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Shamanic Elements in Some Early Eighteenth Century
Russian Woodcuts
Dianne E. Farrell
I would like to acknowledge support received from the International Research and
Exchanges Board in 1984, which contributed to this article. I would also like to ac-
knowledge a partial leave granted me by Moorhead State University for spring term
1989 in support of this and other work. Earlier versions of this article were presented
at the April 1990 meeting of the Western Social Science Association and the October
1990 meeting of the AAASS.
1. A distinction is generally made between sorcerer (witch, wizard) and shaman
as practitioners of the occult. Both function as healers and diviners but the shaman
is distinguished by his/her direct contact with the spirit world through a special state
of consciousness (trance), whereas the sorcerer relies upon incantations or the manip-
ulation of objects to work his/her magic. See Mircea Eliade, Shamanism:Archaic Tech-
niques of Ecstasy (New York: Pantheon, 1964), revised and enlarged from the original
1951 French edition; and Wendy Doniger, ed., Mythologies(Chicago: University of Chi-
cago Press, 1991), 2: 1103; a restructured translation of Yves Bonnefoy, comp., Dic-
tionnairedes mythologieset des religions des societestraditionnelleset du mondeantique (Paris:
Flammarion, 1981). Gloria Flaherty, in Shamanismand the EighteenthCentury(Princeton:
Princeton University Press, 1992) deals with the assimilation of rediscovered shaman-
ism by Europeans and provides an extensive bibliography. She pays particular atten-
tion to Catherine the Great, who wrote a play ridiculing shamanism and generally
made a cause of combatting serious intellectual interest in it.
2. On the influence of shamanism on volkhvy,see George P. Fedotov, The Russian
ReligiousMind, vol. 1, Kievan Christianity:The Tenth to the ThirteenthCenturies(New York:
Harper Brothers, 1960), 356-57. On the persistence of volkhvyin the eleventh, twelfth
and thirteenth centuries, who, as leaders of popular revolts, seriously contested the
authority of the church, see Fedotov and Russell Zguta, Russian Minstrels:A History of
the Skomorokhi(Philadelphia: University of Pennsylvania Press, 1978), 128, fn. 73. In-
formation on the still active volkhvy is based on chronicle entries and ecclesiastical
admonitions. As to whether a volkhv functioned through trance states like a shaman,
these sources tell us nothing. It would appear that, by the seventeenth century, the
volkhvhad become a practitioner of magic, marginal rather than central to community
life (see Linda Ivanits, Russian Folk Belief [Armonk: M.E. Sharpe, 1989], 86, fn.9, citing
N.A. Nikitina, "K voprosu o russkikh koldunakh," SbornikMuzeia antropologiii etnografii
(Leningrad: AN SSSR, 1928), 7: 299-325). Nikitina believes that the Russian sorcerers
in the pagan era were shamans but that, under pressure from Christianity, they had
by the seventeenth century been consigned to serving the dark forces and were achiev-
ing their trance states via large amounts of alcohol (ibid., 324-25). Her study of sorcery
among Russians is based on field research done in 1926 in Nizhegorodskaia province
and on ethnographic literature, some of which was based on old court records.
Slavic Review 52, no. 4 (Winter 1993)
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Shamanic Elements in Russian Woodcuts 727
interpret "Baba laga Rides Forth to Fight the Crocodile," since both
costuming details and signs of shamanic influence link it to the Finno-
Ugric culture.
Baba Jaga is, of course, a famed witch of Slavic folktales, a chthonic
goddess whose meanings and functions as such may be only dimly
sensed or entirely lost.9 Russians also used "Baba Jaga" in reference
to any witch or to malign any cantankerous old woman. In this lubok
Baba Jaga is shown astride a pig, riding into combat over a bottle of
wine or vodka-combat with a most peculiar creature. "Jaga baba edet
s korkodilom" dratisia na svin'e s pestom" da u nikh zhe po[d] kustom"
sklianitsa s vino[m]" (Baba laga rides forth on a pig to fight a crocodile
with a pestle and there beneath a bush they have a bottle of wine/
vodka).
With whom will Baba laga fight? A crocodile or the crocodile, mis-
spelled "korkodil"(in another version of the print-"karkarladil"). But
the creature depicted is not a crocodile by any stretch of the imagi-
nation. It has the head of a man with a very long beard, long hair and
forelock; its body is furry and it has a bushy tail. Its only reptilian
features are its forepaws, which are held up to meet the blows of the
oncoming Baba Jaga. Excepting the forepaws, the predominant impres-
sion is of a wolf-man, or perhaps a fox- or coyote-man. In many cul-
tures, such creatures were believed to be transmogrified sorcerers and
-witches; sorcerers had a particular affinity for wolves since their ste-
reotypical appearance, with bushy hair and brows, and penetrating
eyes, was thought to be wolf-like.10 Male sorcerers had long beards and
it was thought that they could be disempowered through shaving.11
Both male and female sorcerers were magician-healers who were com-
monly paid by their clients in wine or vodka,12 so that a conflict be-
tween practioners of magic over a bottle is readily conceivable as
professional rivalry.
More than anything else in this woodcut, it is the small sailing ship
shown in the lower left corner beneath the wolflike sorcerer that has
been thought to link this figure to Peter the Great (although he was
never depicted with a beard). The ship serves my argument better, for
it is depicted in a cut-away space, as though beneath the earth's surface;
this is the position where the pictorial canon dictates that hell be de-
picted in LastJudgment scenes. Figure 2,13 from the Koren' Bible (of
the same period and stylistic school as this print), shows the devil in
this space on the fourth day of creation, when he was cast down from
heaven by God. The double line in the Baba laga woodcut, separating
the terrestrial battle from the ship, is similar to the cosmological scheme
depicted on shamans' drumheads that demarcates the boundary be-
tween the nether and upper worlds."4 In this woodcut the ship, then,
is in the shamanic underworld, the nearest equivalent to the Christian
hell.
Shamanic belief attributes illness to spirit loss (or spirit intrusion);
it is the shaman's function to restore (or extract) this spirit, which often
appears in zoomorphic form. Shamans have a "helping animal" (or
animals), frequently considered in northern Eurasia to be a wolf."5
They specialize in achieving trance states during which their souls
leave the body and journey to other worlds to heal the sick, to foretell
the future or to conduct the souls of the dead to the nether world.16
Shamans may sit upon a drum which is addressed as a horse, reindeer
or boat, and which serves as their vehicle for soul travel to the under-
world. On this journey, they may have to combat spirits who hold the
sick person in their grip: for this battle shamans may be clad in the
attire, mask or symbol of their helping animal, or they may be trans-
formed into that spirit.17 A sacred post or pole, symbol of the world
pillar or world tree, may serve as channel of communication to the
upper world (the sky, heaven) and-in some cases-to the lower world.
This "world tree" or shaman's tree is an important cosmological sym-
bol in Siberia; shamans' drums, prepared from its wood, are central
to their practice. "Like the Cosmic Tree and the shaman's costume,
the boat functions as a vehicle of the gods or spirits or of shamans on
their journeys to other worlds and, as such, signifies the shaman's es-
sential technique of earthly transcendence." 18 The sorcerer's part-wolf
appearance, then, may be from a wolfskin that he has donned to sha-
manize, representing his helping animal or his own transmigrant soul
19. The difficulty with this supposition is that no shamanic costume I have seen
illustrated is simply the pelt of an animal; most are of leather or cloth adorned with
drawn or painted designs, feathers, tufts of hair, bits of metal, colored rags, etc. This
difficulty is overcome if the figure is a shaman-werewolf, as I show below.
20. Nikitina, 324.
21. I.S. Gurvich, "Kosmogonicheskie predstavleniia i perezhitki totemicheskogo
kul'ta u naseleniia olenekskogo raiona," Sovetskaiaetnografiia,no. 3 (1948a): 130; Bo
Lonnqvist, "Problems Concerning the Siberian Shaman Costume," EthnologiaFennica,
no. 1-2 (1976): 6. The symbological functional theory was advanced early in the cen-
tury by various ethnographers: Troshchanskii (1902), Nioradze (1925) and modified
by Uno Harva of Holmberg in 1938.
22. Anna-Leena Siikala, The Rite Techniqueof the Siberian Shaman (Helsinki: Suom-
alainen Tiedeakatemia, 1978), 164, citing N. Gondatti, Sledy iazychestvau inorodtsev
Severo-ZapadnoiSibiri (Moscow, 1888). This practice was not unique to northwestern
Siberia; Pallas reports it from neolithic burials of the Pribaikal'e (Siikala, 168). Afanas'ev
(Poeticheskievozzreniia 1: 576-79) finds reference to such customs among the Greeks,
Slavs, Germans and Lithuanians (putting coins in the dead person's mouth to pay the
ferryman); Vikings (the burial of Baldur on a ship set afire and put out to sea described
in the Edda); Ibn Foszlan describes the Rus' doing the same; in Greek mythology
Charon ferries souls across the River Styx. Afanas'ev also reports Old Believers making
coffins by hollowing out a whole tree, just as boats were made in former times. All of
this indicates that boat-burials and soul-ferrying have a wide geographical and chron-
ological range.
23. V.M. Mikhailovskii, "Shamanism in Siberia and European Russia, Being the
Second Part of 'Shamanstvo,"'Journal of the Royal AnthropologicalInstitute of GreatBritain
and Ireland 24 (1895) citing P.I. Tret'iakov, Turukhanskiikrai, ego priroda i zhiteli (St.
Petersburg, 1871), 217-18.
24. Doniger, 1117.
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734 Slavic Review
Baba laga is the aggressor and the male sorcerer takes a defensive
posture, his beard standing as a veritable shield between them. Of
course her aggressive ferocity may be meant to be admired. Yet, as we
will see, this is surely a comic battle; to look for a favored protagonist
is probably pointless.
In figure 1 and in the two other early woodcut lubki depicting her
(figures 3 & 4), Baba laga is distinctive primarily for her costume and
because she rides a pig (figures 1 & 3). Riding pigs was a prominent
part of Maslenitsa (the Russian pre-Lenten carnival), and in another
lubok a personification of Maslenitsa is shown riding into Moscow on
the back of a pig to initiate the festivities.32 Riding pigs was also part
of carnival festivities in western Europe and can be found in west
European prints.33 Thus this print is in the tradition of festival clown-
ing, as are many other eighteenth-century lubki. In that tradition mock
combat was prominently featured. The lubok may certainly also have
reference to real-life conflict but, if so, it has been transformed here
for comic effect.34 The print makes a mockery of both sorcerers: their
contest is, after all, over a bottle. The carnivalesque riding of pigs is
also part of a folkloric substratum, in which the entrance to the un-
derworld may be Baba laga's mouth, her teeth sharpened for the pur-
pose of consuming a hero, or a mouth bristling with teeth-a mouth
which belongs to Baba laga in the guise of a pig.35 There is no contra-
diction here; the carnivalesque riding of pigs is a remnant of an older
culture, as are many features of carnival.36
The attributes or implements which Baba laga carries, the pestle
and the yarn-comb or rake, are traditional; the ax is not, but is typically
used as a weapon and is surely intended as such here. The implements
used for the fabrication of cloth relate to divination through the "spin-
ning of fate" practiced by Baba laga and her sisters, like the Three
Fates of classical lore. (Whether this was understood by the printmaker
is another matter.) The pestles and yarn-comb in this lubokare shaped
very much like the wooden implements used in the Mordvinian re-
gion.37
of the content. Most likely the shamanic world tree and soul-boat were
not reproduced in this print because they were not understood.
Another lubokrelated to that under discussion (figure 4) shows Baba
laga dancing with an old man who plays bagpipes. Below is a tradi-
tional festive verse: "Iaga baba s muzhikom, s pleshivym starikom skachiut,
plashiut, v volynku igraiut a ladu ne znaiut" (Baba laga dances with a man,
an old, bald man; they hop about, they play the bagpipes, but don't
know the tune/steps).
These late seventeenth or early eighteenth century prints (figures
1 and 4) are urban products; as with the other turn of the century
prints of the Koren' school, they show thoughtful design and careful,
expensive execution. The school is so named because these prints form
a stylistic group around the "Koren' Bible," a series of thirty-six illus-
trations to Genesis and Revelation, several of which are signed by
Vasilii Koren' and dated between 1692 and 1696.42None of the "Koren'
school" prints is signed, but it is entirely possible that some of them
were engraved by Vasilii Koren'. The Koren' Bible is often and prop-
erly compared with the western medieval Biblia Pauperum or "Poor
Man's Bible," and the conclusion drawn that these were books for the
illiterate masses. But this is true neither of the west European Bibliae
Paupera nor of the Koren' Bible.43 Both were series of fine woodcuts
or engravings designed for devotional use, probably during Lent. (Most
contain forty prints for the forty days of Lent; the Koren' Bible is
incomplete in its sole surviving copy.) The fact that the Koren' Bible
is printed on imported Dutch paper would have made it relatively
expensive and links the Koren' school to an economically well-off seg-
ment of the populace. However, this is not to say that the purchasers
of Koren'-style prints were necessarily nobility or merchants, nor that
the print in figure 1 is a product of an elite culture; it belongs, rather,
to a common culture of which all classes still partook in the early
eighteenth century and from which the elite separated themselves as
they took up western artistic styles. The Baba laga print appeared
perhaps a quarter of a century before the elite turned from old Russian
artistic styles to foreign styles. (Even later, the elite continued to par-
ticipate in such popular traditional culture as Maslenitsa festivities, sor-
cery, fortune-telling and the like.)
In fact, we do know a little about who owned the sole surviving
copy of the Koren' Bible. Owners' inscriptions appear on the flyleaf
and, of the eighteenth century owners, the third identified himself as
a peasant of Zvenigorod district and the fourth as this peasant's master,
a "collegiate assessor and cavalier." The first two owners did not in-
dicate their social standing but their poor handwriting and the laro-
slavl' watermark on the paper suggest that they were provincials, either
44. Sakovich, 8.
45. Ivanits, 87-88.
46. Ibid., 88; Askalon Truvorov, in "Volkhvy i vorozhei na Rusi, v kontse XVII
veka," Istoricheskiivestnik: istoriko-literaturnyizhurnal 36 (1889): 713, cites evidence of
sorcery cases in all three volumes of the Rozysknykh"del" o FedoreShakhlovitompublished
by the Arkhiograficheskaia Kommissiia.
47. Di6szegi and Hoppal, 83.
48. Translation of II benandanti (1966), English translation by John and Anne
Tedeschi published first in Great Britain by Routledge and Kegan Paul (1983) and in
the United States byJohns Hopkins University Press (1983) and Penguin Books (1983,
1985). References here are from the latter, in which, see the preface to the Italian
edition; it treats the problems of connections to any "real" witch cult and the probable
connection of such phenomena as the benandanti and Livonian werewolves to sha-
manism. Ginzburg's account of the Livonian trial is section 16 of chap. 1, which he
draws from Hermann von Bruiningk, "Der Werwolf in Livland und das letzte im
Wendeschen Landgericht und Dorptschen Hofgericht i. J. 1692 deshalb stattgehabte
Strafverfahren," Mitteilungen aus der livldndischenGeschichte22 (1924): 163-220.
49. Von Bruiningk, 193-96.
Shamanic Elements in Russian Woodcuts 739
pect of this witchcraft trial was the old man's insistence that he became
a werewolf to do battle with witches for the benefit of the community
and, in particular, for the fertility of crops and livestock. Three times
a year (St. Lucia's Day just before Christmas, Pentecost and St. John's
Day) he and his companions changed into werewolves by putting on
wolf pelts and walked to a hidden place in the marsh from which they
"departed" for the gates of hell. There the "devil's watchmen" or
witches tried to keep them out by driving them off with iron whips
while the werewolves tried to seize cattle, seed corn and other fruits
of the land which the devil's sorcerers had carried away to keep the
crops from growing. Thiess was insistent that the werewolves served
God and that their souls went to heaven, while witches served the devil
and went to hell. To questions about the sex and ethnicity of the
werewolves Thiess replied that women, but not maidens, were included
in the werewolf band and that Germans had their own packs and their
own hell. But in two prior years Thiess's Lettish band arrived too late;
Russian werewolves had preceded them and garnered the plentiful
harvest for their own people. Thiess claimed that the packs of were-
wolves did no harm to their neighbors except to take small livestock
which they roasted over fires and ate, not as werewolves, but as men.50
This last seems to indicate a gathering and some preliminaries in cor-
pore before the in spirito departure to the netherworld.
Analogous to the benevolent Livonian werewolves are the subjects
of Ginzburg's study, the benandanti or "goodwalkers" of Friuli, the
northeastern part of Italy, which overlaps with south Slavic culture.
On certain nights, this troop was assembled by their captain beating a
drum, fell into a trance during which their souls left their bodies and
traveled, sometimes in the form of butterflies and mice. Armed with
fennel stalks, they would do battle against sorcerers (stregoni)to assure
the fertility of the land; other times they would participate in proces-
sions for the dead, which procured prophetic and visionary powers
for them. The benandantiwere discovered by the Church in 1575 and
during fifty years of inquisitorial pressure were progressively molded
to the stereotype of diabolical witchcraft.5'
The evidence of the benandanti and of the benevolent Livonian
werewolves opens up the whole question of the genesis and dispersion
of shamanism: whether it once encompassed all of Europe and how
far back a true shamanism can be verified. Ginzburg sees both the
benandantiand Livonian werewolves as representatives of age-old agrar-
ian cults and considers them related to Eurasian shamanism. Certainly
the trances, the magical journey to the netherworld, the metamorpho-
sis into animal form, the ritual combat and processions of the dead all
evoke shamanism. In Storia Notturna, published in English in 1991 as
Ecstasies: Deciphering the Witches' Sabbath,52 Ginzburg shows a connection
53. Ginzburg concurs with the general rejection of Margaret Murray's book, The
Witch-Cultin WesternEurope (1921; repr. Oxford Clarendon Press 1962, 1970, 1977),
because it sees in the confessions of the witch trials direct evidence of a real cult of
witches worshipping Diana in an ancient fertility rite. He agrees that Murray's work
is not usable because it takes the confessions as accurate descriptions of rituals, does
not discount distortions and accretions introduced by inquisitors, judges and demon-
ologists, nor does it distinguish between surviving belief systems and practising cultists.
The general scorn heaped upon Murray's work for over fifty years discouraged anyone
else from examining the question of real agrarian fertility cults surviving into the era
of witch persecution. Ginzburg's benandantiare one such group, the magical part taking
place in ecstatic trance, not in ordinary reality. Livonian werewolves may be an ex-
ample of belief survival or old Thiess may have been a surviving individual practi-
tioner, or a member of a cult like the benandanti.That he was a lone practitioner seems
likely from evidence given by his neighbors (his healing of animals), his own descrip-
tion of how he received his powers and how he intended to pass them on before he
should die, etc.; but no evidence was adduced that there were any other locals who
belonged to his werewolf band. The fact that ten years earlier Thiess had brought
charges against another man (since deceased) for breaking his nose in one of these
combats does not help much. That man supposedly was a witch-an opponent-and
broke Thiess's nose with his broom. Von Bruiningk, 192-93.
54. Doniger (1103-4) begs the question of antiquity, stating that, while the antiq-
uity of shamanism can no longer be questioned, as the Turkic term qam appears in
the ninth century Tang Annals, what exactly is comprised by the term cannot be
determined. It asserts that only from the seventeenth century do actual accounts of
shamanic trance journeys survive.
55. Ginzburg, Ecstasies, 207-10.
56. See Mircea Eliade, Shamanism,503 and A Historyof ReligiousIdeas, trans. Willard
R. Trask, vol. 1, From the Stone Age to the Eleusinian Mysteries (Chicago: University of
Chicago Press, 1978), 16-22 and corresponding bibliography, 380-83.
57. Caspar Peucer, Commentariusde praecipuis generibusdivinationum (Witebergae,
1560).
Shamanic Elements in Russian Woodcuts 741
65. Von Bruiningk, 169-71. Ginzburg links this drinking of beer and mead with
myths about the "inquenchable thirst of the dead." This element is present in the
benandantibeliefs as well. See Ecstasies, 100-01, 159.
66. Ginzburg, Ecstasies, 175, fn. 16, citing Peucer, Commentarius.Philip Melanc-
thon, Luther's colleague and Peucer's father-in-law, also lectured on this topic at Wit-
tenberg and quoted a letter he had received from Hermann Witekind concerning the
Livonian werewolf. (ibid., 157).
67. Ibid., 156.
68. Ibid., 154, 159 and especially pt. II, chaps. 1 and 3.
Shamanic Elements in Russian Woodcuts 743