The "Four Elements of the Silk Road" project (Master Gallery, St. Petersburg, 2019) marked Darya Harlauta's first large-scale foray into contemporary art and served as a public declaration of her distinctive research method. As part of an interdisciplinary collaboration with other project participants, she focused on deconstructing the Mongolian cultural code - a synthesis of Buddhist philosophy and indigenous shamanistic roots. Her objective was not ethnographic documentation but "mental archaeology": a search for tangible traces of an ancient worldview within contemporary culture-bearers, captured in their faces and their environment.

In the project's painterly component, this method materialized through a hybridization of techniques and materials. Drawing on archival photographs from the National Museum of Buryatia, the artist created a series of portraits of modern regional women and landscapes. In these works, layered oil painting was combined with gilding and relief ornamentation. This fusion, along with works on silk and fur, became a practical embodiment of "creative alchemy" - a principle holding that historical narrative requires an adequately complex, composite material language to be translated into the present. The project clearly demonstrated a departure from pure easel painting toward the creation of an environment where painting entered into dialogue with sculpture (by Venera Abdullina), graphic art (by Andrey Bliok), and performance (a fashion show featuring designs by Zhamso Ochirov).

The project holds dual significance: as an independent artistic statement and as a pivotal stage in the artist's evolution. It aligns with the contemporary trend of revitalizing ethnic narratives through the lens of contemporary art, while avoiding Orientalism and superficial stylization. It was here that Kharlauta's unique method - "mental archaeology" - first emerged with striking clarity, a method she would later apply to other cultural contexts and themes. The project demonstrates how an artist, grounded in field research and archival work, can create not decorative objects but complex visual systems that reveal the enduring connection between archaic symbolism and human identity in a globalized world.