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Abstract: The article deals with the religious-metaphysical foundations of the world on which A. Platonov creates the image of the new man. While trying to comprehend this myth one can see that the process of character creation of the author of “Chevengur” is not only determined by the achievements of the sciences but also by their “inclusion” into the spiritual “practices”, and specifically in the mysteries about Sophia the Holy Wisdom. The idea of the world salvation through transcendental love is traced drawing on the works of the scholars who have analyzed articles, early short stories and poems of the writer. This article demonstrates the function of the cosmogonic prototype in the authored construction of Sof’ya Aleksandrovna Mandrova – the protagonist of the novel “Chevengur”. The theoretical foundations of the study are laid out in the works of V. I. Tyupa about the archeplot and G. M. Ibatullina which provide a basis for a broader interpretation of this concept. The correlation of Sophia the Holy Wisdom, which is defined in more detail in the religious-philosophical writings of S. N. Bulgakov, P. A. Florenskiy, S. S. Averintsev, with the character of Sof’ya Aleksandrovna makes it possible to see the symbolic embodiment of the signs of the Sophinian light in Platonov’s female character. Just as her Holy prototype, she is characterized by demiurgism: in the system of the novel characters, the protagonist is “yet another person” – “a mother deserted at the place of birth”, i. e. a “self-made” person. Her spiritual uniqueness allowing her to see through the souls of other people and come to their rescue, as well as her “rare pride” organically “intertwined” into her femininity become a reflection of the Sophian rays in her character. The flashing of such facets testifies to the gnoseological significance of the personage of the character. She impersonates Soviet Russia and expresses an intention to transform it, which is evident from the parable context of the episode. In the metaphysical perspective, the image of the real world is still too far away from the God’s intention about it. Symbolically it is expressed by one more “face” of Sof’ya Aleksandrovna – her sufferings. Just like her Holy Protector, the protagonist looks forward to the coming of her Savior, but none of the characters turns out to be one. The absence of the Savior makes it possible to see the finale, which has not yet received unambiguous interpretation in Platonov studies, in a somewhat different light.