Cossack Mamay: Ukrainian Folk Icon

A National Symbol Through Centuries

Cossack Mamay is one of Ukraine’s most enduring and beloved folk images. These works of art—typically depicting a seated Cossack playing a kobza or bandura in a cross-legged, so-called "eastern" or "Cossack" pose—have held cultural significance for over four centuries. Often painted in homes, on canvas, or even walls, Mamay has come to represent both the ideal of Ukrainian freedom and the resilience of its people.

The Name and Its Origins

The term"Mamay" has been used in two ways: as the personal name or nickname of a legendary warrior, and as a general term for a group of people who lived a free, nomadic lifestyle in the steppe. Some 19th-century researchers noted that“mamays” were associated with wandering peoples. Others, including in early dictionaries, linked the name to stone statues dotting the Ukrainian steppes—remnants of ancient civilizations.

The figure of Cossack Mamay likely emerged from real historical contexts—particularly from the 14th–15th centuries—when the descendants of the Mongol-Tatar elite gradually assimilated into Ukrainian society. By the 17th–18th centuries, the surname “Mamay” had become widespread among registered Cossacks. Over time, a mythologized version of Mamay emerged in popular imagination: a quiet warrior-musician who embodied spiritual depth, strength, and cultural pride.

Visual Composition and Evolution

Two main compositional types appear in Mamay paintings. In the first, Mamay is depicted alone, sitting on the ground cross-legged, playing a stringed instrument—usually a kobza or bandura. The distinction between the kobza and bandura is important: though similar, they differ in construction and technique, with the bandura being more complex and symbolic of the Ukrainian soul.

In the earliest paintings, Mamay sits against a plain or symbolic background. In more elaborate versions, he is accompanied by a horse, tree (often an oak), weapons, personal belongings, and traditional objects like pots, mugs, hats, or bags. Some versions show him beside rivers or in forest clearings, evoking a deeply Ukrainian landscape.

The overall tone of these paintings is peaceful—yet often carries a quiet tension, a stillness before a storm. The Mamay figure rarely looks directly at the viewer. Instead, he appears introspective, absorbed in his music and thoughts.

Cultural Layers: Text and Gesture

Many paintings include handwritten text—either as poetic verses, witty comments, or identifying inscriptions like “Hrytsko the Cossack,” “Cossack Bardadym,” or“Sharpylo.” Some feature short initials on shields or coats of arms, which scholars interpret as references to historical heroes.
Text placement varies, but most often, long poetic verses appear at the bottom of the painting. These verses often include humorous, dramatic, or philosophical monologues in the spirit of Ukrainian puppet theater and burlesque folk satire. For instance, some combine heroic themes with earthy humor, reflecting both the warrior’s seriousness and the people's laughter.

One authentic example of the kind of folk verse written on these paintings is:

“Хочподивишся на мене, та не здогадаєшся,
Звідки я і як мене звуть;
Бо я маю не одне ім'я на свійрахунок...”

(“Though youlook at me, you will not guess
Where I am from or what they call me;
For I have more than one name to mycount...”)

This verse captures the mysterious and multi-faceted identity of Kozak Mamay, emphasizinghis role as both an individual and a symbolic figure who embodies many namesand meanings in Ukrainian culture.

Materials and Artistic Practice

Most Mamaypaintings from the 18th and 19th centuries were created with oil paints oncanvas, though examples exist on paper, wood, and even clay plaster. Roughly ahundred such artworks survive today, though many are undated and must be placedthrough contextual clues.

Thetradition evolved: by the 20th century, Cossack Mamay had moved from folk artinto the domain of professional painting and printmaking. As real Cossackhistory faded, artists, scholars, and everyday Ukrainians increasingly turnedto Mamay as a cultural anchor.

Mamay in Contemporary Culture

SinceUkraine’s independence in 1991, the image of Cossack Mamay has been rebornacross artistic forms: mosaics, stained glass, embroidery, coins, stamps, andgraphic design. He has appeared on matchbox labels, theater posters, and evenmilitary memorials.

During andafter the 2014 Revolution of Dignity, Mamay became more than folklore—heemerged as a symbol of the Ukrainian soldier, protector, and national spirit.Sculptures of Mamay now stand in memory of fallen defenders, reminding citizensof the values he embodies: dignity, strength, music, freedom.

‍

Image Sources

1. Cossack-Bandurist by an unknown artist, 1st half of the 19th century. Collection of the National Art Museum of Ukraine.
2. Cossack Mamay by David Burliuk.
3. Cossack Mamay (1995) by an unknown artist. Museum of Cossack Glory.
4. Cossack Mamay (late 18th – early 19th century) by an unknown artist. Lviv Historical Museum.
5. Cossack-Bandurist by an unknown artist, 19th century. National Art Museum of Ukraine.
6. Cossack-Bandurist (1890) by Fedor Stovbunenko. Poltava Art Museum.
7. Cossack-Bandurist (19th century) by Fedor Stovbunenko. Chernihiv Regional Art Museum named after Hryhoriy Galagan.
8. Cossack Mamay (18th century) by an unknown artist. From the Poltava region. Ivan Honchar Museum collection.
9. Monument to Cossack Mamay, located at Maidan Nezalezhnosti in Kyiv. Created by Mykola and Valentyn Znoby (2001).
10. Cossack Mamay, easel mosaic (1960s), 55.5 × 51 cm by Roman Kyrychenko / Stepan Kyrychenko.