Языческий мотив 1995 часть 2 - Russian and soviet artists Русские и советские художники

The composition presents a scene unfolding near a body of water, dominated by a large birch tree whose trunk and branches form a significant visual barrier. Three figures occupy the foreground; two male individuals stand on the left side, clad in traditional white garments with red embroidery along the sleeves and hem. Their posture suggests observation or perhaps apprehension as they regard the central figure – a woman standing barefoot near the waters edge. She is partially draped in a similar white cloth, revealing her upper body.
The color palette is predominantly cool, with greens and blues dominating the landscape and reflecting in the water. The stark white of the clothing contrasts sharply with this backdrop, drawing immediate attention to the human figures. A striking element is the presence of a vibrant blue serpent coiled around the base of the birch tree, its form intertwined with what appears to be a discarded piece of fabric – another fragment of the same white cloth seen on the woman and the men.
The arrangement of elements suggests a narrative tension. The men’s hesitant stance and averted gazes imply a sense of ritual or witnessing something forbidden. The womans posture, while seemingly vulnerable, also possesses an element of defiance or acceptance. Her gaze is directed beyond the viewer, suggesting she is focused on something unseen.
The serpent, rendered in intense blue, functions as a potent symbol. Its association with water and trees immediately evokes primordial forces – a connection to nature that transcends conventional human understanding. The discarded cloth hints at a shedding of identity or a symbolic stripping away of societal constraints.
Subtexts within the painting revolve around themes of paganism versus established order, innocence versus transgression, and the power of natural forces over human control. The traditional garments worn by the men could represent adherence to custom and tradition, while the woman’s partial nudity and proximity to the serpent suggest a connection to something older, wilder, and potentially dangerous. The overall impression is one of a liminal space – a threshold between worlds where ancient beliefs and contemporary realities collide.