Circassian Fairytales – these ten pictures are of a big size, they are printed on the canvas-like paper, which makes them look so much like paintings. Each piece of the series is the author’s personal fairytale, her allusions and impressions born in the depths of the national self-identity. Here we find chrestomathic characters (Sataney), and cultural phenomenon (ажэгъафэ – a jester in a mask of a goat), and the images inspired by the folklore and literature (abrek, horseman), and some light associations from the depths of consciousness (boy with a wheel, wood nymph, prayer to a tree). They all lack the stereotypes: the author pays much attention to the details, the retouch is moderate, the composition and the content of each picture follow strict rules. Sataney-guashe is as if unguarded and with all her perfection she is very human, clear and close. A young girl staring off into the distance symbolizes the eternal women’s waiting – waiting for love and for the loved ones, for the wind of changes, and for the destiny. The fully armed horseman is in hesitation, and he is with his horse – the only creature that will ever see him in these moments of weakness. His saber is casually hanging behind his back (although “the circassian is hung with weapons, and is proud of them, and is soothed with them”), and all his vital energy is his hand caressing his horse’s muzzle. Maria Mussova appeals to the origins the way they exist in her own imagination.