The cult of Dionysus played one of the leading roles in the formation of ancient civilization. Due to its versatility, this cult is extremely difficult to interpret. For a number of reasons, today it is necessary to look for new approaches to the study of this cult. The purpose of the article is to show the role of satyrs in the cult of Dionysus, based on data from ancient Greek vase painting. Van Gennep's concept of liminality was used as a methodology for studying the cult practice of Dionysus. A hermeneutic approach, an intertextual approach and an interpretative method were used. Visual sources were considered as a communicative system based on the experience of the French School (François Lissargues). A systematic approach was taken to integrate Dionysian practices into the social context. To understand the social stratification of the cult of Dionysus, it is necessary to include in the study of this cult, along with maenads, satyrs, who were also the sacred companions of the god. Satyrs are present in a limited number of myths, but their images are quite numerous in vase painting, while maenads remained unknown to vase painting for almost half a century after the appearance of images of Dionysus. The image of a satyr can be considered as a mirror or inverted behavioral stereotype, both social and religious. Unlike the maenads, he shows the “desirability” of social action in certain historical eras not for the marginal strata of society, but precisely for those who form its basis ‒ the civil collective. Visual sources, unlike written ones, make it possible to include men in Dionysian practices, who are represented in vase paintings in the form of satyrs. The inclusion of male characters opens up the possibility of new interpretations of the cult, especially its significance for the social sphere of ancient society.