Snow Maiden in art. The image of the Snow Maiden from ancient times to the present day

She looks like a beautiful, pale, fair-haired girl. Dressed in blue and white clothes with fur trim (fur coat, fur hat, mittens). She looks like a beautiful, pale, fair-haired girl. Dressed in blue and white clothes with fur trim (fur coat, fur hat, mittens).

The image of the Snow Maiden goes back to the elves, mermaids, pitchforks, who appear in the spring under a light cover of clouds, warmed and illuminated by the bright rays of the sun, appearing as light, shiny, white creatures...” The image of the Snow Maiden goes back to the elves, mermaids, pitchforks, who appear in the spring under a light cover of clouds, warmed and illuminated by the bright rays of the sun, which appear to be light, shiny, white creatures..."

In 1873, A. N. Ostrovsky, influenced by Afanasyev’s ideas, wrote the play “The Snow Maiden”. In it, the Snow Maiden appears as the daughter of Father Frost and Spring the Red, who dies during the summer ritual of honoring the Sun God Yaril. In 1873, A. N. Ostrovsky, influenced by Afanasyev’s ideas, wrote the play “The Snow Maiden”. In it, the Snow Maiden appears as the daughter of Father Frost and Spring the Red, who dies during the summer ritual of honoring the Sun God Yaril.

Further development The image of the Snow Maiden appeared in the works of teachers of the late 19th - early 20th centuries, who prepared scripts for children's Christmas trees. The image of the Snow Maiden was further developed in the works of teachers of the late 19th and early 20th centuries, who prepared scenarios for children's New Year trees.

Even before the revolution, figures of the Snow Maiden decorated the New Year tree, girls dressed up in Snow Maiden costumes, and fragments from fairy tales, Ostrovsky’s plays or operas were staged. At this time, the Snow Maiden did not act as a presenter. Even before the revolution, figures of the Snow Maiden decorated the New Year tree, girls dressed up in Snow Maiden costumes, and fragments from fairy tales, Ostrovsky’s plays or operas were staged. At this time, the Snow Maiden did not act as a presenter.

The image of the Snow Maiden received its modern appearance in 1935 in the Soviet Union, after the official permission to celebrate the New Year. In books on organizing New Year trees of this period, the Snow Maiden appears on a par with Father Frost as his granddaughter, assistant and mediator in communication between him and children. The image of the Snow Maiden received its modern appearance in 1935 in the Soviet Union, after the official permission to celebrate the New Year. In books on organizing New Year trees of this period, the Snow Maiden appears on a par with Father Frost as his granddaughter, assistant and mediator in communication between him and children.

At the beginning of 1937, Father Frost and the Snow Maiden appeared together for the first time at the Christmas tree celebration at the Moscow House of Unions. It is curious that in early Soviet images the Snow Maiden is often depicted as a little girl; she began to be represented as a girl later. At the beginning of 1937, Father Frost and the Snow Maiden appeared together for the first time at the Christmas tree celebration at the Moscow House of Unions. It is curious that in early Soviet images the Snow Maiden is often depicted as a little girl; she began to be represented as a girl later.

In the post-war period, the Snow Maiden is an almost obligatory companion of Father Frost in all holiday celebrations, congratulations, etc. In the post-war period, the Snow Maiden is an almost obligatory companion of Father Frost in all holiday celebrations, congratulations, etc.

Under New Year Theater students and actresses often worked as Snow Maidens. In amateur productions, older girls and young women, often with fair hair, were chosen for the role of the Snow Maidens. On New Year's Eve, theater students and actresses often worked as Snow Maidens. In amateur productions, older girls and young women, often with fair hair, were chosen for the role of the Snow Maidens.

The Snow Maiden is a New Year's character in Russian legends, the granddaughter of Father Frost, the main symbol of the New Year. However, it is interesting that since ancient times among the Slavs, the Snow Maiden was considered the daughter of Frost and the Snow Queen. Apparently, subsequently, due to the impossibility of explaining the real origin of the Snow Maiden and due to the very large age difference between her and Father Frost, the option characterizing the Snow Maiden as a granddaughter took root. The Snow Maiden is a New Year's character in Russian legends, the granddaughter of Father Frost, the main symbol of the New Year. However, it is interesting that since ancient times among the Slavs, the Snow Maiden was considered the daughter of Frost and the Snow Queen. Apparently, subsequently, due to the impossibility of explaining the real origin of the Snow Maiden and due to the very large age difference between her and Father Frost, the option characterizing the Snow Maiden as a granddaughter took root.

Integrated lesson-project for 6th grade on the topic: “The mysterious image of the Snow Maiden in Russian culture”

Integrated lesson-project for 6th grade. Abstract.

Integrated lesson-project on the topic: "The mysterious image of the Snow Maiden in Russian culture"

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The origins of the image of the Snow Maiden in the pagan culture of the Slavs; Play for the theater by A.N. Ostrovsky “The Snow Maiden”; Music by P.I. Tchaikovsky for the play of the same name; Opera-fairy tale by N.A. Rimsky-Korsakov; Fairy tale images in fine arts; Movies and cartoons;

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The origins of the image of the Snow Maiden in the pagan culture of the Slavs

The Snow Maiden is a Russian New Year's character, the granddaughter of Grandfather Frost. But the ancient Slavs considered her the daughter of Frost and the Ancient Snow Queen. The image of the Snow Maiden itself is amazing and unique for Russian culture, and the history of the image of the Snow Maiden in the pagan culture of the Slavs begins in pre-Christian mythology, when the Slavs believed in polytheism. In the north of Rus' there was a custom in winter to build figures from ice and snow. In ancient legends there is very often a mention of one animated ice sculpture of a young beautiful girl. In winter, this girl goes from house to house and joyfully congratulates everyone, and in the spring she goes into the forest with her friends to pick berries and gets lost, or jumps over bones and melts. This is how the Snow Maiden appeared in our folklore. The latter option is more plausible, since in ancient mythology there is a myth that says that many spirits die when the seasons change, both evil and good. The Snow Maiden, as one of the seasonal characters, decides to bend him over the fire, but she is made of ice and therefore melts. So the icy beauty disappears with the arrival of summer.

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Play for the theater by A.N. Ostrovsky “The Snow Maiden”

The appearance of the poetic play “The Snow Maiden” was caused by a random circumstance. In 1873, the Maly Theater was closed for major renovations, and its troupe moved to the Bolshoi Theater building. The management commission of the Imperial Moscow Theaters decided to stage an extravaganza performance in which all three troupes would participate: drama, opera and ballet. A. N. Ostrovsky was approached with a proposal to write such a play in a very short time, who readily agreed to it, deciding to use the plot from the folk tale “The Snow Maiden Girl.” The music for the play, at Ostrovsky's request, was commissioned from the young P. I. Tchaikovsky. Both the playwright and the composer worked on the play with great passion, very quickly, in close creative contact. On March 31, on his fiftieth birthday, Ostrovsky finished The Snow Maiden.

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Music by P.I. Tchaikovsky for the performance of the same name

Among the few works by Tchaikovsky for the drama theater, a special place is occupied by the music for “The Snow Maiden” by Ostrovsky, staged in Bolshoi Theater in the spring of 1873. “A Spring Tale” by his beloved playwright captivated the composer with the poetry of its images, deep and subtle penetration into the spirit of Russian folk customs and beliefs, and he enthusiastically took up the work offered to him. A certain role in this could have been played by the plot’s closeness of the play to the opera “Ondine” written by Tchaikovsky shortly before, the unfortunate fate of which caused him great grief. Some fragments of the music of The Snow Maiden were taken from this failed opera.

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Images of the fairy tale “Snow Maiden” in fine art

Make sketches for theatrical production famous artist V. M. Vasnetsov was asked by philanthropist Savva Mamontov. His daughter, Alexandra Mamontova, served as the “model” for Vasnetsov’s Snow Maiden. The artist liked the smart and nimble girl Sasha, who most of all loved to ride a sleigh with the breeze. So she was captured in the image of the Snow Maiden by V.M. Vasnetsov. Other artists also painted the fairy-tale beauty. In the sketches and paintings of Mikhail Vrubel in the image of the Snow Maiden, his wife is N.I. Zabela-Vrubel, a famous Russian singer, performer of the role of the Snow Maiden in the opera of the same name. Nicholas Roerich turned to the design of “The Snow Maiden” for the opera and dramatic stage four times. And so it happened appearance The Snow Maiden thanks to three great artists: V. M. Vasnetsov, M. A. Vrubel and N. K. Roerich. V.M.Vasnetsov M.Vrubel N.K. Roerich

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Movies and cartoons “The Snow Maiden”

"Snow Maiden" (1952) - animated film based on the play of the same name by A. N. Ostrovsky to the music of N. A. Rimsky-Korsakov, arranged by L. A. Schwartz. Winter is ending and Santa Claus is going north. What to do with your daughter Snegurochka? Her icy heart never knew simple human joys or love, but one day she heard Lel’s songs and wanted to stay in Berendey’s kingdom. And ask your mother - the beautiful Spring - to melt her heart... “Snow Maiden. Easter Tale" (2010) - first feature film directed by Tatyana Petrova based on the script by Olga and Oleg Davydov. In an ancient Russian village, a girl named Snegurochka appears, descended from heaven on Christmas night through the prayers of childless old people. Struck by the miraculous appearance of a beautiful girl with a magical voice, her fellow villagers initially accept her as God’s gift with sincere joy and surround her with care and love. Headman: “We decided with the whole village: - Come to our every house. In every house at any time you will be a dear guest!” But the Snow Maiden does not enjoy communicating with people for long. Already at Easter, people's envy surrounds her with gossip and pushes her to the fire.

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1. The origin of the image of the Snow Maiden. Pagan roots.

The Snow Maiden is our purely Russian heritage, the product of the great and generous truly Russian spirit. The image of the Snow Maiden is unique to Russian culture. There are no female characters in the New Year and Christmas mythology of other peoples of the world. Snow Maiden is what the Russian Snow Maiden is called abroad. In Japanese folklore, there is a snow woman - Yuki-Onna, but this is a different type - a demonic character who personifies a snow storm.

The life of the Snow Maiden is shrouded in secrets and legends. It’s not even very clear where this young companion of Santa Claus came from. In Russian folk tales, the Snow Maiden is in no way connected with him. According to some sources, Big Spruce gave birth to her. The girl suddenly appeared from under a fluffy fir branch; according to others, she is the daughter of Red Spring and Frost, or perhaps she was fashioned from the snow by childless old men Ivan and Marya. They sculpted it for their own joy, but they couldn’t save it...

The Snow Maiden fell in love with many and soon became the constant companion of Father Frost. Only their family ties underwent some changes over time - from a daughter she turned into a granddaughter, but she did not lose her charm.

A description of the image of the Snow Maiden, compiled on the basis of her mythological, historical and literary roots, gives an idea of ​​the significance of the topic for wide range people of different ages.

There are 3 versions regarding the origin of the Snow Maiden.

1. The image of the daughter of Frost. The image of the Snow Maiden is known from a folk tale about a girl made of snow and brought to life. This snowy girl goes with her friends to the forest in the summer to pick berries and either gets lost in the forest (in which case the animals save her, bringing her home with them), or melts while jumping over a fire (apparently a Kupala fire). The last option is more indicative and, most likely, is the original one. It reflects the myth of natural spirits that die when the season changes (a creature born from snow in winter melts at the onset of summer, turning into a cloud). Here a connection is revealed with the calendar (Kupala) ritual of jumping over a fire, which is initiation (at this moment the girl turns into a girl). The Snow Maiden, as a seasonal (winter) character, dies with the arrival of summer...

It would be in vain to look for its analogues in Western New Year and Christmas mythology. Neither Malanka (participating in Galicia, Podolia and Bessarabia on December 31 in the ritual action), nor St. Katherine and St. Lucia, who act as givers among some European nations on their namesake days, nor the Italian Befana, who throws gifts into children’s shoes on the night of Epiphany, do not in any way resemble the Russian Snow Maiden, and neither of them has a male “partner.” There are no female characters associated with the New Year and the Christmas tree in the West...

2. Image of Kostroma. The tale of the Snow Maiden originated from the ancient Slavic funeral rite of Kostroma. Kostroma is buried in different ways. A straw effigy depicting the girl Kostroma is either drowned in the river or burned, like Maslenitsa at the stake. The word Kostroma itself has the same root as the word bonfire. The burning of Kostroma is also a farewell to winter. The ritual is designed to ensure the fertility of the land. Likewise, the Snow Maiden lived until spring and died at the stake.

Let us remember the origin of the Snow Maiden. According to many versions of the fairy tale, she is, in fact, a snow woman come to life. This means that the Snow Maiden was one of the symbols of winter/death, a force hostile to people and almost otherworldly, associated with the afterlife. After all, Kostroma also has two meanings. This is, on the one hand, an agricultural goddess whose death is necessary for the future harvest. On the other hand, Kostroma is also a pawned dead man, that is, a dead man who died an unnatural death and is dangerous for the living. According to the Slavs, a person who does not die a natural death, unexpectedly or commits suicide, turns into a special type of evil spirit - a hostage. A dead man who has been taken as a hostage lives out his allotted time on earth after death and at the same time tries in every possible way to harm people, especially his family and friends. Not only suicides become pawns, but also unbaptized babies, children cursed by their parents, and people who died from drunkenness.

The ritual of Kostroma's funeral and a similar children's game were recorded by folklorists in the Volga lands until the first half of the 20th century. In some versions of the ritual, Kostroma was depicted as suddenly dying. As a rule, she died after getting drunk on wine at a merry feast, that is, she was a hostage deceased. In one of the ritual songs it is sung like this: “When Kostromin’s father began to gather guests, plan a big feast, Kostroma went to dance. Kostromushka danced, Kostromushka played out. She drank wine and poppy seeds. Suddenly Kostroma fell over. Kostromushka died.” The fusion in the image of Kostroma of both the agrarian goddess and the hostage deceased is not at all surprising. After all, a mortgaged deceased is one of the varieties of a deceased ancestor. And the veneration of dead ancestors and the opinion that they are the embodiment of enormous power, good or evil, are characteristic of all archaic myths. Of course, after the adoption of Christianity, which replaced paganism in Rus', the dead began to be viewed exclusively as evil, devilish forces. Very little is known about the pantheon of Slavic gods. And therefore it is difficult to say what place Kostroma occupied in it. Judging by the games with elements of ancient ritual actions that survived until recently, Kostroma could be the personification of evil forces hostile to man. Hence her role as a hostage dead man. But it could be different. Since Kostroma was burned or drowned in the name of future fertility and harvest, she could well belong to the number of dying and reborn good deities. Cults of such gods existed all over the world. Let us recall, for example, the Egyptian Osiris. Be that as it may, Kostroma was clearly a powerful creature. But its power was gradually forgotten. Over time, she herself turned from a formidable goddess into a gentle Snow Maiden. And her ceremonial burning became an accidental jump over the fire. Now the ritual significance of this whole story is forgotten. From an ancient agrarian myth grew a sad, romantic fairy tale.

There is another interpretation of Kostroma, which also relates her to the hostage dead, but gives a different history of the image.

Kostroma is the daughter of Kupalnitsa and Simargl, the sister of Kupala. One day, when Kostroma and Kupala were still small, they ran to a pure pole to listen to Sirin’s bird of death, and there a misfortune happened. The Sirin bird carried Kupala to the Dark Kingdom. Many years passed, and then Kostroma (sister) walked along the river bank and wove a wreath. The wind tore the wreath from his head and carried it into the water, where Kupala picked it up. Kupala and Kostroma fell in love with each other and got married, not knowing about their relationship, and when they found out, they decided to drown themselves. Kostroma became a mermaid or Mavka.

The image of Kostroma is associated with the celebration of “Green Christmastide” - seeing off spring and welcoming summer, rituals that sometimes take the form of funerals.

Kostroma could be depicted by a young woman, wrapped in white sheets, holding an oak branch in her hands, walking accompanied by a round dance. During the ritual funeral of Kostroma, she is embodied by a straw effigy. The effigy is buried (burnt, torn into pieces) with ritual mourning and laughter, but Kostroma is resurrected. The ritual was intended to ensure fertility.

3. Symbol of frozen waters. Version of Zharnikova S.: Since the image of Father Frost originates in the ancient mythological Varuna - the god of the night sky and waters, then the source of the image of the Snow Maiden, who constantly accompanies Father Frost, must be sought next to Varuna. Apparently, this is a mythologized image of the winter state of the waters of the sacred river of the Aryans, the Dvina (Ardvi of the ancient Iranians). Thus, the Snow Maiden is the embodiment of frozen waters in general and the waters of the Northern Dvina in particular. She is dressed only in white clothes. No other color is allowed in traditional symbolism. The ornament is made only with silver threads. The headdress is an eight-rayed crown, embroidered with silver and pearls.

2. The image of the Snow Maiden in Russian fine art

The image of the Snow Maiden attracted many artists, and each found their own unique features in this image. Many of Ostrovsky’s contemporaries did not accept the play, reproaching him for “moving away from social problems.” But there were also opposing opinions. I.S. liked the fairy tale extremely. Turgenev and A.I. Goncharov. The Russian entrepreneur and philanthropist Savva Mamontov, who staged a performance based on the play on his home stage in Abramtsevo, and then, in 1885, staged the opera in his “Private Russian Opera”, was also partial to it. Sketches of costumes and scenery for the play, and then for the opera, were made by V. M. Vasnetsov in collaboration with I. I. Levintan and K.A. Korovin.

In his memoirs, Korovin writes how, after meeting with Ostrovsky, V.M. Vasnetsov said: “The truth, he told the truth - no one will understand. It’s hard, sad, that’s what it is, people live differently. This art is not needed. And this poem “The Snow Maiden” is the best there is. Russian prayer and wisdom, the wisdom of the prophet...”

In the process of creating the scenery of the fabulous royal chambers, Vasnetsov used architectural details of ancient Russian architecture, motifs of Russian folk embroidery, carving and wood painting. The scenery, created during the general preparation of the performance, determined many of the mise-en-scenes and provided artistic solutions for entire paintings. As well as costume sketches, future images of the performance were outlined. The basis for all costumes was white homespun canvas, in combination with which various color schemes of ornaments created expressive characteristics of the characters and a bright decorative effect. For the first time, it was Vasnetsov who portrayed the Snow Maiden in a sundress and with a hoop on her head. The artist delved with pleasure into the details of the smallest pattern on a girl’s sundress and independently, without any technical assistants, painted huge panels of scenery, depicting pictures of a protected forest or a royal palace. Many years later, admiring art critics will say that it was Vasnetsov, in the design of “The Snow Maiden,” who turned out to be the first Russian artist who, on the theatrical stage, became an equal co-author of the play, in fact, the first real theater artist.

Vasnetsov, following the author, created an amazing gallery of the ancient Russian people, in all its wonderful and beautiful appearance. Half a century later, the artist Grabar will say: “The drawings for “The Snow Maiden”, located in the Tretyakov Gallery, in the sense of the penetration and flair of the Russian spirit, have not yet been surpassed, despite the fact that a whole half century separates them from our days.” Almost twenty years later, Vasnetsov painted a portrait of the Snow Maiden, capturing her at the edge of the forest. The Snow Maiden’s fur coat in the picture is one-piece, slightly flared, going back to the “princess” silhouette that was fashionable at the end of the 19th century. The brocade on the fur coat is embroidered in an amazing way. It would seem that snowflakes would be appropriate here, and Vasnetsov drew strawberries. Alexander Benois said that it was in this painting that the artist managed to discover “the law of ancient Russian beauty.” Another contemporary was even more categorical: “There is no other artist for the Snow Maiden except Vasnetsov.” This statement can be disputed.

At the turn of the 19th and 20th centuries, the production of “The Snow Maiden” - both an opera and a dramatic performance - was a significant event. As if competing with each other, many serious artists were looking for their own image of an image that was already loved by everyone. Composer N.A. Rimsky-Korsakov wrote many operas in fairy tales, but I considered “The Snow Maiden” the most successful. And Vrubel recognized Nadezhda Ivanovna Zabela as the best performer of this operatic role. Rimsky-Korsakov wrote to her husband, the artist Mikhail Vrubel: “I have never heard the Snow Maiden so sung like Nadezhda Ivanovna.” The Vrubels were infinitely devoted to each other, and from the day of their wedding, Nadezhda Zabela never turned to another theater artist to create her stage images. And Vrubel painted her tirelessly, turning her either into a modest model for a realistic portrait or into the Swan Princess. His costume sketches for Rimsky-Korsakov's opera are also portraits of his wife. The charm of the opera and the fairy tale itself was so great that Vrubel did not stop at designing the performance. He created a whole series of sculptures using the majolica technique. There are Mizgir and Lel there. And Tsar Berendey, according to many experts, is simply a stylized portrait of Rimsky-Korsakov, with whom Vrubel was friends and whom he respected immensely.

The artist Nicholas Roerich fell in love with “The Snow Maiden” in his youth. In their worldview, Roerich and Rimsky-Korsakov had much in common: they both found true values ​​in nature, Russian antiquity, history, and folklore. “The Snow Maiden, like all works, is close to me by Rimsky-Korsakov,” Roerich admitted. Four times (in 1908, 1912, 1919 and 1921) Nicholas Roerich turned to the design of “The Snow Maiden” for the opera and dramatic stage. The performances were realized in theaters in St. Petersburg, London and Chicago. The appearance of the Snow Maiden changed, but each time it was beautiful in a new way. The first production, although not realized, was Roerich’s work on Rimsky-Korsakov’s opera for the Paris Opera Comique theater. proposal to design the opera "The Snow Maiden" for the Chicago Opera Compani theater, the artist created dozens of sketches and drawings for this production. Previous stage versions in 1908 and 1912 transported the audience to. fairy world pagan Rus'. The works of 1921 were distinguished by a completely new, somewhat unexpected approach to dramatic material and different characteristics of the characters.

The new interpretation of “The Snow Maiden” mixes “all the elements of influence on Russia”: Byzantium (Tsar Berendey and his court life), the East (trading guest Mizgir and Spring, arriving from warm countries), the North (Frost, the Snow Maiden, goblin). The artist found a lot in common with the legendary shepherd Lel and the Hindu Krishna. “Beyond excessive historicity, without far-fetchedness, The Snow Maiden reveals so much of the real meaning of Russia that all its elements become part of a universal legend and understandable to every heart,” Roerich explained his interpretation. That is why the appearance of the characters in the opera is so diverse. The sketch “Berendey and the Snow Maiden” is stylized by the author as an ancient Russian icon. In the works “Lel and the Snow Maiden” and “Kupava” a very specific Asian ethnic type was created.

The design of the opera was such a success with the American public that the lines and ornaments of the costumes based on Roerich’s drawings were introduced into the household fashion of the current season. Roerich recalled how in “Chicago during the production of The Snow Maiden,” Marshall Field’s workshops produced interesting experience, having built modern costumes on the ornaments of prehistoric Slavic robes." “It was instructive to see,” the artist noted, “how many modern forms naturally merged with the most ancient ornaments.”

Currently, theatrical scenery by artist K.A. Most of Korovin have already been lost. Most of Korovin's surviving works are located in St. Petersburg in the academic Maly Opera and Ballet Theater. Four operas currently performing in the theater are associated with the name of Korovin. These are “The Snow Maiden” and “May Night” by N.A. Rimsky-Korsakov, “La Boheme” and “Cio-Cio-San” by G. Puccini.

In 1910, the management of the imperial theaters had a question about reviving “The Snow Maiden,” which had not been in the repertoire for several years. At first, the design of the opera was entrusted to D.S. Stelletsky - an artist passionately in love with Ancient Rus'. However, his sketches, consistent with the traditions of icon painting, were not at all suitable for “The Snow Maiden” by Ostrovsky - Rimsky-Korsakov. After much wrangling with Stelletsky, who defended his plan, the order was transferred to Konstantin Korovin. At the same time, it was decided to resume the opera not in St. Petersburg, but in the Moscow Bolshoi Theater. Unfortunately, in the spring of 1914, almost all the scenery burned down during a fire. In April 1915, Korovin, together with his assistants G.I. Golov and N.A. Klodtom began to resume the design of “The Snow Maiden”. But only the costumes were left unchanged; the artists, apparently, thoroughly reworked the sketches of the scenery. From these originals, sets and costumes were made for the Mariinsky Theater in 1916, and then transferred to the Maly Opera House.

The years that have passed since the production of the opera, of course, have left their mark on its design. However, mainly only the decorative canvas itself and especially the fragile nets combined with it have aged. The painting and colors, as in Korovin’s easel works, still amaze with their amazing freshness. Despite the long-term use of the decorations, there are no craquelures or screes on them. The theater restorers repeatedly changed the decorative meshes, torn places on the panels were glued on the back side, but all the painting remained untouched. Of course, Korovin’s perfect knowledge of painting technology also played a huge role in preserving Korovin’s theatrical painting.

Other artists also designed the performance. For example, a talented writer of everyday life, master psychological portrait, author of book illustrations and theater decorator B.M. Kustodiev. In 1911, Kustodiev first began working in the theater. The artist was captivated by the work of creating the scenery. Kustodiev’s talent as a decorator was manifested with particular brightness in the design of A.N.’s plays. Ostrovsky: “Our people - we will be numbered”, “Wolves and sheep”, “Thunderstorm” and others. He demonstrated deep insight into the essence of the author's intention. Kustodiev painted the scenery easily and quickly.

We can say that all of Kustodiev’s work is poetic paintings on the themes folk life, in which the artist managed to convey the inexhaustible strength and beauty of the Russian soul. “I don’t know,” Kustodiev wrote, “whether I managed to do and express in my things what I wanted, love for life, joy and cheerfulness, love for my Russian - this was always the only “plot” of my paintings...” These words of the artist can be fully attributed to his work on the sets and costumes for the play based on Ostrovsky’s play “The Snow Maiden”. The image of the Snow Maiden was captured in their work by many other artists: V. Perov, V. Nesterov, I. Glazunov, A. Shabalin.

3. Russian folk tale “The Snow Maiden” in the works of illustrators

Even during his years of study at the Higher Art School at the Imperial Academy of Arts, the distinctive style of the Russian artist, book illustrator and theater designer I.Ya. Bilibina. He developed a whole system of graphic techniques that allowed him to combine illustrations and book design in the same style. All of the artist’s work was devoted to the Russian fairy tale theme. For this he had to seriously prepare.

Bilibin traveled a lot around Russia, especially in the North, studying Russian folk and decorative art with interest. On instructions from the ethnographic department of the Russian Museum at the very beginning of the twentieth century, the artist visited the Vologda, Arkhangelsk, Olonets and Tver provinces. And in 1904 Kizhi, which he called “the threshold of the distant kingdom.” On trips to remote provinces, Bilibin's subjects of study were: Russian architecture, folk ornaments, peasant embroidery, lace, patterns, ancient wooden carvings, popular prints. He collected works of folk art and photographed monuments of wooden architecture. The collected materials became the basis for several articles, and the brought photographs were included in I. Grabar’s book “History of Russian Art.”

Patriarchal peasant life, utensils that seemed to have been preserved from the times of ancient Rus', gave Bilibin rich material for thought and for further use in artistic practice. The new artistic style - the style of Russian antiquity - not only enriched art with vivid images, but also contributed to the development of theatrical decoration and book graphics.

Bilibin’s illustrations are used to decorate such Russian fairy tales as “Sister Alyonushka and Brother Ivanushka”, “The Frog Princess”, “Vasilisa the Beautiful”, “Marya Morevna”, “Finist’s Feather - Yasna Falcon”, “White Duck”. As well as fairy tales by A. S. Pushkin - “The Tale of Tsar Saltan”, “The Tale of the Golden Cockerel”, “The Tale of the Fisherman and the Fish” and many others. In 1904, the Prague National Theater commissioned Bilibin to design sketches for the opera “The Snow Maiden” by N. Rimsky-Korsakov. Bilibin was perhaps the first Russian artist to design sets for a foreign stage. The fairy-tale themes of Rimsky-Korsakov’s operas were very close to the artist. In the theatrical sketches for the opera “The Snow Maiden,” Bilibin’s bright talent and his original style were fully demonstrated.

Artist Boris Vasilievich Zvorykin is one of the brightest representatives of the Russian tradition of book illustration. However, until recently, his name was known only to book specialists and collectors, mainly Western ones. Books published during the artist’s lifetime have long been dismantled abroad into separate page illustrations and sold as prints. It so happened that Zworykin had to live his creative life in the shadow of his more famous contemporary, Ivan Bilibin, unfairly receiving the label of Bilibin’s imitator. There was no imitation. It’s just that both masters, inspired by common ideals, walked in parallel. The “Russian theme” fascinated Zvorykin in his youth. The core on which it was later built creative destiny The artist became: love for Russian antiquity, Russian history, legends and folklore, decorative and applied arts, icon painting and wooden architecture, ancient calligraphy, ornamentation and book miniatures.

After the 1917 revolution, Zvorykin emigrated to France. In emigration, fate favored the artist. He did not have to deviate from his favorite themes and aesthetic ideals. Thanks to the triumph of Diaghilev's seasons, the “Russian theme” was well known and popular among the Parisian public. In Parisian publishing houses, one after another, books designed by Zvorykin were published: “Moscow and the Village in Engravings and Lithographs” by G. K. Lukomsky, “Confession” by M. A. Bakunin, “The Golden Cockerel” and other fairy tales by A. S. Pushkin, Pushkin “Boris Godunov”... The book “The Firebird. Russian Fairy Tales” stands apart from this list. It was created by Boris Zvorykin independently from beginning to end. French four Russian fairy tales. And he rewrote the fairy tale “The Snow Maiden”, based on the text of a Russian folk tale and a fairy tale in Ostrovsky’s verse, in his own words. I wrote it down in calligraphic handwriting, drew illustrations and bound it in a leather binding with patterned embossing. He presented this unique book in all respects to the director of the Piazza publishing house, Louis Fricotel, his new employer. Thus, in Paris - the kingdom of gray skies and mansard roofs - the Russian "Firebird" was born, embodying everything that the artist loved so much in his former life and that he yearned for far from his homeland. However, the artist did not have a chance to see “The Firebird” published. The book was published thirty-six years after his death. And not in Paris, but in New York. The publication was carried out by the widow of the American president, Jacqueline Onassis-Kennedy, an admirer of the work of Boris Zvorykin. This happened in 1978 - at the height of the Cold War between the USA and the USSR.

4. Modern image of the Snow Maiden

The image of the Snow Maiden received its modern appearance in 1935 in the Soviet Union, after the official permission to celebrate the New Year. In books on organizing New Year trees of this period, the Snow Maiden appears on a par with Father Frost, as his granddaughter, assistant and mediator in communication between him and children.

At the beginning of 1937, Father Frost and the Snow Maiden appeared together for the first time at the Christmas tree celebration at the Moscow House of Unions. It is curious that in early Soviet images the Snow Maiden is often depicted as a little girl; she began to be represented as a girl later. Why is still unknown.

During the war period, the Snow Maiden was forgotten again. As an obligatory constant companion of Santa Claus, she was revived only in the early 1950s thanks to the efforts of children's classics Lev Kassil and Sergei Mikhalkov, who wrote scripts for Kremlin Christmas trees.

For the film “The Snow Maiden” (1968), an entire “Village of Berendeys” was built near the Mera River. The choice of location was not accidental: in these parts, in Shchelykovo, Ostrovsky wrote his play. After filming was completed, the wooden sets were moved near Kostroma, where the Berendeyevka park appeared. In addition, in Kostroma there is now the “Terem of the Snow Maiden”, in which she receives guests all year round.

In 2009, the Snow Maiden’s birthday was officially celebrated for the first time, which was decided to be the night from April 4th to April 5th. This does not correspond to the plot of the fairy tale, in which the Snow Maiden is born in winter. However, according to the organizers’ explanations, “Snegurochka’s father is Father Frost, and her mother is Spring, and therefore her birthday is in the spring.” In 2010, Father Frost himself arrived from his residence in Veliky Ustyug for his granddaughter’s birthday, officially confirming the status of Kostroma as the main residence of his companion and assistant.