Viktor Vasnetsov: Ivan Tsarevich and the Firebird on a Magic Carpet

Photo: Ivan Tsarevich and the Firebird on a Magic Carpet (1880), oil on canvas painting by Viktor Vasnetsov (1848-1926), 165 × 297 cm, State Art Museum of Nizhny Novgorod, Russia

The painting shows the popular Russian folklore hero Ivan Tsarevich along with the firebird travelling on a flying magic carpet along with the Firebird. The painting was created by the Russian revivalist movement artist Viktor Mikhailovich Vasnetsov (1848-1926).

Ivan Tsarevich, one of the most popular heroes of Russian folklore, is often portrayed as the youngest of the three sons of a king or a peasant in different stories. As he has to be a superhero in each story, having no straightjacket character or origins, his personal history may vary in each story. But he is always shown fighting treacherous villains and finally winning the hands of his beloved Tsarina.

The name itself has two defining components; Ivan the commonest of the Russian names, and Tsarevich which means ‘the Tsar's son’. And he is sometimes attributed with magic powers. The antagonists also may be deathless characters having devilish powers. His friends may also have magical powers. His animal helpers can be a bird, a lion or a magical horse.

In one of the most popular folktales, ‘Prince Ivan, the Firebird and The Gray Wolf’, he was helped by a magical wolf as he captured the Firebird, after which he won the hand of the Tsarina.

Skomorokhs in a Russian Village: Franz Nikolaevich Riss

Photo: Skomorokhs in a Russian Village (1857), painting by Franz Nikolaevich Riss

The painting by Francois Nicholas Riss (1804-1886), often referred to as Franz Nikolaevich Riss, depicts Skomorokhs performing in a Russian village street. It is a typical Russian village setting of the times with wooden and thatched roof houses, and the village folks of all age groups, from very young children to old men and women gathering to enjoy the show.

Born in Russia, Franz Nikolaevich Riss studied painting in Paris at Baron Antoine-Jean Gros and mainly painted portraits, including the famous portrait of Jacques Cartier, the discoverer of Canada. In 1930s he returned to Russia and settled in Saint Petersburg.

The Skomorokhs were East Slavic street performers who were active in medieval times in Russia and many other Slavic nations. Their origin is documented to the 11th century, becoming very popular in the 16th and 17th centuries. They had to face severe persecution from the orthodoxy, especially from the Russian Orthodox Church, and they had to disappear from the scene by the 18th century.

In fact, many of the folk traditions of many eastern regions from Central Asia to the Indian subcontinent have influences of these folk performers. For instance, the evolution of the Russian puppet theatre drew directly the Skomorokhs.

As their repertoire included singing, dancing, playing musical instruments and composing and choreographing for their performances, they could draw crowds of hundreds that is remarkable for the era that had no advertising and marketing for such shows. Neither was there the electronic media of today’s times nor the elaborate stage settings to attract people.

The Skomorokhs were feared as the devil’s servants by the Orthodox Church that also discouraged folk art and popular culture which were considered irreverent and repelling people from God. As the rulers were either strongly influenced by the church or rather the rulers were ruled by the church, banning their shows was easy. A case in point is the ban order issued by Tsar Alexei Mikhailovich in 1657, which was influenced by the church.

The feudalists and the clergy were dead against Skomorokhi as their art occasionally included satire, masks and mock songs that were popular among the common people. These could be used against the elite that seem to be the refrain of the church that wanted to propagate ascetic living.

Hansel and Gretel in the Fairy Garden in Ludwigsburg, Germany

Photo: Hansel and Gretel in the Fairy Garden in Ludwigsburg, Germany, photo by Immanuel Giel, taken on 22 June 2006.

Hansel and Gretel is a fairy tale of German origin, the story of a young brother and sister duo who discover a house of candy and cake in the forest and a child-devouring witch. The story is of immense popular interest and often found in books, films, theater, arts, theme parks, etc. The story of Hansel and Gretel is often found in school text books too. Almost similar stories on characters reminiscent of Hansel and Gretel can be found in local folklore throughout the world.

Melusine by Ludwig Michael von Schwanthaler

Photo: 19th century sculpture entitled ‘Melusine’ (1845) by German sculptor Ludwig Michael von Schwanthaler (1802-1848) in the Russell Cotes Museum and Art Gallery, Bournemouth, Dorset, England.

Melusine, or Melusina, is a female spirit of springs and rivers, according to European legends and folklore. Usually she is usually depicted as a woman who is a serpent or fish from the waist down, as a mermaid is featured in paintings and sculptures.

According to one story, Elynas, the King of Albany (old name for Scotland), came across Pressyne, a beautiful lady, while hunting in the forest. He persuaded her to marry him but she agreed on the condition that he must not enter her chamber on when she birthed or bathed her children. She gave birth to the triplets Melusine, Melior and Palatyne. When the King violated the promise, Pressyne left the kingdom with her daughters to the lost Isle of Avalon.

The girls Melusine, Melior and Palatyne grew up in Avalon. On their fifteenth birthday, Melusine asked why they had been taken to Avalon. Upon hearing of their father's broken promise, Melusine wanted to take revenge. She and her sisters captured Elynas and locked him up in a mountain. Pressyne got enraged when she knew what the girls had done and punished them for their disrespect to their father. Melusine was condemned to take the form of a serpent from the waist down every Saturday. In other stories, she takes on the form of a mermaid.

Melusine’s legend is especially connected with the Celtic areas of France, Netherlands and other countries. Sir Walter Scott told a Melusine tale in ‘The Minstrelsy of the Scottish Border’ (1802-1803):

“The reader will find the fairy of Normandy, or Bretagne, adorned with all the splendour of Eastern description. The fairy Melusina, also, who married Guy de Lusignan, Count of Poitou, under condition that he should never attempt to intrude upon her privacy, was of this latter class. She bore the count many children, and erected for him a magnificent castle by her magical art. Their harmony was uninterrupted until the prying husband broke the conditions of their union by concealing himself to behold his wife make use of her enchanted bath. Hardly had Melusina discovered the indiscreet intruder, than, transforming herself into a dragon, she departed with a loud yell of lamentation, and was never again visible to mortal eyes; although, even in the days of Brantome, she was supposed to be the protectress of her descendants, and was heard wailing as she sailed upon the blast round the turrets of the castle of Lusignan the night before it was demolished.”