursive, there are grammatical errors, as well as typos in certain elements of the simplest hieroglyphs, and the handwriting does not look well put.

I will give some examples of author's corrections from notebook No. 28: a typo in the left element of the bi character in the word bifan ('example, comparison') on page 1033; a sloppily written word hao ('good') on page 1035; the i character ('idea, thought') was omitted in the phrase xie and ('painting ideas') on page 1046. Quite often, the author forgets about the service word de and adds it next to the already written text. Sometimes pencil drawings of writing complex hieroglyphs are visible on the margins of the notebook. For example, xing ('to be fashionable') and kanzhe ('to look') on p.1033; wo ('I') on p. 1034; qi ('chess') on p. 1053. These marks can belong either to the author who trained before writing these hieroglyphs in ink, or to Vinogradov, who tried to understand the hieroglyphic handwriting.

In other notebooks, there are also elementary errors that speak in favor of the fact that he did not write Chinese. A few examples of errors from notebook No. 1, which the author corrects himself: shi ('to be, to appear') is put instead of shi ('event, incident') on page 29; zhi ('sun, day') instead of shi ('id.') on p. 24; ding ('to put things in order') instead of guan ('to manage; official') on p. 24; yu ('to possess') instead of zai ('to be') on p. 6.

The copybooks ' rich historical and ethnographic material makes them one of the most interesting sources for describing the urban life of Beijing, but no less important are the issues of authorship and dating of the source.

Exact dating of notebooks is difficult, but a number of indirect signs allow us to determine the approximate chronological framework of this document. In notebook No. 6 on page 279 there is a pencil note - "December 13, 53". However, it is not entirely clear whether it was written by the author or by Vinogradov, who studied the manuscript. An indication of the time may be the absence in the text of the notebooks of references to Western technologies such as railways 20 and telegraph 21. In Notebook No. 28, the author of the text ironically reports that he heard that "in the tenth year of the reign of the 22nd Jiaqing Emperor, 23 a decree prohibiting Catholicism mentioned that foreigners pluck out the eyes of sick people for selfish purposes."24 Nevertheless, the notebooks mention converts to Christianity.-

19 [Kafarov, p. 1055].

20 The first railway line connecting Shanghai and its suburb of Woosung (China) was opened by foreigners only in 1876 [The Cambridge History of China, 2008(2), p. 187-188]. The first railway near Beijing was built in Fengtai (China) in 1897 [Peter Crush].

21 The first Chinese telegraph line was laid in Taiwan in 1877, connecting the cities of Tainan and Takao (now Kaohsiung, China). In 1882, the Imperial Telegraph Office was established in Tianjin (China) [The Cambridge History of China, 2008(2), p. 260, 262].

22 1805 In the period from 1724 to 1844, the activities of the Catholic Church were restricted by an imperial ban. In 1838, the last of the European Catholics who lived in the capital, the astronomer priest Pierce, died in Beijing. For more information, see [Lomanov, 2002, pp. 247-248].

23 Aixingero Yunyan (Chinese: 1760-1820), a Manchu emperor of the Qing Dynasty, reigned under the motto Jiaqing( Chinese: "Beautiful and Joyful"), ascended to the throne in 1796 after the abdication of his father, the Qianlong Emperor (Chinese: 1711-1799).

". "24 Description of the urban life of the Chinese. p. 1058.

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Chinese converts to Catholicism and the presence of active Catholic churches in Beijing is noted, which means that by the time of writing, the ban had already been lifted.25 Thus, the chronological framework of the notebooks can be conditionally limited to the period from 1844 (allowing the Chinese to openly practice Catholicism) to the end of the 1870s. (the beginning of the emergence of European technologies).

Around this period, the thirteenth RDM (1850-1858), headed by Archimandrite Palladius, stayed in Beijing. However, there is no direct evidence that this manuscript was created by the Archimandrite himself.

Although the author of notebooks most often describes the life of the Chinese, sometimes he mentions himself in the text (in, ). For example, in notebook No. 2 on page 69, there is the following phrase with an illustration: - " The day before yesterday, when I was returning home from Bei Guang26, passing the main temple 27, I saw the pilou memorial arch, unlike any other. I asked the cart to stop and carefully measured everything." Based on this phrase, we can conclude that the author of the recordings did not live in Bei Guang, but visited there. However, when referring to his home, the author may also mean Nan-guan (), the southern metochion of the mission, where Archimandrite Palladius lived.28 But this argument also cannot serve as proof of Kafarov's authorship. If we take into account that this text was written by a Russian missionary, it remains a mystery why he decided to use hieroglyphics - perhaps this was the practice of the written language, but most likely the "diary" entries, like the text about painting, were copied from some other source belonging to the Chinese.

There is some reason to believe that the artist of the thirteenth mission in Beijing, Ivan Ivanovich Chmutov (1817-1865), who arrived in the Chinese capital in 1850 and was there as part of the RDM for about ten years, may have had a hand in creating the notebooks. Some authors directly report that the artist is " in Chinese language classes... he got acquainted with the customs and customs of the Chinese, sketching scenes of everyday genre, and sometimes painted portraits," but no details are given.

It is interesting that in notebook No. 13 on page 599, a list of necessary paints and ink is made in pencil in the margins, which may be a confirmation of the artist's work on the notebooks. Chmutov had every reason to create drawings found in notebooks. Based on the instructions drawn up by the President of the Academy of Arts, which were used by all artists of the RDM, including Chmutov:

"[mission artists should] relentlessly engage in drawing from nature all kinds of unusual clothing or costumes, household goods, tools used in various crafts, musical instruments, horse harness for riding and for carriage, buildings, various kinds of domestic or wild animals... trees, flowers, fruits, etc." [Bei-Guan, 2006, p. 92].

25 The next generation of Catholic preachers from Europe arrived in China only after the end of the First Opium War (1840-1842) and the signing of the Treaties of Nanjing (1842) and Humen (1843), which gave foreigners access to five Chinese ports: Shanghai (), Ningbo (), Xiamen (), Fuzhou () and Guangzhou (). The preaching of Christianity was allowed exclusively in these localities, but the French obtained from the Chinese court the signing of two treaties, one of which (December 1844) abolished the punishment of the Chinese for professing Christianity, and the second (August 1846) allowed the resumption of services in churches built during the time of the Kangxi Emperor (kit. , 1662-1723) and not used For other information, see: [The Cambridge History of China, 2008(1), p. 550-551].

26 Bei Guan-northern compound of the RDM in Beijing.

27 -Dadian main temple, the main hall in a Buddhist temple. Perhaps this refers to the monastery of Tibetan Buddhism Yonghegong (), which was located in relative proximity to the mission compound.

28 The house for the head of the mission in the northern compound was built only in 1865. For more details, see: [Alexy (Vinogradov), 1889, p. 7].

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All these stories are reflected in one way or another on the pages of notebooks. Archimandrite Palladius ' report to the Asiatic Department dated April 22, 1856 also indicates that Chmutov, under his leadership, was just engaged in compiling such an album:

"Chmutov made a trip to the Beijing environs in 1855, enriched his collection with many rough drawings representing various types of locations and scenes from Chinese life; on his return to the farmstead, he immediately began to restore these drawings in watercolors, sepia and ink, which he is still constantly engaged in, with the intention of creating a collection of drawings worthy of submissions to the Asian Department. In addition, he did not miss any opportunities to purchase and himself ordered detailed drawings of those objects or scenes that could not be available for personal acquaintance of the Russian artist. It is also hoped that he will be able to make use of certain Chinese historical subjects for his writings; this is a new and completely unknown subject" (cit. by: [Khokhlov, 1979(2), p. 141]).

It is also known that in June 1862, the artist presented Alexander II's wife, Empress Maria Alexandrovna, with an album of drawings depicting the surroundings of the Chinese capital, for which he received a diamond ring29. It is possible that the rough drawings made by Chmutov as an imitation of the Chinese Minsuhua could have been a significant help in compiling such an album.

It is not entirely clear why the artist needed an explanatory text in hieroglyphs and the reasoning of a Chinese intellectual about painting, especially since there is no information that Chmutov was engaged in research activities. It is possible that the notebooks were the result of the work of a whole team, in which the artist was only engaged in illustrating them, and the hieroglyphic text was most likely copied from an unknown source by one of the mission members for subsequent translation and publication. It can also be assumed that the mission members planned to publish notebooks in Chinese for later use in teaching. Given the need for coordination of efforts, such work could only take place under the leadership of the head of the thirteenth mission, Archimandrite Palladius. An indirect proof of his ownership of notebook No. 28 can be found in the fact that Chinese painting was one of the subjects of Archimandrite's keenest interest.30
Although this idea remained unfulfilled, the "workbooks" are a unique document with drawings by the artist Chmutov, made in the manner of Chinese painting Minsuhua, and text created by a Chinese intellectual interested in the artistic techniques of foreigners. Of particular interest is the fact that the document could have been prepared under the supervision of one of the most prominent Russian Sinologists of the 19th century, Archimandrite Palladius. There is no doubt that the material of the notebooks is still the richest source of information about the Beijing way of life, and very likely, the activities of the participants of the thirteenth RDM in Beijing.

list of literature

Sun Shan's address // Department of Manuscripts of the Russian State Library (OR RSL). F. 52. K. 68. Ed. 2.

Alexy (Vinogradov). Chinese Library and scientific works of members of the Imperial Russian Ecclesiastical and Diplomatic Mission in Beijing or Beijing (in China). St. Petersburg: Panteleev Br. Type, 1889.

I. Bichurin. On the pronunciation of letters included in the composition of Chinese sounds / / Journal of the Ministry of National Education, 1839, No. 3.
29 Information about this album and the circumstances surrounding its delivery may be contained in the Archive of Foreign Policy of the Russian Empire [Khokhlov, 1979(2), p. 146], but due to the move of the archive to a new building in the next few years, it is not possible to get into it.

30 For more information, see [Khokhlov (1), 1979, p. 69].

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Bolshoy russko-kitayskiy slovar ' [Big Russian-Chinese Dictionary], edited by I. M. Oshanin, vol. 4. Moscow: Nauka Publ., 1984.

Papermaking in Penza. Access mode: http://94.25.70.1 110 / encyc/article. php?id=419.

Bei-Guan. Brief History of the Russian Spiritual Mission in China, St. Petersburg: Alliance-Archso Publ., 2006.
Kafarov. Opisanie gorodskogo byta kitaytsev XIX V. [Description of the urban life of the Chinese of the XIX century].
Chinese fengsuhua http://baike.baidu.com/view/3444158.htm.

Chinese-Russian dictionary, comp. b. beginning. Peking spirit. archimedes ' missions Palladium and art. dragoman, imp. diploma, missions in Beijing by P. S. Popov. Vol. 1. Peking: tip. Tung-Wen-Guan, 1888.

Lomanov A.V. Christianity and Chinese Culture, Moscow: Vostochnaya literatura, 2002.
Minsuhua http://baike.baidu.com/view/3444158.htm.

Nesterova E. V. Rossiiskaya dukhovnaya missiya v Pekin i nachalo russko-kitayskikh kontaktov v sfere izobrazhitel'noi iskusstva [Russian Spiritual Mission in Beijing and the beginning of Russian-Chinese contacts in the field of fine Arts]. 1993.

Popova I. F. Pictures of folk life (minsuhua) in the collection of the Institute of Oriental Manuscripts of the Russian Academy of Sciences // Qing Peking: pictures of folk life (minsuhua). SPB.: JSC "Slavia", 2009.

Sergeyevs, merchants and industrialists. Access mode: http://94.25.70.110/encyc/article. php?id=2686&word.

Stolpyansky P. N. Stary Peterburg i Obshchestvo povedenii khudozhestv [Old Petersburg and Society for the Encouragement of Arts], Leningrad, 1928.
Educational material on the Chinese language / / OR RSL. f. 52. K. 23. Ed. 9.

Khokhlov A. N. P. I. Kafarov: life and scientific activity / / P. I. Kafarov and his contribution to Russian Oriental Studies (to the 100th anniversary of his death). Ch. 1., 1979(1).

Khokhlov A. N. P. I. Kafarov and his epistolary heritage // P. I. Kafarov and his contribution to Russian Oriental Studies (to the 100th anniversary of his death). Part 2. Moscow, 1979(2).

Chigrinsky M. F. Hieromonk Alexy (Vinogradov): Forgotten pages of the biography of a scholar-monk // Historical Bulletin. N 3-4 (7-8), 2000. Access mode: http://www.krotov.info/history/19/! 890 10 2/1845 vinogradov.htm.

Chigrinsky M. F. On the history of Konrad's article "Sinologist from the Optina Desert" / / Petersburg Oriental Studies: Almanac. Issue 1. St. Petersburg: Lan Publ., 1992.

Spiritual culture of China: Encyclopedia, vol. 2. Mythology. Religion // Edited by M. L. Titarenko, Moscow: Vostochnaya literatura RAS, 2009.

Peter Crush. China's Second "First" Railway. Access mode:http://www.hkrs.org.hk/mcornеr/mеmword/ kaiping/accidеnt.htm.

The Cambridge History of China / General Editors Denis Twitchett and John Fairbank. Vol. 10: The Late Ch'ing, 1800-1911. Pt. 1. Cambridge Histories Online: Cambridge University Press, 2008(1).

The Cambridge History of China / General Editors Denis Twitchett and John Fairbank. Vol. 11: The Late Ch'ing, 1800-1911. Pt. 2. Cambridge Histories Online: Cambridge University Press, 2008(2).

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