The article analyzes the modern processes of artistic aestheticization and transculturation of the Tuvan text in the works of two modern authors: Maadyr-ool Khovalyg, who writes about Tuva in Tuvan, and Roman Senchin, who represents Tuva as genius loci in Russian. The authors of the article postulate the thesis about the fixation of the micromodels of the native world in the works of the Tuvan author by means of the mother tongue, which is a foreign-cultural text for the Russian reader. In the Russian prose written by Senchin, the principle of transculturation consists in the transfer through the native language of the “other” ethno-cultural consciousness of the author, when through various principles of modeling “his own world” and “another world”, not an orientalist, but a transcultural image of Tuva is formed in the world models “paradise lost”, “fairy-tale world”, “exotic world”. The authors of the article seek to identify the specifics of the artistic design of the Tuvan text in the system of an interdisciplinary paradigm of aesthetic, historiosophical, ethnographic, mythological correlates in the works of ethnically different writers. The relevance of the research is due to the fact that the transcultural approach (conceptual for the presented article) in the study of any national literature in the paradigm system “Russian literature and the literature of the peoples of Russia”. This approach makes it possible to remove most of the contradictions in the ethnic identification of the literary ethos, the writer and the individual work itself. The understanding of ethnocultural and transcultural literature as historical and cultural phenomena makes it possible to find their manifestations in completely multidirectional author’s artistic models of the Tuvan text.