Angkat ng Diwata sa mga Araw ng Pasko sa Literatura at Sining

Ang panahon ng Pasko, na tumatagal mula sa Paskua hanggang sa Pagbinyagan, ay tinatanggap ng mga Slav sa tradisyon bilang panahon kung saan ang hangganan sa mundo ng mga tao at sa mundo ng patay ay naging labis na labis. Ito ay nagbibigay ng kahilingan hindi lamang sa mga espiritu ng mga magulang na dumalaw sa buhay, kundi din sa kahilingan ng malumang, hukom na mga puwersa. Ang larawan ng diwata sa mga Araw ng Pasko ay hindi lamang isang simbolo ng masama, kundi isang kumplikadong kompleks ng folklorno-mitolohiya na nakita ang malakas na pagmumukha sa mga Rusong sining at sining.

Ang diwata sa kultura ng mamamayan sa mga Araw ng Pasko ay lumilitaw sa dalawang paraan. Sa isa, ito ay mapanganib: ayon sa paniniwala, sa panahong ito, ang mga diwata, mga demonyo, kikimora at ibang «nabubulagang kaluluwa» ay aktibo nang lubos, nagiging magagawa sa tao, nagiging magiging nawalan ng daan, at nagiging mapanliligalig. Sa ibang banda, ang aktibidad nito ay nakasakupan at sumusunod sa mga tiyak na alituntunin, na ginawa ito bahagyang makapag-pahiwatig at kahit na pinahalagahan sa mga obreya ng kalakalan, tulad ng pagpapasok. Sa pamamagitan ng paglahok sa mga koliadong at paglalaro, ang mga tao, na nagsusuot ng maskara at balat («susuot ng demonyo»), ay nagiging diwata sa panahon, upang, sa isa, sila ay mapagbigay, at sa isa pang panahon, mapapangalanan sa pamamagitan ng ritual.

Ang Rusong sining sa ika-19 na siglo, ang swakto na diwata ay naging malakas na simbolo ng sining at pilosopiya mula sa folklorikong karakter. Ang klasikong halimbawa ay ang kuwento ni Nikolai Gogol na «Noche de Navidad» (1832). Dito, ang diwata (diablo, alakadang Solokha) ay iginuhit na may komikong, halos pang-buhay na kagustuhan. Ang diablo ay kinukukunan ng buwan, nagpupuksa sa kundisyon ng bakalero na si Vakula, ngunit sa huli ay naging pagkabigo sa pamamagitan ng kamalayan ng tao at puwersa ng pag-ibig. Ginagamit ni Gogol nang maayos ang demonolohiya sa tekstura ng buhay ng mamamayan, na nagpapakita na sa mga Araw ng Pasko, kahit na ang diwata ay aktibo, ito ay hindi walang kapangyarihan sa simple na pananampalataya at mabuting loob.

Ang mas malupit at metafisikal na larawan ay lumilitaw sa kilalang kuwento ni Gogol na «Viy» (1835). Bagaman ang akto ay nangyayari hindi sa mga Araw ng Pasko, kundi sa panahon ng Semana Santa, ito ay buong nakabase sa paghaharap ng seminarian na si Khoma Brut sa demonikong mundo, na aktibo sa «panahon ng walang oras» sa pagitan ng malalaking kapistahan. Ang larawan ng Viy, ang «matitimplang diwata», ay nagpapakita ng walang pahina, ngunit walang pahina na puwersang infernal, na walang kapangyarihan sa pormal na, hindi tapat na pananampalataya. Dito, ang diwata ay isang existential na kahiyahan, na nagbubulag sa kalooban.

Ang tradisyon ay patuloy na pinagpapatuloy ni Mikhail Bulgakov sa nobelang «Mga Master at Margarita». Ang kilalang bal ng Satanas, na ibinigay ni Woland sa «tag-init na buwan ng buwan na may buwan», ay bahagyang pinapatunayan ng tradisyon ng swakto na pagkakaroon ng pagkakaroon ng diwata. Ang Woland at kanyang kawan (Koroviy-Fagot, Azazel, Beggemoth) ay isang artistikong, intelektwal na diwata, na, sa pamamagitan ng pagpasok sa Moscow, ay naglulunsad ng kanilang «swakto» na hukuman sa mga kasalanan ng tao. Ang kanilang mga larawan ay walang primitibong kasamaan; sila ay malakas na inspektor, na nagpapakita ng moral na kasiraan ng mundo.

Ang tema ng swakto na diwata ay nililigtas sa sining sa pamamagitan ng mga ilustrasyon sa mga likhang sining at scenography. Ang pinakamalakas na halimbawa ay ang gawa ni Ivan Bilibin. Ang kanyang mga ilustrasyon sa «Noche de Navidad» (1930s) ay gumawa ng kanonikong visual na larawan ng mga karakter ni Gogol: ang tao sa kanyang kagustuhan, ang diablo na may kozli na mukha at maliit na paa, at ang malakas, kaakit-akit na Solokha. Ginagamit ni Bilibin ang diwata sa likod ng lubok, na ginawa ito sa isang kasing-kasing at kahit na kahanga-hanga.

Ang teatro at kinematografiya, lalo na sa mga pelikulang ekranisasyon ni Gogol (halimbawa, sa pelikula ni Aleksandr Rou na «Noche de Navidad», 1961), ang mga larawan ng diwata ay naging malakas na pagbubuhay. Ang pagpokus ay sa karnevalidad, sa grottesco, na pinapakita ang lumang kaugnayan ng Araw ng Pasko sa mundo ng inilulupig na normalidad, kung saan ang diwata ay naging bahagi ng paglalaro ng laro sa panahon.

Isang kagila-gilalas na katotohanan: Ang pinakamataas na aktibidad ng diwata sa tradisyon ng Slav ay dumadaloy sa «kakilakilabot na gabi» sa pagitan ng Bagong Taon (Vasilevsky ng gabi) at ang Pagbinyagan. 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