In the academic environment there is a widespread prescription of V.V. Rozanov’s work as incoherent and unsystematic. This assessment is due to the lack of study of Rozanov’s early theoretical work (“Study of the idea of happiness as the idea of the supreme beginning of human life”, “On Understanding”). However, these works define the theoretical and methodological attitudes of the author, which are preserved and developed by him throughout his further creative work. The anthropological aspects of Rozanov’s work have been studied in more detail in Rozanov studies, but the omission of the ideological continuity of theoretical attitudes does not allow us to systematically reconstruct the author’s views. The article is devoted to the study of theoretical and methodological foundations of Rozanov’s work in the cross-section of which the general anthropological connotations in the three periods of his work (theoretical, publicistic, artistic and aesthetic) are systematically revealed. The first part of the article examines the early theoretical stage of Rozanov’s work, characterized by the development of the basic theoretical and methodological apparatus. The second part shows how Rozanov’s problematics are refracted and developed in the author’s publicistic work, focused on the appeal to the sensual forms of worldview. The third part studies the specifics of Rozanov’s artistic creativity in the context of previously developed theoretical settings. As a result, the author comes to the conclusion that the horizon of all of Rozanov’s work is anthropological problematics, which consists in the existential understanding of man.