The image of a bird with the head or torso of a woman has been spread over vast territories since ancient times. This image appeared almost simultaneously in the art of the Mesopotamia and Egypt in the I-II millennium BC, and then manifested itself in almost all the vibrant artistic cultures of the Eurasian continent from East to West. The amazing stability of this image makes the assumption about its universality traits obvious and at the same time draws the attention of researchers to its individual traits in each culture. In the article, the authors focus on the existence of this image in the art of India, Iran and Russia. In this case, the emphasis is on the commonality of the visual image of the bird-maiden, the external signs of which have remained virtually unchanged for centuries. Studying the image of the bird-maiden at the present stage of art history is one of the interesting examples of the analysis of stable common Eurasian visual codes. Despite its peripheral position, and most likely, thanks to him, this image was spread in the most diverse cultures and religious-philosophical systems of Eurasia, and provides a wide field for further research both within individual cultures and studies that raise more general questions concerning cross-cultural connections of the peoples of the East and the West.