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The article is devoted to the work of A. Bely in the development of Russian culture in the late 19th - early 20th centuries. Attention is paid to the motives of the creative path of the philosopher-poet, who created the basis of Russian symbolism. By analyzing the cultural and historical manifestations of the second half of the 19th century and the first half of the 20th century, reflection in the works of art and science workers, an assessment of the severity of symbolism for the development of Russian philosophy and the field of art in general. In the process of the formation of symbolism in Bely&amp;apos;s work, neo-Kantian motives are clearly revealed in the formulation of the problem of the difference between subjective perception and the essence of the object of perception in itself, that is, distinguishing between the symbol and the signified.By comparing Bely&amp;apos;s views with the concept of sophiology and anthroposophy, distinct Kantian positions of the philosopher-poet stand out. These include the schematism of space and time, an attempt to apply the categories of natural science to the field of philosophy of art, as well as the demarcation of the immanent and the transcendent. Despite the fact that the ideas of the philosopher-poet in their form have similar positions with the anthroposophy of R. Steiner and with the ideas of V. Solovyov, however, the key content is the neo-Kantian methodology of &amp;quot;critical deepening&amp;quot; of thought and its rationalization. The actualization of Bely&amp;apos;s creativity and the issue of his neo-Kantian motives is carried out by attracting research from related branches of knowledge on the principles of interdisciplinary consideration and implementation of an integrated approach.

Neo-Kantian motifs in the works of A. Bely