Nicholas Roerich work. Modern assessments of life and work

Universities

Svyatoslav Nikolaevich Roerich(October 10 (23), but some sources, including the TSB, erroneously indicate the date October 23 (November 4), St. Petersburg - January 30, Bangalore) - Russian and Indian artist, public figure, collector of oriental art, honorary member of the Academy of Arts of the USSR (). The main genres of paintings are landscapes, portraits, symbolic compositions. Son of Nicholas and Helena Roerich.

Childhood

Svyatoslav Nikolaevich Roerich was born on October 10 (23) in St. Petersburg in the family of the Russian artist, artist Nicholas Roerich and his wife Helena Ivanovna Roerich. Svyatoslav early began to draw and sculpt, attended classes at the Drawing School of the Society for the Encouragement of Arts, showed interest in the natural sciences, which harmoniously intertwined with natural artistic abilities.

Work in the USA

E. I. Roerich noted:

She is undoubtedly the best among Hindu artists, the most beloved and deeply revered.
She is a wonderful person and European education, in addition, she is Tagore's great-niece, and the high innate culture of this family is clearly expressed throughout her life. We fell in love with her very much, she and her husband spent summer and autumn with us. N. K. [Nicholas Roerich] greatly appreciated her sensitivity and surprisingly even character.

Jobs in India

Svyatoslav Nikolaevich took an active part in the work of the Urusvati Himalayan Research Institute, headed the work of the natural science department. His interests included ornithology, botany, mineralogy, the Tibetan pharmacopoeia, chemistry and its alchemical origins, comparative religion, philosophy, art history, cultural studies, and astrology. The artistic and literary work of Svyatoslav Roerich, as well as his research, teaching and social activities were associated with the ideas of the Living Ethics. He was not only a follower of this religious and philosophical system, but also one of its ideologists.

All his life interested in the problems of educating a more perfect person, the artist took an active part in the work of the children's school in Bangalore, created in 1962 on the basis of the ideas of the Indian philosopher Aurobindo Ghosh. Children from the age of three were accepted here. The pedagogical concept of this school was based on the moral and ethical education of children according to a specially developed methodology. Babies already with early years acquainted with the ideas of major philosophers, much attention was paid to artistic education. This was also facilitated by the annual competitions of children's drawings.

Svyatoslav Nikolaevich noted: “In our pedagogical work in Bangalore, we are trying from the very beginning to lead the new generation along the paths of ascent, we give thoughts, ideas of great philosophers from the earliest years.<…>Our upbringing should be such that, having gone beyond the school, a person is strong, able to resist evil, imperfection.

The first exhibition of paintings by S. N. Roerich in his homeland opened on May 11, 1960 at the State Museum of Fine Arts. A. S. Pushkin, and a month later, visitors to the Leningrad Hermitage saw the artist's paintings.

Last years of life. Transfer of the heritage of the Roerich family

Svyatoslav Roerich was buried in his estate "Tataguni" in Bangalore, and subsequently his wife Devika Rani Roerich was buried next to him.

The Soviet Roerich Foundation existed for several years. In 1991, some of its founders created a new public organization, the International Center of the Roerichs (ICR). A few months after the death of Svyatoslav Roerich, the Government of the Russian Federation adopted Decree No. 1121 dated 11/04/1993 "On the establishment of the State Museum of Nicholas Roerich". The new museum, created as a branch of the State Museum of the East, was transferred to the operational management of the Lopukhins' estate. International Center of the Roerichs in any legal rights the mansion, previously assigned to him by a security lease, was denied. At that time, the ICR occupied the territory of the estate and prepared a project for complex restoration work. A dispute arose between the State Museum of Oriental Art and the ICR as to who is the legal successor of the SFR. The ICR was not recognized as such by the judicial authorities, however, it continues to seek rights to the Roerichs' legacy, believing that in this way it is fulfilling their will.

In February 2016, by decision of the Ministry of Culture of the Russian Federation, the Roerich Museum (a branch of the State Museum of the East) was created, which is located in the Lopukhins' estate.

creative way

Svyatoslav Nikolaevich Roerich began his career as an artist as a portrait painter and achieved mastery in this genre. One of the distinguishing features of his work was the desire to deeply feel the character of the person whose portrait he painted. Svyatoslav Nikolaevich noted: "A successful portrait is more than a mere resemblance." In addition to portraiture, he turns to landscape, epic, genre and symbolic painting and in everything manifests himself as a virtuoso master and an inspired experimenter.

The canvases that came out from under his brush are elegant, laconic, they accurately convey the spiritual and emotional image of a person. He painted about thirty portraits of his father alone, one of them was acquired by the Luxembourg Museum in Paris. At that time, Svyatoslav Roerich was 35 years old. The gallery of portraits created by Svyatoslav Nikolaevich is huge, among them the portraits of his parents stand out. Much in the artist's works testifies to the influence of his father's work on him. As Svyatoslav Roerich himself noted: “The origins of my art are inextricably linked with Nikolai Konstantinovich”. At the same time, continuing the traditions of his father in painting, Svyatoslav went his own way. Each of the artists, father and son, has his own style and technique.

Awards and titles

For outstanding achievements in the field of culture, as well as for his contribution to the cause of peace, Svyatoslav Roerich was awarded government awards from various countries, including:

• The highest civil order of India "Padma Bhushan"
• Order "Madara Horseman", established by the State Council of Bulgaria
• Laureate of the Jawaharlal Nehru International Prize
• Cavalier of the Bulgarian Order of Cyril and Methodius
• Honorary Member of the Academy of Arts of the USSR
• Honorary Doctor of the University of Veliko Tarn in Bulgaria
• Academician of the Academy of Fine Arts of India
• Honorary Academician of the Bulgarian National Academy of Arts

However, Svyatoslav Nikolayevich considered the most outstanding award in his life to be the award established by the Nicholas Roerich Museum in New York, because the diploma for it was signed by Nicholas Konstantinovich Roerich.

Memory of Svyatoslav Roerich

Bibliography

The main works of S. N. Roerich

1. Strive for the Beautiful: Collection of articles. - M.: ICR, 1993. - (Small Roerich Library).
2. Light of art: Collection of articles. - M.: ICR, 1994. - (Small Roerich Library).
3. You can't delay! // Let's protect the name and heritage of the Roerichs: Collection of articles. - M.: MCR; Master Bank, 2001. - Vol. 1. - S. 90 - 91.
4. Art and life / Per. from English. T. V. Kozhevnikova, I. I. Neich. - M.: MCR; Master Bank, 2004.
5. Letters: In 2 volumes / Comp. N. G. Mikhailova. - M.: MCR; Master Bank, 2004-2005.
6. To a conversation with artists: Collection of articles. - M.: ICR, 2006. - (Small Roerich Library).
7. Creative Thought: Articles. - Moscow: ICR, 2004.
8. Art and Life. - Moscow: ICR, 2004.
9. Gates to a higher life: a collection of articles / Per. from English, comp. N. G. Mikhailova, I. I. Neich. Comments and notes I. I. Neich. - M.: ICR, Master Bank, 2009. - 296 p.: ill.
10. Indian painting: articles, monograph. - M.: ICR, Master-Bank, 2011. - 440 p.: 382 ill., maps.

Publications about S. N. Roerich

1. Tyulyaev S. I. Svyatoslav Roerich: Album. - M.: Visual arts, 1977.
2. Valentin Sidorov. Seven days in the Himalayas // Moscow. - 1982. - No. 8. - S. 3 - 111.
3. Murashkina T. I. “Svyatoslav Roerich as I knew him…” // World of Fire. - 1997. - No. 12. - S. 68 - 75.
4. Svyatoslav Nikolaevich Roerich. Painting // Anniversary exhibition of works of the Roerichs from private collections: Catalog / Comp. T. G. Rottert, I. V. Lipskaya. - M.: MCR, 1999. - S. 91 - 100.
5. Shaposhnikova L. V. On the fate of the paintings by N. K. and S. N. Roerichs held by the Ministry of Culture of the Russian Federation // New Epoch. - 2000. - No. 1 (24). - S. 4 - 6.
6. Roerich N. K. Svyatoslav // Sheets of the diary. - M.: MCR, 1999. - V.1. (1931-1935). - S. 442-444. - (Big Roerich Library).
7. Continuous ascent: Collection dedicated to the 90th anniversary of the birth of P.F. Belikov,. - T.1. Memoirs of contemporaries. Letters of N. K. Roerich, Yu. N. Roerich, S. N. Roerich. Proceedings. - M.: MCR, 2001.
8. Molchanova K. A. Great artist and humanist: Memories of Svyatoslav Roerich // Commonwealth. - 2002. No. 4. - P. 4.
9. P. F. Belikov. Svyatoslav Roerich. Life and art. - M.: MCR, 2004.
10. Svyatoslav Nikolaevich Roerich: Bio-Bibliographic Index / Comp. N. K. Vorobieva. - M.: MCR; Master Bank, 2004.
11. Skumin V.A., Aunovskaya O.K. Lightbearers. - Novocheboksarsk: Teros, 1995. - 114 p. - ISBN 5-88167-004-3..
12. Shaposhnikova L. V. Philosopher of the real Cosmos // Culture. 2004. No. 49, 16 - 23 Dec.
13. Shaposhnikova L. V. Herald of Beauty // Culture and Time. - 2004. - No. 3/4. - S. 9 - 28.
14. A moment elevated into Eternity: Cultural figures about S. N. Roerich // Culture and Time. - 2004. - No. 3/4. - S. 5 - 7.
15. Memories of S. N. Roerich / Comp. T. O. Knizhnik. - M.: MCR; Master Bank, 2004.
16. Nazarov A. G. Soul of nature. S. N. Roerich - naturalist-cosmist // Culture and Time. - 2005. - No. 1. - S. 44 - 61.
17. Chiryatiev M. N. Natural science research of S. N. Roerich. // Culture and time. - 2005. - No. 2. - P.10 - 37.
18. 100 years since the birth of S. N. Roerich: Proceedings of the International Scientific and Public Conference. 2004. - M.: ICR; Master-Bank, 2005. - (Roerich Popular Science Library).
19. Shiryaev V. Terrible Tale of the Oriental Museum. The history of the struggle for the heritage of the Roerichs transferred to Russia in documents // Novaya Gazeta. - 2009. No. 77 (July 20).
20. Rosov V. A. Svyatoslav Nikolaevich Roerich. - Great artists. T. 88. - M.: Direct-Media; Publishing house "Komsomolskaya Pravda", 2011. - ISBN 978-5-7475-0123-2

Catalogs

1. Exhibition of works by the artist S. N. Roerich: Catalog / Ed. T. N. Gukovskaya; Design by the artist E. V. Rakuzina. Pushkin State Museum of Fine Arts. State Hermitage. Ministry of Culture of the USSR. - M.: Art, 1960. - 36 p. - 10,000 copies.(reg.)

Reference publications

1. Bogoslovsky V. A. Roerich Svyatoslav Nikolaevich // Great Soviet Encyclopedia. - 3rd ed. - M.: Soviet Encyclopedia, 1975. - T. 22. - S. 42.
2. Roerich Svyatoslav Nikolaevich // Encyclopedia of Russian Painting. - M.: Olma-Press, 1999. - S. 505-512.
3. Roerich Svyatoslav Nikolaevich // Leykind O. L., Makhrov K. V., Severyuzhin D. Ya. Artists of the Russian Abroad. 1917-1939: Biographical Dictionary. - St. Petersburg, 1999. - S. 492-493.

see also

Subject abstract

"Culturology." on the topic of:

The life and work of Nicholas

Konstantinovich Roerich"

Moscow 1998

Introduction.

Nicholas Konstantinovich Roerich occupies an honorable place among the figures of Russian culture. Roerich is a man of the most interesting biography, phenomenal knowledge, and rare talent. He is widely known in the world as a major artist, scientist, public figure, who left behind a huge legacy.

Forty-two years Roerich lived in Russia, about twenty in India, three years in the USA. He visited almost all countries of Europe, America, Asia. The artist spent five years on a large scientific expedition to Central Asia.

For many years, Roerich was the director of the school of the Society for the Encouragement of Arts in Russia. In New York he founded the Institute of United Arts and a museum, in India, in the Kullu Valley, the Himalayan Institute of Scientific Research.

The so-called Roerich Pact, which in 1954 formed the basis of the International Convention on the Protection of cultural property in the event of an armed conflict.

Over the long years of his life, Roerich created more than seven thousand paintings. They have spread all over the world. There are collections of the artist's works in St. Petersburg, Moscow, Riga, Nizhny Novgorod, Novosibirsk, New York, Paris, London, Bruges, Stockholm, Helsinki, Buenos Aires, Benares, Allahabad, Bombay and many other cities. Twenty-seven books have been published by various publishing houses of the world, pen-owned Roerich.

The life of this artist, who traveled around many countries and carried the glory of Russian culture around the world, is amazing. In the history of our visual arts, perhaps, there is no name of another figure who would receive such a wide world recognition like Roerich.

Nicholas Konstantinovich Roerich was born on September 27 (October 9), 1874 in St. Petersburg in the family of a prominent lawyer. Already in his gymnasium years, his rare talent and breadth of interests manifested themselves. He was fond of history, geography, composed epics and tales, and drew. Roerich was not enough of the knowledge that he received in the gymnasium. In his free time, he constantly found for himself some new exciting activities. His curiosity had no end. Particularly fruitful for him were the summer months at his father's estate in Izvara near St. Petersburg.

Roerich was attracted to himself by deaf, dense forests, the surface of a lake with thick fogs, thickets of reeds. Early his attention was drawn to mounds. Later this was reflected in many of his works.

In 1893 he graduated from the gymnasium and at the same time passed the exams for the university and the Academy of Arts. At the insistence of his father, he entered the Faculty of Law, but his favorite was historical and philological. Roerich was especially fascinated by archeology.

With great enthusiasm, he studied at the Academy of Arts. From the very first days of his studies, in addition to class assignments, he tried to work independently on historical compositions.

The first who drew attention to Roerich and warmly supported him was I. Repin. Roerich was also interested in Stasov, primarily with his craving for Russian history, the breadth of his creative plans.

By the autumn of 1895, the general full-scale class was over, and Roerich entered the workshop of A. Kuindzhi. Kuindzhi had a great influence on his student. He awakened in him a new gift - the gift of a landscape painter. Roerich, who subtly felt nature, began to work a lot on landscape sketches from nature. The structure of his historical canvases is also changing. The landscape now plays an active role in them. It becomes one of the components of the content of his works and the main source of mood.

Even in the natural class, Roerich repeatedly tried to compose a sketch for "plots of a purely archaeological content." In 1897, he undertakes the implementation of a great plan. He was deeply interested in the most important moment in history - the formation in the 9th century of the ancient Russian state. This period seemed to him difficult, full of acute intense struggle both within the tribes and with neighbors. Roerich ponders individual plots for a long time, tries to develop various compositions. Gradually, he develops an idea for a large series “The Beginning of Rus'. Slavs."

In 1897, the first picture of the series appeared - “Messenger. Rise generation upon generation." The picture takes the imagination to distant times. Deep night. In this picture, the penetration into antiquity, the understanding of the spirit historical era with her characteristic features: the types and feelings of people, the tense moments of their lives, the landscape. Correctly taken historical details also give a peculiar flavor of the time: a one-tree boat, a fortified Slavic town. The artist worked especially hard on them. He repeatedly consulted with Stasov about the type of an ancient Slavic hut, the fence of the town, the shape of the boat, sent him his sketches in letters and, only when he received full approval from Stasov, introduced them into the picture.

And at the same time, there is no slavish adherence to archaeological details in the picture, no striving for an extremely accurate reconstruction of the past. Turning to a distant era, which at that time could be judged mainly by meager information, sometimes gleaned from legends, single monuments of material culture, Roerich acutely felt the impossibility of creating works of art based on this material. He came to the firm conviction that the artist should widely supplement the known facts with poetic fiction, conjecture, and strives to convey in the picture, first of all, a holistic view of the era, a certain historical mood. This idea determined the method of creating many of Roerich's works, and found its first successful embodiment in The Messenger. The success of the painting was finally confirmed by the fact that it was bought from the exhibition by P. Tretyakov.

After graduating from the Academy of Arts, for many years Roerich enthusiastically continued to work on the series “The Beginning of Rus'. Slavs". One after another, his paintings appear, in which, in fact, he was one of the first to show the little-studied world of Slavic Rus' so widely and talentedly, and this pushed him into the ranks of original masters. From early works Particularly interesting are Idols (1901) and Overseas Guests (1901), performed in France, where the artist left in the fall of 1900 to replenish his artistic education. At one time, these paintings were highly appreciated by contemporaries.

In addition to them, Roerich abroad begins the paintings "The Traitor", "The Old Russian City", develops sketches for two large panels "The Prince's Hunt". New ideas arise, one replaces another, and all of them are connected with Ancient Russia, with thoughts about the motherland. But big creative plans are accompanied by an acute homesickness. And in the summer of 1901 the artist leaves France.

Upon returning to his homeland, Roerich deepened even more into the study of Russian antiquity. These years are full of intense creativity, the completion of the old, the search for new themes and artistic solutions.

One of the most interesting works of this time was the painting "Sinister" (1901). Anxious, heart-wrenching forebodings it causes in the audience. Its dull, gray landscape is unhappy. Crows are frighteningly blackening. Something ominous, painful lies in their immobility and alertness.

In 1902, another significant work was created - "The city is being built." From disturbing forebodings, from "sinister", Roerich again returns to Slavic Rus' and looks for life ideals in it, the answer to the question about the fate of the people. This work of art has caused a lot of controversy. The audience was most surprised by the unusual manner of writing. Few could appreciate the painting at that time, and first of all V. Serov, who insisted on acquiring it for the Tretyakov Gallery.

The search for images of ancient folk Rus', the desire for a laconic decorative style of writing also affected other works of this time: “The Town” (1902), “Building Boats” (1903), “Ancient Life”, “The Battle of Alexander Nevsky with Jarl Birger” (1904 ), "Slavs on the Dnieper" (1905).

In May 1903, Nikolai Konstantinovich began a long journey across Russia - a detour of cities rich in ancient monuments. The journey resumed the following summer. This kind of trip "for antiquity", as the artist called it, covered a huge area - Yaroslavl, Kostroma, Nizhny Novgorod, Vladimir, Suzdal, Rostov the Great, Vilna, Mitava, Riga, Pskov, Tver, Uglich, Kalyazin, Zvenigorod and other cities.

Roerich set himself the ambitious task of studying ancient Russian architecture of various eras and schools. Along the way, he got acquainted with old painting, patiently searched for objects of applied art in remote remote villages, listened with enthusiasm to fairy tales, songs, and admired dances. And in all this he saw the true beauty of the people, "his marvelous divas, cherished by him for centuries."

During the trip, Nikolai Konstantinovich saw a majestic spectacle of diverse, unique in their forms monuments of national antiquity. He completely refuses at this time from stylization. His wide, confident stroke beautifully, expressively accurately conveys the most characteristic features of various architectural structures. Roerich writes them with a subtle understanding of the constructive basis, the peculiarities of the style of the era, and a kind of historical beauty. He created a large series of paintings, numbering about ninety works. They widely show the diversity and richness of ancient Russian architecture, glorify the most valuable and expensive, which is the pride of Russian art. "Pantheon of our former glory”, “Russian Champs Elysees” called these sketches one of the artist’s biographers. Unfortunately, this series of works was lost by Russia: seventy-five paintings were sold separately at auction.

During his travels through the ancient Russian cities, Roerich saw something else - terrible pictures of the destruction of ancient monuments, the death of many of them. Since then, he tirelessly appears in the periodical press with the propaganda of his native art and calls for urgent measures to be taken to preserve it.

Nicholas Roerich

Russian artist, stage designer, philosopher-mystic, writer, traveler, archaeologist, public figure

short biography

During his life he created about 7,000 paintings, many of which are in the famous galleries of the world, and about 30 volumes of literary works, including two poetic ones. The author of the idea and initiator of the Roerich Pact, the founder of the international cultural movements "Peace through Culture" and "Banner of Peace". Recipient of several Russian and foreign awards.

During the Russian period of his life and work, he was engaged in archeology, collecting, as an artist he successfully exhibited, participated in the design and painting of churches, worked as the director of the school of the Imperial Society for the Encouragement of Arts, headed the art association "World of Art", successfully worked as a stage designer ("Russian Seasons"), actively participated in projects for the protection and revival of Russian antiquity, in the activities of charitable organizations.

From 1917 he lived in exile. He organized and participated in the Central Asian and Manchurian expeditions, traveled a lot. He founded the Urusvati Himalayan Research Institute and more than a dozen cultural and educational institutions and societies in various countries. He was active in public activities, was associated with political and economic projects, had connections with the Bolsheviks and Freemasonry.

He was a member of many organizations. He was married to Helena Roerich. Had two sons - Yuri and Svyatoslav.

Since the 1920s, Roerich societies and museums have existed in different countries of the world. Communities of followers of his ideas and religious and philosophical teaching Living Ethics (Agni Yoga) form the Roerich movement. Roerich's ideas had a significant impact on the formation and development of the New Age in Russia.

Life and art

Russian period

Father - Konstantin Fedorovich - was a famous notary and public figure. Mother - Maria Vasilievna Kalashnikova, came from a merchant family. Brothers - Vladimir and Boris Roerich. Among the friends of the Roerich family were such prominent figures as D. Mendeleev, N. Kostomarov, M. Mikeshin, L. Ivanovsky and many others.

Since childhood, Nicholas Roerich was attracted by painting, archeology, history and the rich cultural heritage of Russia and the East.

In 1893, after graduating from the Karl May gymnasium, Nicholas Roerich simultaneously entered the law faculty of St. Petersburg University (he graduated in 1898 with a diploma in “The Legal Status of the Artists of Ancient Rus'”) and the Imperial Academy of Arts. Since 1895, he has been studying in the studio of the famous artist A. I. Kuindzhi. At this time, he closely communicated with famous cultural figures of that time - V. V. Stasov, I. E. Repin, N. A. Rimsky-Korsakov, D. V. Grigorovich, S. P. Diaghilev. In preparation for his thesis, Roerich will write: “In ancient and most ancient Rus' there are many signs of culture: our ancient literature is not at all as poor as Westerners wanted to present it”. The discovery, preservation and continuation of the signs of primordial Russian culture for many years will become the credo of N. K. Roerich.

Since 1892, Roerich began to conduct independent archaeological excavations. Already in his student years, he becomes a member of the Russian Archaeological Society. Since 1898 he began to cooperate with the St. Petersburg Archaeological Institute. In the last institution in 1898-1903. he was a lecturer in a special course " Artistic technique in application to archeology”, the organizer and one of the leaders of educational archaeological excavations, as well as the editor-compiler of the “Archaeological map of the St. Petersburg province”. Conducts numerous excavations in St. Petersburg, Pskov, Novgorod, Tver, Yaroslavl, Smolensk provinces. In 1897, Roerich became the first archaeologist who managed to find the burial complex of Vodi in the St. Petersburg region. In 1897 he completed a sketch drawing of the excavation of the famous Maikop mound "Oshad". The sketches of N. I. Veselovsky served as the basis for the drawing. In 1904, together with Prince Putyatin, Roerich discovered several Neolithic sites in Valdai (in the vicinity of Lake Piros). Since 1905, he began to collect a collection of Stone Age antiquities, which already in the same year was highly appreciated at the French Prehistoric Congress in Perigueux. By 1910, the collection included more than 30 thousand exhibits from Russia, Germany, Italy, and France (today it is exhibited in the Hermitage). In the summer of 1910, Roerich, together with N. E. Makarenko, conducted the first archaeological excavations in Novgorod. In 1911, with the active participation of Roerich, the Commission for the Registration of Antiquities in the St. Petersburg Province under the Society for the Protection and Preservation of Monuments of Art and Antiquities in Russia was created.

In 1897, N. K. Roerich graduated from the St. Petersburg Academy of Arts. His diploma painting "Messenger" was purchased by P. M. Tretyakov. The well-known critic of that time, V.V. Stasov, highly appreciated this picture: “You should definitely visit Tolstoy… let the great writer of the Russian land himself make you an artist.” The meeting with Tolstoy for the young Roerich became fateful. Addressing him, Leo Tolstoy said: “Has it happened in a boat to cross a fast-moving river? You must always rule above the place where you need it, otherwise it will blow you away. So in the field of moral requirements, one must always steer higher - life will blow everything away. Let your messenger hold the rudder very high, then he will swim!”

Also, the words of Fr. John of Kronstadt, who often visited the house of Roerich's parents: "Be healthy! You have to work hard for the Motherland".

N. K. Roerich works a lot in the historical genre. In the early period of creativity, he creates canvases: “Morning of the Kiev Heroes” (1895), “Evening of the Kiev Heroes” (1896), “The Elders Converge” (1898), “Idols” (1901), “They are building boats” (1903), etc. These works show the artist's original talent and innovative search in art. “Already in the first paintings, a peculiar style of Roerich emerges: his all-encompassing approach to composition, clarity of lines and conciseness, purity of color and musicality, great simplicity of expression and truthfulness”(R. Ya. Rudzitis). The artist's paintings are built on a deep knowledge of historical material, convey a sense of the spirit of the times and are saturated with philosophical content.

At the age of 24, N. K. Roerich became assistant director of the museum at the Imperial Society for the Encouragement of Arts and at the same time assistant editor of the art magazine Art and Art Industry. Three years later, he holds the post of secretary of the Imperial Society for the Encouragement of Arts.

In 1899, Roerich met Elena Ivanovna Shaposhnikova on the estate of Prince Putyatin; On October 28, 1901, they were married in the church at the Imperial Academy of Arts. Helena Ivanovna became a faithful companion and inspiration for Nicholas Roerich, they will go hand in hand all their lives, creatively and spiritually complementing each other. In 1902, their son Yuri, a future orientalist, was born to them, and in 1904, Svyatoslav, a future artist and public figure.

From 1894 to 1902, Roerich traveled a lot to the historical places of Russia, and in 1903-1904 N.K. Roerich, together with his wife, made a big trip around Russia, visiting more than 40 cities known for their ancient monuments of antiquity. The purpose of this "trip through the old days" was to study the roots of Russian culture. The result of the trip was a large architectural series of paintings by the artist (about 90 studies), a collection of photographs of antiquity, which was part of Grabar's History of Russian Art, and articles in which Roerich was one of the first to raise the question of the enormous artistic value of ancient Russian icon painting and architecture.

... It's time for a Russian educated person to get to know and love Rus'. It is time for secular people, bored without new impressions, to become interested in the high and significant, to which they have not yet been able to give their due place, which will replace the gray everyday life with a cheerful, beautiful life.

Roerich N. K. In the old days, 1903

After a large-scale journey through the cities of Russia, Roerich continued his travels and studies in Russian cities, and already in 1904 he visited cities along the Volga, Mozhaisk, the Savvino-Storozhevsky Monastery, ending his journey in the village of Talashkino near Smolensk (the possession of Maria Tenisheva), where, together with Malyutin, Vruble, Benois, Korovin, Repin, etc., in practice, implements projects for the revival ancient Russian traditions in art and folk Russian crafts. Cooperation with Tenisheva will last until 1917, and friendship - until the death of Maria Klavdievna. At the same time, in 1912-1915, Roerich actively participated in another major project for the revival of Russian art - the construction of the Fedorovsky town. At the same time, since 1907 he has been an employee of the Old Years magazine, from 1910 to 1914 he was the leading editor of the multi-volume publication History of Russian Art under the general editorship of Grabar, and in 1914 he was the editor and co-author of the large publication Russian Icon. In the historical concept of Roerich, the correlation of the past, present and future is of paramount importance. The past and present are measured by the future: …when we call to study the past, we will do it only for the sake of the future.” "From the ancient wonderful stones lay down the steps of the future."

As an artist, Roerich worked in the field of easel, monumental (frescoes, mosaics) and theatrical and decorative painting. In 1906, he created 12 sketches for the Church of the Intercession of the Virgin in the Golubev estate in Parkhomovka near Kiev (architect Pokrovsky V.A.), as well as sketches for mosaics for the church in the name of the Holy Apostles Peter and Paul at the Shlisselburg powder factories (architect Pokrovsky V A.) (1906) and the Trinity Cathedral of the Pochaev Lavra (1910), the iconostasis for the Church of the Kazan Mother of God of the Assumption Convent in Perm (1907), the image of St. George for the house church of Yu. S. Nechaev-Maltsov (1911), 4 sketches for the painting of the chapel of St. Anastasia at the Olginsky bridge in Pskov (1913), 12 panels for the Livshits villa in Nice (1914), a sketch for the painting "Saint Olga" ( 1915). In 1910-1914 he decorated the church of St. Spirit in Talashkino (compositions "The Queen of Heaven", "The Savior Not Made by Hands with the upcoming angels"). In monumental painting, the artist closely cooperates with the architect Shchusev. Some mosaics, created according to the sketches of Roerich by the workshop of V. A. Frolov, have survived to this day. For the Bazhanov House in St. Petersburg, the artist created a monumental frieze of 19 paintings on the themes of ancient Russian epics. In 1913-1914, Roerich created two monumental panels - "The Battle of Kerzhents" and "The Conquest of Kazan" to decorate the Kazan Station in Moscow (not preserved). In 1909-1915, he participated in the construction and decoration of the St. Petersburg Buddhist temple.

The many-sided talent of Nicholas Roerich also manifested itself in his works for theatrical productions: The Snow Maiden, Peer Gynt, Princess Malene, Valkyrie, etc. He was among the creators of the reconstructive Old Theater (1907-1908; 1913- 1914) - a unique phenomenon in the cultural life of Russia at the beginning of the 20th century, and N. Roerich participated both as a designer of scenery and as an art critic. During the famous “Russian Seasons” by S. Diaghilev in Paris (1909-1913), in the design of N. K. Roerich, “Polovtsian Dances” from “Prince Igor” by Borodin, “Pskovityanka” by Rimsky-Korsakov, the ballet “The Rite of Spring” to music Stravinsky, in which Roerich acted not only as the creator of costumes and scenery, but also as a librettist.

Since 1905, in Roerich's work, along with the ancient Russian theme, separate oriental motifs begin to appear. Essays on Japan and India were published (“Devassari Abuntu” 1905, “At the Japanese Exhibition” 1906, “The Borders of the Kingdom” 1910, “Lakshmi the Victorious” 1909, “The Indian Way” 1913, “The Commandment of Gayatri” 1916), paintings are written in Indian motifs (“Devassari Abuntu” 1905, “Devassari Abuntu with Birds” 1906, “Border of the Kingdom” 1916, “Wisdom of Manu” 1916 - for the theosophical center in St. Petersburg). In addition to the collection of paintings of the "small Dutch" collected by Roerich, a collection of Japanese art appears. Roerich, in addition to Russian philosophy, studies the philosophy of the East, the works of the outstanding thinkers of India - Ramakrishna and Vivekananda, Tagore's work, theosophical literature. The ancient cultures of Russia and India, their common source, are of interest to Roerich as an artist and as a scientist. Since 1906, Roerich has been friends and has a correspondence with the Indologist V. V. Golubev. In 1913 they discussed plans for a joint expedition to India to study the commonality of Russian and Indian cultures, a project to create a museum of Indian culture in St. Petersburg. Collaborates with Agvan Dorzhiev and other Russian Buddhists.

From 1906 to 1918, Nicholas Roerich was the director of the School of the Imperial Society for the Encouragement of the Arts, while also teaching. Having accepted the appointment, he enthusiastically set to work: expanding the territory of the school, opening new departments and classes, restoring the rights of the pedagogical council, creating the Museum of Russian Art at the School, dreaming of reorganizing the School of the OPH into a Free people's academy, or the School of the Arts. A number of workshops are organized at the school (needlework and weaving (1908), icon painting (1909), ceramics and painting on porcelain (1910), chasing (1913), etc.). The famous icon painter from Mstyora D. M. Tyulin headed the icon-painting workshop. Under Roerich, the number of women's classes increased, and a women's etude class was created. The following were created: senior department, graphics class, lithographic workshop, medal class, sketch discussion class. Lectures on anatomy, ancient Russian art and architecture, and choir classes were introduced. happened significant changes and in curricula. A peculiar report of the semi-annual activity of the icon-painting workshop was the act of presenting to Emperor Nicholas II on December 6, 1909, an icon made by students.

Since 1906, the artist has been constantly participating in foreign exhibitions. In 1907, in France, he was elected a member of the Society of Autumn Salons, later a member of the National Academy in Reims and a member of the French Prehistoric Society. Paris, Venice, Berlin, Rome, Brussels, Vienna, London met with his work. Roerich's paintings were acquired by the Museum of Luxembourg, the Roman National Museum, the Louvre and other European museums. In the 1900s and early 1910s, Roerich, along with some other members of the World of Art, was one of the most famous Russian artists in France. It was with Roerich's work that many French critics associated their ideas about the "new Russian national art."

Since about 1906, it has been celebrated new period in the work of Roerich. His art combines realism and symbolism, intensifying the search for a master in the field of color. He almost gives up oil and moves on to the tempera technique. He experiments a lot with the composition of paints, uses the method of superimposing one colorful tone on another. The originality and originality of the artist's art was noted by art criticism. In Russia and Europe during the period from 1907 to 1918, nine monographs and several dozen art magazines dedicated to Roerich's work were published. In 1914, the first volume of Roerich's collected works was published.

In 1908, Roerich was elected a member of the Board of the Society of Architects-Artists, in 1909 - a member of the Council of the "Society for the Protection and Preservation of Monuments of Art and Antiquity in Russia" and Chairman of the "Commission of the Museum of Pre-Peter's Art and Life" at the Society of Architects-Artists. In 1909, N. K. Roerich was elected an academician of the Russian Academy of Arts.

Since 1910, Roerich has headed the artistic association "World of Art", whose members were A. Benois, L. Bakst, I. Grabar, V. Serov, K. Petrov-Vodkin, B. Kustodiev, A. Ostroumova-Lebedeva, Z. Serebryakova and others. In 1914, Roerich was elected Honorary Chairman of the Council of Women's Courses of Higher Architectural Knowledge, in 1915 - Chairman of the "Commission of art workshops for crippled and wounded soldiers."

“The greatest intuitionist of the century”, according to the definition of A. M. Gorky, N. K. Roerich in symbolic images expressed his disturbing forebodings on the eve of the First World War: the paintings “The Most Pure City - Anger to Enemies”, “The Last Angel”, “Glow”, “ Human Affairs”, etc. They show the theme of the struggle between two principles - light and darkness, passing through the entire work of the artist, as well as the responsibility of a person for his destiny and the whole world. Nicholas Roerich not only creates anti-war paintings, but also writes articles on the protection of peace and culture.

In 1910, Roerich actively participated in the fate of the Savior on Nereditsa and Rurik's Settlement in Veliky Novgorod, he was worried about rough restorations and repairs in Yaroslavl, Pskov and Kostroma churches. In 1912, Roerich, together with A. K. Lyadov and S. M. Gorodetsky, opposed the renaming of historical places in Russia, and in 1915, N. K. Roerich made a report to Emperor Nicholas II and Grand Duke Nicholas Nikolaevich (the younger) with a call to take serious state measures for the nationwide protection of cultural treasures, to consider the possibility of legislative approval of the Regulations on the protection of historical monuments in Russia. Project of this Regulation will become the prototype of the future international pact for the protection of cultural property.

... Just like an undrunk cup stands Rus'. An undrained cup is a full, healing spring. A fairy tale lurks among an ordinary meadow. Underground power burns with gems. Rus' believes and waits.

Roerich N. K. Undrained cup, Smentsovo, 1916

In 1916 due to serious illness N. K. Roerich, at the insistence of doctors, moved with his family to the Grand Duchy of Finland near Serdobol (Vuorio), on the coast of Lake Ladoga. Proximity to Petrograd made it possible to run the School of the Society for the Encouragement of Arts.

On March 4, 1917, a month after the February Revolution, Maxim Gorky gathered a large group of artists, writers and artists in his apartment. Among those present were Roerich, Alexander Benois, Bilibin, Dobuzhinsky, Petrov-Vodkin, Shchuko, Chaliapin. The meeting elected the Commission for the Arts. M. Gorky was appointed its chairman, A. Benois and N. Roerich were appointed assistants to the chairman. The commission dealt with the development of art in Russia and the preservation of ancient monuments.

Cultural and educational activities in Europe and America

After the revolutionary events of 1917, Finland closed the borders with Russia, and Nicholas Roerich and his family found themselves cut off from their homeland.

In 1918, having received an invitation from Sweden, Nicholas Roerich held personal exhibitions of paintings with great success in Malmö and Stockholm, and in 1919 - in Copenhagen and Helsinki. Roerich was elected a member of the Artistic Society of Finland, awarded the Swedish Royal Order of the Polar Star, II degree. Leonid Andreev figuratively calls the world created by the artist - "Roerich's Power". In the public arena, Roerich, together with Andreev, organizes a campaign against the Bolsheviks who have seized power in Russia. He is a member of the leadership of the Scandinavian Society for Assistance to the Russian Warrior, which finances the troops of General N. N. Yudenich, after which he joins the Russian-British 1917 Brotherhood emigrant organization.

In Finland, Roerich is working on the story "The Flame", the play "Mercy", composes the main part of the future poetry collection "Flowers of Moria", writes articles and essays, creates a series of paintings dedicated to Karelia.

In the same year, 1919, Roerich and his family come to London, hoping to fulfill his old dream from there - to go to India. However, due to financial difficulties, he has to stay in London. In the autumn of 1920, at the invitation of S. P. Diaghilev, Roerich designed Russian operas in London to the music of M. P. Mussorgsky and A. P. Borodin. Roerich gets to know Rabindranath Tagore closely, supports warm relationship with H. G. Wells, John Galsworthy, with cultural and art figures H. Wright, F. Bryangvin, A. Coates, B. Bottomley and others. In England, Roerich successfully holds solo exhibitions under common name"Charms of Russia" - in London, and then in Worthing.

In London, Roerich established contacts with members of the Theosophical Society and in July 1920, together with his wife, joined its English branch. In London, according to the members of the Roerich family, the first meeting of the Roerichs with their future spiritual leader, the Mahatma of the East, takes place and the records of the first book of the future Agni Yoga teaching appear.

In 1920, N. K. Roerich received an offer from the director of the Chicago Institute of Arts to organize a large-scale three-year exhibition tour of 30 US cities, as well as to create sketches for costumes and scenery for the Chicago Opera. The Roerichs move to America. Roerich's first personal exhibition in the United States was opened in December 1920 in New York. After New York, residents of another 28 US cities, including Chicago, Boston, Buffalo, Philadelphia, San Francisco, saw Roerich's paintings. The exhibitions were an exceptional success. In America, Roerich made several trips to Arizona, New Mexico, California, Monhegan Island and created a series of paintings "New Mexico", "Ocean Suite", "Dreams of Wisdom". In America, Roerich also painted a series of paintings "Sankta" (Saints) about the life of Russian saints and ascetics.

Along with holding exhibitions, Roerich gives lectures on Russian art, on ethical and aesthetic education, and in November 1921 in New York he opens the “Master Institute of United Arts”, the main goal of which was to bring peoples together through culture and art. Defining the tasks of the Institute, Roerich wrote:

Art will unite humanity. Art is one and indivisible. Art has many branches, but the root is one... Everyone feels the truth of beauty. The gates of the sacred spring must be opened to all. The light of art will illuminate countless hearts with new love. At first, this feeling will come unconsciously, but after that it will purify the entire human consciousness. How many young hearts are looking for something beautiful and true. Give it to them. Give art to the people where it belongs.

Roerich N.K. About art

Almost simultaneously with the Institute of United Arts in Chicago, the association of artists "Cor Ardens" ("Flaming Hearts") was established, and in 1922 the International Cultural Center "Corona Mundi" ("Crown of the World") was created. In 1923, together with Georgy Grebenshchikov, Roerich created the Alatas publishing house (Alatas), together with the New York entrepreneur L. Horsh, established the Roerich Museum (Roerich Museum), as well as commercial enterprises World Service. Pancosmos Corporation, Beluha Corporation.

In 1921, a collection of poems by N. K. Roerich - “Flowers of Moria” was published in Berlin, in 1922 the book “Adamant” (“Adamant”) was published in New York, in 1924 in Paris and Riga - the book “Ways of Blessing” and an album of paintings. In 1922-1923, two new monographs on the life and work of Roerich were published - "The World of Roerich: A Biography" (1922) and "Roerich" (1923). In 1924, the first book of Agni Yoga, Leaves of the Garden of Morya, written with the participation of Roerich, was published in Paris.

On May 8, 1923, Roerich left America with his wife and youngest son and went to Paris, and then to India, where a large-scale Central Asian expedition was organized under the leadership of Roerich. After that, Roerich visited the United States three times - in 1924, 1929 and 1934 for a very short time.

Central Asian expedition

general information

The events of the first Central Asian expedition were reflected in the diaries of N. K. Roerich "Altai-Himalayas" and Yu. N. Roerich "Along the paths of Central Asia", as well as the diaries of other participants in the Tibetan journey, in which attention is drawn to the special "Buddhist mission" of the expedition to Lhasa (Ryabinin, Portnyagin, Kordashevsky). There are also a number of declassified documents of Soviet, British and German intelligence about the activities of the Roerichs during the expedition.

On December 2, 1923, Nicholas Roerich and his family arrived from Paris to India, where he established cultural and business ties. The Roerichs cover over three thousand kilometers, visiting Bombay, Jaipur, Agra, Sarnath, Benares, Calcutta and Darjeeling (Sikkim). In Sikkim, the Roerichs determine the future route of the expedition, and in September 1924, Roerich and his youngest son make a trip to America and Europe to obtain the necessary permits and documents (the expedition was officially announced as American). After Europe, at the beginning of 1925, Roerich visited Indonesia, Ceylon, Madras. And then the main stage of the expedition begins, which passed through Kashmir, Ladakh, China (Xinjiang), Russia (with a stop in Moscow), Siberia, Altai, Mongolia, Tibet, through the unexplored regions of the Trans-Himalayas. The expedition continued until 1928.

During the expedition, archaeological and ethnographic research was carried out in unexplored parts of Asia, rare manuscripts were found, linguistic materials, folklore works were collected, descriptions of local customs were made, books were written (“Heart of Asia”, “Altai - Himalayas”), about five hundred paintings were created, on which the artist displayed a picturesque panorama of the expedition route, a series of paintings "The Himalayas" was launched, the series "Maitreya", "The Sikkim Way", "His Country", "Teachers of the East" and others were created.

In the process of preparing the expedition, the Roerichs, together with the American businessman Louis Horch, created two business corporations in New York - "Ur" and "Belukha", which had the goal of conducting a wide business enterprise on the territory of the Soviet Union. Being in Moscow during the expedition, Nicholas Roerich wanted to achieve registration, in accordance with Soviet laws, of the Belukha Corporation for the development of deposits. The Roerichs visited Altai with a scientific, reconnaissance and ethnographic expedition, selecting places for the proposed concessions and studying the possibility of "organizing a cultural and industrial center in the area of ​​Belukha Mountain."

The first Central Asian expedition of N. K. Roerich took place in several stages. Upon arrival in Mongolia, it developed into an independent Tibetan journey, now known as the Western Buddhist Mission to Lhasa (1927-1928). By its nature, the Tibetan expedition was not just artistic and archaeological, but, according to its leader, Roerich, had the status of a diplomatic embassy on behalf of the "Union of Western Buddhists". Roerich was considered by his entourage on the expedition as the "Western Dalai Lama".

In the autumn of 1927, under pressure from British intelligence, the expedition was detained by the Tibetan authorities on the outskirts of Lhasa and spent five months in snow captivity high in the mountains at sub-zero temperatures on the Changtang plateau. The expedition was never allowed into Lhasa and was forced, at the cost of incredible difficulties and losses, to break through to India. The Central Asian expedition ended in Darjeeling, where scientific work was launched to process its results.

Versions and interpretations

There are several versions of what was the main purpose of the Roerichs' trip to the Central Asian expedition, and there is no consensus.

• Artistic and ethnographic purposes

  The version about the exclusively artistic and ethnographic goals of Roerich's Central Asian expedition is described in the works of Pavel Belikov and Lyudmila Shaposhnikova. Belikov wrote Roerich's biography in 1972, when additional sources about the expedition were not yet available.

• Execution of undercover tasks of the OGPU

  There is a widespread version that Roerich was an agent of the Comintern and the OGPU, and the expedition was organized with the money of Soviet intelligence, the purpose of which was to overthrow the Dalai Lama XIII. This version was first presented by Oleg Shishkin in his series of articles and in the book "Battle for the Himalayas". Currently, this version is considered controversial.

• political goals. Construction of the "New Country"

  In accordance with the version of Vladimir Rosov, Roerich was involved in big politics, trying to fulfill the utopian dream of a "New Country". According to Rosov, Roerich worked out overall plan"United Asia", the main thesis of which was to combine the teachings of Buddhism with communist ideology on a national scale.

• Search for Shambhala

  According to this version, the Roerichs went on a Central Asian expedition to find Shambhala, and not to study plants, ethnology and languages. The version about both spiritual and political goals of the search for Shambhala is supported by the historian Andrei Znamensky in his book “Red Shambhala”.

Spiritual sessions. "Automatic Writing"

In the secular environment of St. Petersburg, a passion for spiritism was widespread, and since 1900 Nicholas Roerich participated in spiritualistic experiments. Since the spring of 1920, seances have been held in the Roerichs' house, to which friends and high-ranking dignitaries have been invited. The method of "automatic writing" was mastered.

Direct records by automatic writing were made mainly by N. K. Roerich, and partly by his son Yuri. Roerich made a series of pencil portraits in a trance, which depict Eastern Teachers - Buddha, Lao Tzu, Sister Oriola, Roerich's Teacher Allal-Ming and others. According to E. I. Roerich, her husband’s article “On the freedom of movement of objects of art” (1924) was “given” by automatic writing.

Here is how V. A. Shibaev (later Roerich’s secretary) describes their first joint seance:

I was invited to the artist Academician N. K. Roerich on the evening of June 2, 1920 and, as usual, sat with his son in the latter's room, talking about various scientific topics. I did not know that nearby Nikolai Konstantinovich and his wife, together with their youngest son, were engaged in spiritualistic experiments. I also didn't know that they were asking their leaders to let me join the circle. But having secured a positive response, I was asked to come in and sit down at a table. There was full light in the room, and I clearly saw that there was no possibility of deceit. The table trembled nervously and jumped up, and when they asked him who it was (there was a conditional knock: once - yes; twice - no; three times - reinforced yes), whether it was the Teacher, the table jumped up and hit once. Then there was a sequential message of letters. Namely, one of those present called the alphabet in continuous order, and when the letter was pronounced, a knock followed. So several phrases were collected.

The Roerichs' seances are also known from their intra-family correspondence and diary entries, where there is evidence that at seances with the Roerichs' table, "the souls of dead people" were called up.

During spiritualistic seances of "table-turning", which were not an end in itself, the Roerichs tried to establish contact with the Teachers (Mahatmas), which, in their opinion, they managed to do from the second half of 1921. Later, the Roerichs began to forbid their entourage from using spiritualistic sessions, and the Roerich family no longer needed the help of the table to introduce their "interlocutors" and to "hear" them. Researchers involved in the Roerich movement believe that real meetings of the Roerichs with the Mahatmas took place. Sufficient evidence for the existence of mahatmas is lacking.

According to some Soviet researchers, Roerich, after attending séances, developed a sharply negative attitude towards spiritualism, and Roerich's worldview has no roots in occult-spiritual "revelations". Roerich himself did not consider himself a mystic (just like some of his colleagues), believing that the desire to "know the subtlest energies" is not mysticism, but the search for truth.

Merging Buddhism with Communism. "Mahatma Lenin"

After the October Revolution, Roerich stood in open opposition to Soviet power, wrote accusatory articles in the émigré press. However, soon his views suddenly changed, and the Bolsheviks found themselves in the category of Roerich's ideological allies. In the autumn of 1924, he left America for Europe, where he visited the Soviet representative office in Berlin, met with Plenipotentiary N. N. Krestinsky and then with his assistant G. A. Astakhov.

The ideological closeness to communism manifested itself among the Roerichs in literature. The Mongolian edition of The Community (1926), one of the books of Agni Yoga, contained frequent references to Lenin and drew parallels between the communist community and the Buddhist one. In fact, it gave instructions to the Soviet government on the need to immediately implement the reforms initiated by Lenin (which was not done), to spiritualize communism with Buddhist teachings, and also gave instructions on the inadmissibility of a violent community. Later, a "universal" version of the book was published (2nd edition, Riga, 1936) - without mentioning the names of Lenin and Marx, and the word "commune" was replaced by the word "community". For example, in paragraph 64 of the "Communities" of 1936, there are no longer those words that were in the 1926 edition: " Accept the appearance of Lenin as a sign of the sensitivity of the Cosmos».

In Khotan, the Roerichs got the famous letter of the Mahatmas to be handed over to the Soviet government and a casket with Himalayan earth on the grave of “Mahatma Lenin”. Roerich handed over all the gifts personally to People's Commissar Chicherin in June 1926, and he transferred them to the Lenin Institute. Also in Khotan, on October 5, 1925, the artist conceived the painting "Lenin's Mountain", which is now stored in the Nizhny Novgorod State Art Museum. The picture clearly shows the easily recognizable image of Lenin. Later, Roerich renamed the painting "The Phenomenon of the Term", but in Moscow it appeared under its original name, about which Roerich wrote in his own hand: "Lenin's Mountain".

Mount Lenin rises like a cone between two wings of a white ridge. Lama whispers: "Lenin was not against true Buddhism"

From the manuscript of the expeditionary diary of N. K. Roerich "Altai-Himalayas", preserved in the archive of the Foreign Policy of the Russian Federation (Moscow), entry dated 02.10.1925.

The People's Commissar of Education A. V. Lunacharsky Roerich handed over the paintings of the Maitreya series, which were not accepted by any Soviet museum, since the art commission considered them non-communist and decadent, and they hung for a long time in the dacha of M. Gorky.

In 1934, Roerich began to feel a strong dislike for the communists. In public speeches in Harbin, he opposed himself to both the fascists and the communists: "Bolshevism is a dark, destructive force." In 1935, he published in the émigré press an essay "Protection", in which he expressed outrage at acts of vandalism in Soviet Russia.

The extensive scientific material collected by the Roerichs during the expedition required systematization and processing, and at the end of the expedition on July 12, 1928, the Institute of Himalayan Research was founded in New York, and then in the Western Himalayas, in the Kullu Valley, N. K. Roerich founded the Institute " Urusvati”, which in Sanskrit means “Light of the Morning Star”. Here, in Kullu, will pass last period artist's life. Yuri Roerich, the eldest son of Nicholas Roerich, an orientalist, becomes the director of the Institute. He also supervised ethnological-linguistic research and exploration of archaeological sites.

Medical, zoological, botanical, biochemical and many other laboratories worked at the institute. A lot of work was done in the field of linguistics and philology of the East. Rare written sources of centuries ago were collected and translated into European languages, half-forgotten dialects were studied. Invited experts and temporary employees collected botanical and zoological collections.

Dozens of scientific institutions from Europe, America and Asia cooperated with the Institute. He sent scientific materials to the University of Michigan, the New York Botanical Gardens, the Punjab University, the Paris Museum natural history, Harvard University, Botanical Garden of the USSR Academy of Sciences. Academician N. I. Vavilov, a well-known Soviet botanist and geneticist, turned to the Urusvati Institute for scientific information, and also received seeds from there for his unique botanical collection. Such outstanding scientists as Albert Einstein, Louis de Broglie, Robert Milliken, Sven Gedin, and others collaborated with the institute. Since 1931, the institute published a yearbook in which the results of the scientific activities of its employees were published. Scientific and periodical publications in Asia, Europe and America published articles on special issues being developed in Urusvati.

Soon a world crisis broke out, then a world war. The Institute of Himalayan Research was deprived of opportunities for activity and was mothballed. Currently, there is also a critical opinion about the activities of the institute as having no independent scientific evaluation, unconfirmed by specialists in the field of medicine, psychology and anthropology.

Master Building and conflict with Luis Horch

In 1922, Roerich met a prosperous New York broker, Louis L. Horch. Horsch and his wife Nettie came under the strong influence of Roerich's personality and as a result became the most generous of his followers.

In 1925, while Roerich was in Asia, Horsch began the implementation of Roerich's largest project in the United States - the construction of the Master Building ( The Master Building, the name can be translated as the House of the Teacher or the House of the Master). The Master Building was a 29-story Art Deco skyscraper with the Roerich Museum and The Master Institute of United Arts on the first two floors, and an apartment hotel on the top two floors. For the construction of the building in 1923, a public organization was established - the Roerich Museum, managed by President L. Horsch and the Board of Trustees, N. K. Roerich was elected Honorary President. Funding sources were Horsch's donations and a bond issue.

The Master's House was inaugurated in November 1929. The museum's collection included more than a thousand paintings by Roerich (most of which were bought for the museum by Horsham), works of Tibetan art, and a library of Tibetan manuscripts. An auditorium for 300 seats was intended for holding public events. The Institute of United Arts organized classes in painting, sculpture, architecture and design. With the opening of the Master's House, Roerich's popularity in the United States reached its highest point.

Horsch helped Roerich in his other undertakings - he financed the Guru expeditions and the enterprises organized by him, primarily the Ur and Belukha concessions. Since 1929, all the commercial undertakings of Roerich and Horsch were unsuccessful. Roerich's Manchurian expedition of 1934-35 (see below) turned, as it was perceived from the USA, into a continuous scandal; the American press accused Roerich of "humiliating the US government." Horsch's trust in Roerich, initially unlimited, gradually turned out to be more and more undermined. In August 1935, a crisis broke out - Horsch finally left Roerich's obedience.

Horsch, as the President of the Roerich Museum and its creditor, had a significant influence on the Board of Attorneys. As it turned out, control over the House of the Master essentially belonged to Horch, and Roerich disposed of it insofar as Horch was ready to voluntarily obey him. As a result of a series of scandals, seizures of property and lawsuits, the Roerich Museum and the Institute were closed by 1938, the building fell under the control of Horsch.

Horsch initiated an audit by the US tax service, which revealed N.K. Roerich's non-payment of income tax in the amount of $48,000, and also won a lawsuit against Roerich in the amount of $200,000. Together with Roerich's break with G. E. Wallace, claims against Roerich by the US Government, the critical attitude of the American press towards Roerich, these debts led to the fact that Roerich could never return to the United States. Roerich and Horsch never reconciled.

Manchurian expedition

Roerich shared the ideas of the Eurasian role of Russia and pan-Mongolism common among the Russian intelligentsia of the early 20th century, and after analyzing the trends in world politics and the prophecies collected in the Central Asian expedition, he comes to the conclusion that the mid-1930s may be marked by the unfolding of the process of "unification of Asia", which will begin with Mongolia, Manchuria, northern China and southern and southeastern Siberia. Wishing to take part in this process if possible, he organizes through the American Department of Agriculture a long-term expedition to Manchuria and northern China. In 1930, Roerich became friends with G. E. Wallace, who, having become the Minister of Agriculture in the administration of Franklin Roosevelt, sent Roerich on an expedition to collect plant seeds that prevent the destruction of fertile soil layers.

The expedition started on April 28, 1934 from Seattle to Yokohama (Japan), from where Roerich and his eldest son left for Kyoto on May 24, 1935. In Japan, the Roerichs are received at the highest government level. Roerich attends numerous cultural events, gives lectures, and meets with members of the government. An agreement was concluded with the Japanese side to hold an exhibition of Roerich's paintings, which opened in Kyoto in the same year. At the same time, the “Committee of the Roerich Pact and the Banner of Peace” was organized in Japan under the leadership of G. I. Chertkov.

On May 30, 1934, Roerich and his son arrived in Harbin, from where the scientific part of the expedition, consisting of two routes, started. The first route included the Khingan ridge and the Barga plateau (1934), the second - the Gobi, Ordos and Alashan deserts (1935). These routes passed through the territory of Inner Mongolia, located in the northern and northeastern part of modern China. The artist painted many sketches, conducted archaeological research, collected materials on linguistics and folklore. Roerich wrote 222 essays for the "Diary Sheets" over the course of 17 months, which reflect expeditionary work, touch on scientific and philosophical topics. As a result of the expedition, about 300 species of drought-resistant herbs were found, medicinal plants were collected. 2,000 parcels of seeds were sent to America. The results of the research were published by one of the expedition members, the botanist Y. L. Keng, in the Journal of the Washington Academy of Sciences. He pointed out in the article five herbs unknown to science, one of which was named after Roerich - Stipa roerichii. Also presented was a report by botanist T. P. Gordeev, devoted to the description of vegetation in the Barga and Greater Khingan region, and reports by Yu. N. Roerich on surveys in Northern Manchuria and Inner Mongolia. Secretary of Agriculture Henry Wallace, who initiated the expedition, subsequently reported that almost all of the seeds found were either of little or no value.

However, during the expedition, Roerich, largely ignoring the mission entrusted to him, plunged into Asian politics, in vain inciting the Buddhist masses to revolution. Roerich's first business meeting after leaving the United States on an expedition was in Japan with Minister of War Hayashi Senjuro, and the purpose of the meeting was to explore the possibilities of creating a new state in northeast Asia. During the expedition, Roerich and his son Yuri not only formally collaborated with emigre organizations such as the Military Monarchist Union, the Military Cossack Union, the Legitimists, but also took concrete steps, for example, provided financial assistance Siberian Cossack army and bought the newspaper "Russian Word" for the Russian All-Military Union.

In Harbin, Roerich founded the "Russian Committee of the Roerich Pact in Harbin" and the agricultural cooperative "Alatyr", whose publishing department issued new book Roerich "Sacred Watch", as well as the book "The Banner of Peace. Russian Committee of the Roerich Pact in Harbin” and “The Religious Works of Academician N. K. Roerich” by M. Schmidt.

Roerich was the most active among the numerous Russian emigration, becoming a notable cultural leader. This caused dissatisfaction with the US authorities, on whose behalf and at whose expense the expedition was carried out. It also attracted the attention of the White Guard counterintelligence, which, having established the fact of Roerich's visit to Moscow and his theosophical hobbies, fanned a scandal in the press. The Japanese authorities, supported by pro-Japanese circles, were dissatisfied with Roerich's work to unite emigration to Far East and conducted a campaign in the Harbin press to discredit Roerich's cultural mission. Japanese censorship arrested the entire print run of N. K. Roerich's book "Sacred Watch" printed in the printing house. After the publication of a scandalous article in the Chicago Tribune in June 1935, which reported on military preparations for an expedition near the borders of Mongolia, Minister Wallace broke off relations with the Roerichs, as they could ruin his reputation in the eyes of voters.

The expedition was prematurely terminated in Shanghai on September 21, 1935. The deprivation of support from G. Wallace and businessman L. Horsch at the end of 1935 led to the destruction of the activities of all Roerich institutions in the United States.

Roerich Pact and Banner of Peace

Roerich's concept of culture

In his philosophical and artistic essays, Roerich creates new concept Culture based on the ideas of Living Ethics. Culture, according to N. K. Roerich, is closely connected with the problems of the cosmic evolution of mankind and is the "greatest pillar" of this process. "Culture rests on Beauty and Knowledge" he wrote. And he repeated the famous phrase of Dostoevsky with a slight correction: "Awareness of Beauty will save the world". Beauty is known by a person only through Culture, an integral part of which is creativity. This is also mentioned in the books of Living Ethics, the direct participation in the creation of which was taken by the Roerichs. Elena Ivanovna wrote down, and Nikolai Konstantinovich displayed the ideas of the Living Ethics in artistic images.

In the broad concept of Culture, N. K. Roerich included a synthesis of the best achievements of the human spirit in the field of religious experience, science, art, and education. Nicholas Roerich formulated the fundamental difference between Culture and civilization. If culture is related to spiritual world of a person in his creative self-expression, then civilization is only the external arrangement of human life in all its material, civil aspects. Identification of civilization and Culture, Nicholas Roerich argued, leads to a confusion of these concepts, to an underestimation of the spiritual factor in the development of mankind. He wrote that “Wealth in itself does not yet give Culture. But the expansion and refinement of thinking and the feeling of Beauty give that refinement, that nobility of spirit, which distinguishes a cultured person. It is he who can build a bright future for his country.”. Proceeding from this, humanity must not only develop Culture, but must also protect it.

Creation and signing of the Pact

In 1928, N. K. Roerich, in collaboration with G. G. Shklyaver, Doctor of International Law and Political Sciences of the University of Paris, prepared a draft Treaty for the Protection of Cultural Property (the Roerich Pact). Together with the Treaty, N. K. Roerich proposes a distinctive sign for identifying objects of protection - the Banner of Peace, which is a white cloth with a red circle and three red circles inscribed in it, symbolizing the unity of the past, present and future in the circle of eternity, according to another version - religion , art and science in the circle of culture.

For international cultural activities and the initiative of the Pact in 1929, Roerich was nominated by the co-author of the Pact Shklyaver G. G. for the Nobel Peace Prize. In 1929, the text of the draft Treaty with an accompanying appeal by N. K. Roerich to the governments and peoples of all countries was published in the press and sent to government, scientific, artistic and educational institutions around the world, and international conferences were held. As a result, committees were formed in a number of countries in support of the Pact, and the World League of Culture was also established. The draft of the Pact was approved by the Museum Committee of the League of Nations, as well as by the Pan American Union.

Roerich hoped that the Pact would have educational value. “The pact for the protection of cultural treasures is needed not only as an official body, but as an educational law, which from the first school days will educate the younger generation with noble ideas of conservation true values of all humanity"- said Nicholas Roerich. The idea of ​​the Pact was supported by Romain Rolland, Bernard Shaw, Rabindranath Tagore, Albert Einstein, Thomas Mann, Herbert Wells and others.

The US State Department deemed the pact "useless, weak, and unenforceable." On August 30, 1933, the government announced the uselessness of the Roerich Pact, since all the points of this document were already included in the Hague Convention of 1907, adopted by the United States at the state level. However, the approval of the treaty by President F. Roosevelt and the propaganda of the Pact by Minister Henry Wallace, who at that time considered Roerich his Guru, prevailed over the opposition of the State Department. The signing of the Pact took place on April 15, 1935 at the White House in Washington with the personal participation of Franklin Roosevelt. The document was ratified by 10 out of 21 countries of the American continent.

The signing of the Roerich Pact received a great response both in America and in Europe. This allowed Roerich to make a second attempt to achieve the Nobel Peace Prize, about which the employees of the Roerich Museum in New York received the corresponding task, having gone to Europe with a package of letters of recommendation. Henry Wallace, the day after the signing of the Pact, sent letters to 15 recipients, including Bernard Hansen, Vice-President of the Nobel Peace Prize Committee, as well as to the President himself, Dr. Frederick Stang, expressing the official opinion that "Professor Roerich could be the most preferred candidate for the Nobel Peace Prize".

However, Roerich did not receive the Nobel Prize again, and on June 23 a scandal erupted in America, provoked by an article by Beijing journalist John Powell in the Chicago Tribune newspaper, which concerned Roerich's Manchurian expedition. As a result of the scandal, Henry Wallace terminated the Roerich expedition ahead of schedule and did everything to annul the Pact. To do this, on October 24, 1935, he sent a series of letters to officials and ambassadors of Latin American states and almost all European powers, reporting on "those who fanatically continue their politics, raising the name, not the ideal"(total in 57 countries). Having lost faith in Roerich, Wallace even tried to rename the Roerich Pact.

The Roerich Pact was the first international act specifically dedicated to the protection of cultural property, the only agreement in this area adopted by a part of the international community before World War II. In 1949, at the 4th session of the General Conference of UNESCO, it was decided to start work on international legal regulation in the field of the protection of cultural property in the event of an armed conflict. In 1954, the Roerich Pact formed the basis of the Hague "International Convention for the Protection of Cultural Property in the Event of Armed Conflict".

The ideas of the Pact were also reflected in the art of Nicholas Roerich. The emblem of the "Banner of Peace" can be seen on many of his canvases of the thirties. The painting "Madonna-Oriflamma" is specially dedicated to the Pact.

Indian period

Since the end of 1935, Roerich has been permanently living in India (Northern Himalayas, Kullu Valley, Naggar). This period is one of the most fruitful in Roerich's work. For 12 years, the artist has written more than a thousand paintings, two new books and several volumes of literary essays. In 1936, the books "Gate to the Future" and "Indestructible" were published in Riga, and in 1939 - one of the largest monographs on Roerich's work with essays by Vsevolod Ivanov and Erich Hollerbach. In addition, at least eight major studies on Roerich's work are being published in Riga, the USA and India. In 1936, the first doctoral dissertation on Roerich's pedagogical method was defended in New York.

Cooperation with the cultural centers of America and Europe continues. In 1937, the Nicholas Roerich Museum was officially opened in Riga, which exhibited more than 40 paintings by the artist, and the First Congress of the Baltic Roerich Societies was also held. On June 16, 1938, the Russian Cultural and Historical Museum in Prague opens a separate Roerich hall, which presents more than 15 major works artist. The Nicholas Roerich Museum in Bruges is successfully operating under the Roerich Foundation, where 18 Roerich paintings are exhibited. King Leopold grants the museum the title "in memory of King Albert". Since 1932, under the patronage of the Yugoslav King Alexander I, 21 paintings by Nicholas Roerich have been exhibited in the Belgrade Museum of Prince Paul. Since 1933, a permanent exhibition of 10 paintings by N. K. Roerich has been held in Zagreb at the Museum of the Academy of Sciences. There is a museum of Nicholas Roerich in Paris (in the Palais Royal, where at least 19 paintings are exhibited).

In the USA, in 1936, Roerich's students organized the Arsuna Art Center (Santa Fe), and in 1937 they founded the Flamma Cultural Promotion Association (Liberty, Indiana), which attracted a wide range of cultural figures for cooperation and began publishing books and magazine of the same name. The magazine was published in India and edited from India and the USA. In 1938, the Nicholas Roerich Academy of Arts was opened in New York, continuing the traditions of the United Arts Institute.

Roerich's work is especially revered in India. From 1932 to 1947, 18 major exhibitions of Roerich's paintings were held in different cities of India (Benares (1932), Allahabad (1933), Lucknow (1936), Trivandrum (1938), Hyderabad (1939), Trivandrum (1939), Ahmedabad (1939). ), Mysore (1939), Lahore (1940), Bombay (1940), Trivandrum (1941), Indore (1941), Baroda (1941), Ahmedabad (1941), Madras (1941), Mysore (1942), Hyderabad (1943 -1944), Delhi (1947)). Paintings are purchased by Indian museums and collectors. Since 1932, the Roerich Center for Art and Culture has been operating in Allahabad, India. The center holds numerous exhibitions of Indian artists, is engaged in publishing and lecturing activities. The work of the center did not stop even during the Second World War. In 1932, a separate hall of 12 paintings by N. K. Roerich was organized in the Bharat Bhala Bhavan Museum (Varanasi). On February 19, 1934, a special hall of Roerich was opened in the Allahabad Municipal Museum, the collection of which is replenished until 1937 and consists of 19 paintings by the artist. In 1940 in the gallery. Sri Chitralayama (Trivandrum) for the paintings of N. K. Roerich was allocated a separate wing of two halls. In the same place in Trivandrum, two monographs on the work of N. K. Roerich are published, which have undergone several reprints.

Attempts to return home

Since 1936, Roerich has been striving to return to his homeland: “In 1926, it was agreed that in ten years both artistic and scientific work would be completed. Since 1936, letters and requests began. GG Shklyaver informed that Surits offered to donate four paintings to museums. Our French society wrote to the Supreme Soviet about the Pact. Wrote to the Art Committee. They sent books. Waiting for news". In 1937, Roerich, first through the Paris Roerich Center, and then personally, appealed to the Soviet leadership about the possibility of the USSR joining the Roerich Pact - "full of the thought of serving the Motherland", discusses through the USSR Ambassador to France Surits ways of returning to his homeland. On the advice of the ambassador, in 1938 Roerich turned to the Committee for Arts of the USSR with a request to accept three paintings as a gift. In the same 1938, Roerich wrote a letter to the People's Commissariat for Foreign Affairs of the USSR: "...Me and my family members are striving now to bring their knowledge and creativity within the borders of the Motherland". However, all the efforts made were unsuccessful. Roerich did not receive a response to the appeals sent.

In 1938, People's Commissar of the People's Commissariat for Foreign Affairs of the USSR M. M. Litvinov turned to I. V. Stalin about Roerich's desire to return with his family to the USSR. Gives Roerich a positive response. Stalin writes a resolution: "Do not answer".

In 1939, Roerich instructed the employees of the Latvian Roerich Society to obtain Soviet visas through the Soviet embassy in Latvia. The head of the Latvian Roerich Society, Rudzitis, writes in his diary: "... a letter was received in which Roerich expresses his desire to return to his homeland". But even these efforts are not successful. Roerich's last appeal with a request to return to his homeland was in 1947 - a few weeks before his death.

The Second World War

While in India, Nicholas Konstantinovich Roerich from the very first days of World War II uses every opportunity to help Russia. Together with his younger son Svyatoslav Roerich, he arranges exhibitions and the sale of paintings, and transfers all the proceeds to the fund of the Soviet Red Cross and the Red Army. He writes articles in newspapers, speaks on the radio in support of the Soviet people.

During the war years, the artist again turns to the theme of the Motherland in his work. During this period, he creates a number of paintings - "Igor's Campaign", "Alexander Nevsky", "Partisans", "Victory", "Bogatyrs woke up" and others, in which he uses images of Russian history and predicts the victory of the Russian people over fascism.

... Anyone who takes up arms against the Russian people will feel it on his back. Not a threat, but the thousand-year history of peoples said so. Various pests and enslavers bounced off, and the Russian people in their boundless virgin lands dug out new treasures. That's how it's supposed to be. History keeps evidence of the highest justice, which has already said menacingly many times: “Do not hinder!”.

N. K. Roerich's "Diary Sheets" contains many pages dedicated to the military and labor feat of the Soviet people.

In 1942, before Battle of Stalingrad, Nikolai Roerich hosted Jawaharlal Nehru, a freedom fighter for India, and his daughter Indira Gandhi in Kullu. Together they discussed the fate of the new world, in which the long-awaited freedom of the conquered peoples would triumph. " We talked about the Indo-Russian Cultural Association, - Roerich wrote in his diary, - it's time to think about useful, constructive cooperation...". Indira Gandhi recalled:

My father and I had the good fortune to know Nicholas Roerich. He was one of the most impressive people I have ever met. He combined a modern scientist and an ancient sage. He lived in the Himalayas for many years and comprehended the spirit of these mountains, reflecting their countless moods and combinations of colors. The paintings of Nicholas Roerich inspired many new trends among our artists.

When the Nazi troops occupied many territories of the USSR, Nicholas Roerich turned to his employees with a request to serve the cause of mutual understanding between the peoples of the two powers - Russia and the USA. In 1942, the American-Russian Cultural Association (ARKA) was founded in New York. Among the active employees were Ernest Hemingway, Rockwell Kent, Charlie Chaplin, Emil Cooper, Sergei Koussevitzky, P. Geddas, V. Tereshchenko. The activities of the association were welcomed by world-famous scientists Robert Milliken and Arthur Compton.

last years of life

In India, Nicholas Roerich was personally acquainted with famous Indian philosophers, scientists, writers, and public figures.

In India, the artist continues to work on a series of paintings "The Himalayas", comprising more than two thousand canvases. For Roerich, the mountain world is an inexhaustible source of inspiration. Art critics noted the new direction in his work and called him "the master of the mountains." In India, the series "Shambala", "Genghis Khan", "Kuluta", "Kulu", "Holy Mountains", "Tibet", "Ashrams", etc. were written. The master's exhibitions were exhibited in various cities of India and were visited by a large number of people .

After the end of the war, the artist last time requested a visa to enter the Soviet Union, but on December 13, 1947, he passed away without ever knowing that he had been refused a visa.

In the Kullu Valley, on the site of a funeral pyre, a large rectangular stone was erected, on which the inscription was carved:

“The body of Maharishi Nicholas Roerich, a great friend of India, was burnt here on the 30th Maghar, 2004 of the Vikram era, December 15, 1947. OM RAM (Let there be peace).

Love Motherland. Love the Russian people. Love all peoples in all the vastness of our Motherland. May this love teach you to love all of humanity. Love the Motherland with all your might - and she will love you. We are rich in the love of the Motherland. Wider road! The builder is coming! The Russian people are coming!

Testament of Nicholas Roerich

Awards

• Cavalier Russian orders St. Stanislav, St. Anna and St. Vladimir.
• Cavalier of the Yugoslav Order of Saint Sava.
• Chevalier of the Order of the Legion of Honor of France.
• Knight of the Royal Swedish Order of the Polar Star.

List of organizations, of which N. K. Roerich was a member

• Active member of the Russian Academy of Arts (Russian Empire).
• Member of the Russian Archaeological Society (Russian Empire).
• Member and one of the founders of the Society for the Revival of Artistic Rus' (Russian Empire).
• Member of the public "Commission for the Study and Description of Old Petersburg" (Russian Empire).
• Member of the Board of Trustees of the St. Eugene (Russian Empire).
• Member of the Mussar Mondays Society (Russian Empire).
• Chairman of the artistic association "World of Art" (Russian Empire).
• Member of the Union of Russian Artists (Russian Empire).
• Member of the Society for the Protection and Preservation of Monuments of Art and Antiquity in Russia (Russian Empire).
• Member and one of the founders of the Society of Artists. A. I. Kuindzhi (Russian Empire).
• Member of the Board of the Society of Architects-Artists (Russian Empire).
• Member of the Society of Fine Arts under the League of Education (Russian Empire).
• Member of the artistic and literary section of the "Russian Assembly" (Russian Empire).
• Active member of the Reims Academy (France).
• Member of the Prehistoric Society (France).
• Honorary Member of the More Society (France).
• Member of the Red Cross (France).
• Member of the Society for the Study of Antiquities (France).
• Life member of the Federation of French Artists (France).
• Member of the Autumn Salon (France).
• Founding member of the Ethnographic Society (France).
• Life member of the Society of Antiquaries (France).
• Honorary Member of the Luzas Society (France).
• Honorary Member of the League for the Defense of the Arts (France).
• Member of the Art Society of Finland (Finland).
• Founder of the Institute of United Arts in New York (USA).
• Founder of the International Cultural Center "Corona Mundi" (USA).
• Honorary Director of the Nicholas Roerich Museum in New York and its branches in Europe, America and the countries of the East.
• Active member of the Yugoslav Academy of Sciences and Arts (Zagreb).
• Active member of the Portuguese Academy (Coimbra).
• Active member of the International Institute of Science and Literature (Bologna, Italy).
• Honorary Member of the Committee for Culture (Buenos Aires, Argentina).
• Vice President of the Mark Twain Society (USA).
• Vice President of the American Institute of Archeology (USA).
• Honorary Member of the Benares Enlightenment Society (India).
• Honorary President of the International Union in Support of the Roerich Pact (Bruges).
• Honorary patron of the Historical Society at the Academy (Paris).
• Honorary President of the Roerich Society in France (Paris).
• Honorary President of the Roerich Academy (New York).
• Honorary President of the Flamma Society for Cultural Progress (Indiana, USA).
• Honorary President of the Roerich Society in Philadelphia (USA).
• Honorary Member of the Society for the Preservation of Historic Monuments (New York).
• Honorary President of the Latvian Roerich Society (Riga).
• Honorary President of the Roerich Societies in Lithuania, Yugoslavia, China.
• Honorary member of the Subhas Chandra Bose Institute (Calcutta).
• Member of the Jagadis Bose Institute (India).
• Member of the Nagati Prachari Sabha (India).
• Life Member of the Royal Asiatic Society in Bengal (Calcutta).
• Life member of the Oriental Art Society (Calcutta).
• Honorary President and Doctor of Literature of the International Institute for the Study of Buddhism in San Francisco (California) International Buddhist Institute (USA).
• Honorary member of the Russian Museum of History and Culture in Prague (Czechoslovakia).
• Patron Cultural Society(Amritsar, India).
• Charitable member of the Association for International Studies (Paris).
• Honorary Member of the Field Association (St. Louis, USA).
• Honorary Member of the Braurveda Society (Java).
• Honorary Member of the National Association of Natural Medicine in America (Los Angeles, California).
• Honorary President of the Center for Arts and Culture (Allahabad, India).
• President of the World League of Culture (USA).
• Honorary President of the American-Russian Cultural Association in New York (USA).

The main works of N. K. Roerich

• Art and archeology // Art and art industry. SPb., 1898. No. 3; 1899. No. 4-5.
• Some Antiquities of the Shelon Pyatina and the Bezhetsky End. St. Petersburg, 31 pages, drawings by the author, 1899.
• Excursion of the Archaeological Institute in 1899 in connection with the issue of Finnish burials in the St. Petersburg province. St. Petersburg, 14 pages, 1900.
• Some antiquities of the pyatins of Derevskaya and Bezhetskaya. St. Petersburg, 30 pages, 1903.
• In the old days, St. Petersburg, 1904, 18 pages, drawings by the author.
• Stone Age on Lake Piros., St. Petersburg, ed. "Russian Archaeological Society", 1905.
• Collected works. Book. 1. M.: Publishing House of I. D. Sytin, 335 pages, 1914.
• Tales and parables. Pg.: Free Art, 1916.
• Violators of Art. London, 1919.
• Morya flowers. Berlin: Slovo, 128 pp., Collection of poems. 1921.
• adamant. New York: Corona Mundi, 1922.
• Ways of Blessing. New York, Paris, Riga, Harbin: Alatas, 1924.
• Altai - Himalayas. (Thoughts on a horse and in a tent) 1923-1926. Ulaanbaatar, Hoto, 1927.
• Heart of Asia. Southbury (st. Connecticut): Alatas, 1929.
• Flame in Chalice. Series X, Book 1. Songs and Sagas Series. New York: Roerich Museum Press, 1930.
• Shambhala. New York: F. A. Stokes Co., 1930.
• Realm of Light. Series IX, Book II. Sayings of Eternity Series. New York: Roerich Museum Press, 1931.
• State of Light. Southbury: Alatas, New York, 1931.
• Women. Appeal on the occasion of the opening of the Society for the Unity of Women, Riga, ed. Roerich Society, 1931, 15 pages, 1 reproduction.
• Flame Stronghold. Paris: World League of Culture, 1932.
• Banner of Peace. Harbin, Alatyr, 1934.
• Holy Watch. Harbin, Alatyr, 1934.
• Gateway to the Future. Riga: Uguns, 1936.
• Indestructible. Riga: Uguns, 1936.
• Roerich Essays: One hundered essays. In 2 volumes. India, 1937.
• Beautiful Unity. Bombey, 1946.
• Himavat: Diary Leaveves. Allahabad: Kitabistan, 1946.
• Himalayas - Adobe of Light. Bombey: Nalanda Publ, 1947.
• Diary sheets. T. 1 (1934-1935). M.: MCR, 1995.
• Diary sheets. T. 2 (1936-1941). M.: MCR, 1995.
• Diary sheets. T. 3 (1942-1947). M.: MCR, 1996.

Inheritance

During his lifetime, Roerich transferred all rights to his works and property to his wife - E. I. Roerich and sons. In 1939, in his spiritual testament (“Testament”), Roerich wrote: “I have no property. Pictures and copyright belong to Elena Ivanovna, Yuri and Svyatoslav.

In 1917, due to an exacerbation of lung disease, Roerich wrote his first testament: “Everything that I own, everything that I have to receive, I bequeath to my wife Helena Ivanovna Roerich. Then, when she finds it necessary, she will leave equal parts to our sons Yuri and Svyatoslav. Let them live together and in harmony and work for the benefit of the Motherland ... ". In 1924-1929, Roerich repeatedly officially bequeathed the Roerich Museum in New York to the people of America.

On April 12, 1927, during the period of the Central Asian expedition, at the USSR Embassy in Mongolia, Roerich left a will in favor of the Board of the Roerich Museum in New York, the All-Union Communist Party, E. Roerich. “In view of the possibility of false rumors about my death during a long expedition, I ask you to fulfill the above will after 1936”, - it was noted in it. Responsible were appointed from the Roerich Museum in New York - L. Horsch, M. M. Lichtman, from the All-Union Communist Party of Bolsheviks - Consul General of the USSR in China A. E. Bystrov-Zapolsky, People's Commissar A. V. Lunacharsky.

The last official testament N. K. Roerich wrote on January 24, 1934, in which he transferred all rights to the paintings to his wife - He. I. Roerich, including paintings located in the European Roerich Center in Paris, in the Museum of the Roerich Foundation in Bruges, in the museums of Belgrade and Zagreb, the Allahabad Museum and the Roerich Museum in Riga.

In 1957, part of the property of N. K. Roerich was brought to Moscow by his eldest son Yuri. More than 400 paintings, collectibles, a collection of oriental books were transferred to the state and entered the collections of the Tretyakov Gallery, the Russian Museum, the Novosibirsk Art Museum, the Gorlovsky Art Museum, the Institute of Oriental Studies of the Russian Academy of Sciences, etc. The most valuable paintings, family archives, works of art of peoples Yu. N. Roerich kept other things of the East in his apartment. He died in 1960, and a significant part of the legacy of N. K. Roerich continued to remain in his apartment, since the decision by the USSR Ministry of Culture to create a memorial museum-apartment was delayed. The former housekeeper N. K. Roerich and her husband remained in the apartment, who categorically refused to give away valuables that did not belong to them.

The other part of the inheritance remained in India, in the possession of Roerich's younger son, Svyatoslav. In 1974, in connection with the celebration of the anniversary of Nicholas Roerich in the USSR, Svyatoslav Nikolayevich brought a collection of his and his father's paintings from India. The paintings were widely exhibited and were later transferred to the State Museum of the East. In 1990, another part of the father's property belonging to Svyatoslav Roerich was transferred by him to the Soviet Roerich Foundation.

Roerich movement

The emergence of the Roerich movement

The Roerich movement arose in the 1920s in such countries as the USA (New York), Latvia (Riga), France (Paris), Bulgaria (Sofia), Manchuria (Harbin), Estonia, Lithuania, etc. In 1920 In the 1930s and 1930s, Roerich societies began to be created, which set as their goal the promotion of the Roerich Pact, while simultaneously spreading the ideas of Agni Yoga (“Living Ethics”). Since 1935, after Roerich's support from businessman Louis Horch and politician Henry Wallace ceased, the movement in America began to decline, remaining active in Europe, the Baltic states and among the Russian emigration of Manchuria. After the accession of the Baltic States to the Soviet Union, the Baltic societies were closed, and their members were arrested and repressed. Members of the Manchu groups were also repressed.

One of the most active was the Roerich Society of Latvia. It was in Riga that many of the Living Ethics books were first published. This society existed before the accession of Latvia to the USSR in 1940. In a short period of time, the publishing house of the Latvian Society published about 50 books, a periodical, etc. The initiator of this publishing activity was Vladimir Anatolyevich Shibaev (1898-1975), a Riga resident. Since 1932, the publishing activity was taken over by Richard Yakovlevich Rudzitis (1898-1960), a poet and connoisseur of the culture and traditions of the East, who was invited in 1929 to translate works on philosophy. In 1937, the Baltic Societies hold the Congress of the Baltic Roerich Societies, and the Roerich Museum operates in Riga.

After the Second World War in New York, Roerich's students discovered new museum Nicholas Roerich, and organized by the Agni Yoga Society. Also, Roerich societies, circles and groups existed in Italy, Germany, Switzerland (“Crown Mundi”) and a number of other countries. Groups connected with the Roerich Pact continued to operate in Latin America.

Revival of the Roerich movement

The result of Roerich's creative life was a rich legacy. Today, Roerich organizations operate in some countries of Europe, America and Asia, as well as in Australia. Roerich societies exist in such countries of the former USSR as Belarus, Ukraine, Kazakhstan, Georgia, Moldova, Latvia, Lithuania, Estonia. The Roerich movement of Living Ethics admirers, which was formed in the USSR during perestroika, had a significant impact on the development of the New Age in Russia. According to the Department of State-Confessional Relations of the Russian Academy public service under the President of the Russian Federation, the movement of the followers of the Roerichs belongs to the new religious movements and is a spokesman for the New Age tradition that goes back to neomysticism, theosophy and anthroposophy. In 2002, the Roerich movement experienced a split, largely due to disputes over the Roerich heritage.

Roerich Museums

Roerich Museum in New York

The first Roerich Museum was founded on November 17, 1923 and officially opened to the public on March 24, 1924 in New York City (310 Riverside Drive) with the help of Roerich's close circle of associates, with the financial support of businessman Louis Horch. At the time, it was the only museum in America dedicated to the work of just one artist. Since 1929, the museum and all Roerich's institutions were located in a specially built building on the site of the former museum - the 29-story skyscraper Master Building. However, the conflict between the Roerichs and Horsch, which began in 1935, led to the closure of the museum.

Thanks to the efforts of Helena Roerich, Catherine Campbell-Stibbe and Zinaida Fosdick and other admirers and students of Nicholas Roerich, in 1949 a new museum of Nicholas Roerich was opened in New York. It is the world's oldest center representing Roerich's paintings and distributing reproductions of his paintings and numerous books about him, about his life and work. Honorary Director - Daniel Entin.

Roerich Museum in Riga (1933-1940)

The Roerich Museum in Riga began to be created in 1933 by the Latvian Roerich Society on the initiative of N. K. Roerich. The official opening of the museum took place in 1937. Forty canvases by N.K. Sergius (1936), Kuluta (1937), Himalayan and Mongolian landscapes. The museum existed until 1940. In January 2010, a memorial plaque was unveiled on the building that housed the museum.

Roerich Museum in Moscow

The Roerich Museum (a branch of the State Museum of the East) was established in February 2016 by decision of the Ministry of Culture of the Russian Federation. Since mid-2017, it has been located in the Lopukhins' Estate. The museum's collection includes more than 800 paintings by Nicholas Roerich and his son Svyatoslav Nikolaevich Roerich, a large collection of multi-temporal works of decorative and applied art from Russia, India, China, Tibet, Mongolia, Egypt and other countries, memorial items of the Roerich family.

Museum-estate of N. K. Roerich in Izvara

In the Izvara estate near St. Petersburg, since 1984, the Nicholas Roerich Estate Museum has been opened, which is a unique complex of monuments of nature, archeology, architecture, history and culture, the first State Roerich Museum in Russia. Currently museum complex is located on 60 hectares and includes 9 manor buildings of the 18th - early 20th centuries, an old park, spring lakes.

The Izvara estate was acquired in 1872 by K. F. Roerich, the artist's father. The Roerich family owned the estate from 1872 to 1900. In the 1910s, the Ministry of Justice purchased the estate from the last owners for the St. Petersburg children's agricultural colony, the architectural ensemble of which (architect A. A. Yakovlev, 1916) complemented the appearance of the estate and is currently part of the Museum complex.

The museum holds conferences, holidays, poetic and musical evenings, international peacekeeping actions. Since 2002, a comprehensive scientific expedition has been operating on the territory of the Museum-Estate to study the nature of Izvara, and archaeological research has been carried out. On July 31, 2006, the Governor of the Leningrad Region, V.P. Serdyukov, signed an Order on the development of a project for the creation of a specially protected natural area “Natural Monument” within the boundaries of the N.K. Roerich Museum-Estate in Izvara.

Museum of the Roerich family in St. Petersburg

St. Petersburg government agency Culture "Museum-Institute of the Roerich Family" was established on March 12, 2007. The basis of the memorial exposition of the Museum-Institute was the legacy preserved by Helena Roerich's niece L. S. Mitusova and her family. For several years of the museum's existence, the owners of private collections have donated a number of art and other exhibits to the museum. To date, its funds include about 15 thousand items, including personal items, manuscripts, paintings, arts and crafts, archaeological finds, photographs and other exhibits related to the life and work of the Roerich family.

State Museum-Reserve. N. K. and E. I. Roerichs in the village of Verkh-Uimon

The exposition of the museum-reserve is divided into three thematic sections: the early period of creativity of N. K. Roerich, the Central Asian expedition and the Roerich Pact, the Urusvati Institute and the Indian period of creativity. Also here are books from the personal library of the Roerich family, a number of original documents and lifetime editions of N. K., E. I. and Yu. N. Roerichs. Expositions dedicated to archeology and history are deployed on the basis of the museum-reserve Gorny Altai, the nature of the Uimon valley, the culture of the Altai peoples and Russian Old Believers.

Odessa House-Museum. N. K. Roerich

Odessa House-Museum named after N. K. Roerich is located at the address: Odessa, st. Bolshaya Arnautskaya, 47, on the 3rd floor of a 3-storey building. The exposition is located in 5 halls, including the concert hall.

Cultural and Exhibition Center on Baikal

The cultural and exhibition center on Lake Baikal emerged in 2002 on the initiative of the Irkutsk regional public organization "Roerich Cultural Creative Association". It is represented by six exhibition halls, a library, a video hall. There are permanent exhibitions dedicated to the life and work of the Roerich family. One of the exhibition halls is dedicated to the Central -Asian Expedition of N. K. Roerich (1924-1928) There are expositions dedicated to the N. K. Roerich Museum in Moscow and its general director, academician L. V. Shaposhnikova, the Roerich Pact and the Banner of Peace.

Museum of the International Center of the Roerichs in Moscow (1991-2017)

The public organization "International Center of the Roerichs" created the Museum named after Nicholas Roerich, whose director for a long time was Lyudmila Shaposhnikova.

The first permanent exhibition was opened at the museum on February 12, 1993. The halls of the museum hosted annual international scientific and public conferences with the participation of prominent scientists and public figures, exhibitions and concerts were organized, lectures were given on the Roerich heritage.

The museum was closed in 2017. In the same year, the Museum of the Roerichs (a branch of the State Museum of the East) was opened in its premises.

Exhibitions in museums

State Museum of the East

In the State Museum of Oriental Art in Moscow, on the basis of the collections received from K. Campbell and S. N. Roerich, the Memorial Study of N. K. Roerich, a permanent exhibition of his work and the scientific department of the Roerichs' heritage were created. Already in 1977, a specialized Roerich hall was opened in the museum in its permanent exhibition. In accordance with the requirements of the wife of S. N. Roerich, Devika Rani Roerich, who expressed her will to transfer the Roerich family heritage into the hands of the Russian state, a government decree of November 4, 1993 was adopted on the establishment of the State Roerich Museum as a branch of the State Museum of Oriental Art with accommodation him in the Lopukhins' estate, chosen by Svyatoslav Roerich. However, by Decree of the Government of the Russian Federation of December 17, 2010 No. 1045, Decree No. 1121 of November 4, 1993 was declared invalid. The Museum of the East has a scientific department of the Roerichs' heritage, which is engaged in a comprehensive study and popularization of their life and work. In 2016, the museum created a separate branch - the Roerich Museum.

State Museum of the History of Literature, Art and Culture of Altai

Contains a permanent exhibition “Workers of world culture in Altai. G. D. Grebenshchikov. N. K. Roerich. The museum funds contain manuscripts by N. K. Roerich and members of his family: articles and poems, letters, fragments of diary entries, lectures (1890-1970s). Postcards in the name of Nicholas Roerich during the period of the Central Asian expedition (1925). Letters from N. K. Roerich to P. F. Belikov from Kullu (1937-1939). Copies of letters from Helena Roerich to US President T. Roosevelt (1934-1936), material sources, paintings, sketches, sketches by Nicholas Roerich.

Estimates of N. K. Roerich and his work

Assessment by contemporaries

The artist and art critic I. E. Grabar highly appreciated the talent of Roerich the artist, but gave him a rather sharp personal description:

Roerich was a mystery to all of us. I don’t even know now and I never knew before where Roerich’s sincerity, his true credo, ends, and where the pose, mask, shameless pretense and the capture of the viewer, reader, consumer, calculated by the sage of life, begin. These two elements - truthfulness and deceit, sincerity and falsehood - are inextricably soldered in the life and art of Roerich ... Roerich is in general a special phenomenon, so unlike everything that we know in Russian art, that his figure stands out as a dazzling bright spot against the rest of my background memories of the life and deeds of artists of bygone years. Roerich, first of all, is undeniably brilliantly gifted ...

At the request of Roerich, in the spring of 1919, L. Andreev wrote an article entitled “The Power of Roerich”:

... One cannot but admire Roerich ... the richness of his colors is infinite ... the path of Roerich is the path of glory ... Roerich's brilliant fantasy reaches those limits beyond which it becomes already clairvoyance.

The artist and critic S.K. Makovsky gave an expressive psychological portrait of Roerich the painter:

Dreamer of the past ... [Roerich] is always cold, invariably terribly mute even when he wants to be affectionate and illuminate human feeling the stone desert of gray distances ... The world of Roerich seems to me like a fabulous petrification, and its colors lay down as solid as a mosaic, and its forms do not breathe, do not waver, like everything living and transient, but remain unshakable, likening their outlines and edges to rocks and cave flints.

On the other hand, Nikolai Gumilyov highly appreciated Roerich's work:

Roerich is the highest degree of modern Russian art... The manner of his writing - powerful, healthy, so simple in appearance and so refined in essence - changes depending on the events depicted, but always reveals the petals of the same soul, dreamy and passionate. With his work, Roerich opened the unopened areas of the spirit that our generation is destined to develop.

M. K. Tenisheva wrote about Roerich:

Of all the Russian artists that I met in my life ... this is the only one with whom you could talk, understanding each other perfectly, cultured, very educated, a real European, not narrow, not one-sided, well-mannered and pleasant to talk to, an irreplaceable interlocutor, broadly understanding art and deeply interested in it ...

Prime Minister of India J. Nehru:

When I think of Nicholas Roerich, I am amazed at the scope and richness of his activity and creative genius. A great artist, a great scientist and writer, an archaeologist and explorer, he touched and illuminated so many aspects of human endeavor. The quantity itself is amazing - thousands of paintings, and each of them is a great work of art.

Also among Roerich's contemporaries, who highly appreciated his creative activity, were: G. D. Grebenshchikov, M. M. Fokin, A. I. Gidoni, Yu. K. Baltrushaitis, E. F. Gollerbakh, S. Radhakrishnan and others.

Modern assessments of life and work

Academician of the Russian Academy of Sciences Dmitry Sergeevich Likhachev wrote about N. K. Roerich:

N. K. Roerich was an ascetic of culture on a global scale. He raised over the planet the Banner of Peace, the Banner of Culture, thereby indicating to mankind the ascending path of perfection.

Likhachev also considered Roerich, along with Lomonosov, Derzhavin, Pushkin, Tyutchev, Solovyov, and others, one of the “most powerful and original thinkers in Rus'” who contributed to the knowledge of the world through its artistic comprehension.

In October 2011, at the presentation of the Nicholas Roerich Prize, Leonid Mikhailovich Roshal said the following:

Roerich for me is a huge admiration for a humanist who was always looking, who had plans, carried out plans. In everything, he had an idea to unite people and oppose everything that is unkind in the world.

The cultural activities and philosophical heritage of Nicholas Roerich and his family were highly appreciated by such figures of science, culture and higher state bodies as Chairman of the Presidium of the Supreme Soviet of the USSR Andrei Gromyko, Ambassador Extraordinary and Plenipotentiary, Academician of the Russian Academy of Natural Sciences Alexander Kadakin, Academician of the Russian Academy of Sciences, member of the Presidium of the Higher Attestation Commission, Honored Scientist Russian Federation Evgeny Chelyshev, President of the Russian Academy of Natural Sciences, Honored Worker of Science and Technology of Russia O. L. Kuznetsov, Academician of the Russian Academy of Sciences, Chairman of the Chamber of Commerce and Industry of the Russian Federation Evgeny Primakov, Chairman of the Federation Council Mikhail Nikolaev, Academician of the Russian Academy of Sciences, President of the All-Russian Academy of Agricultural Sciences, Minister of Agriculture of Latvia Alexander Nikonov, Academician of the Russian Academy of Sciences, President of the Russian Academy of Cosmonautics. K. E. Tsiolkovsky A. S. Koroteev, Academician of the Russian Academy of Sciences, President of the Russian Ecological Academy, Advisor to the President Russian Federation A. L. Yanshin, academician and vice-president of the National Academy of Sciences of the Kyrgyz Republic V. M. Ploskikh.

In October 1975, Indian Prime Minister Indira Gandhi, who personally knew Nicholas Roerich, expressed the following opinion about the Russian artist:

His paintings amaze with their richness and subtle sense of color and, above all, wonderfully convey the mysterious grandeur of the nature of the Himalayas. Yes, and he himself, with his appearance and nature, seemed to some extent imbued with the soul of the great mountains. He was not verbose, but restrained power emanated from him, which seemed to fill the entire surrounding space with itself. We deeply respect Nicholas Roerich for his wisdom and creative genius. We also appreciate him as a link between the Soviet Union and India... I think that the paintings of Nicholas Roerich, his stories about India will give the Soviet people a part of the soul of their Indian friends. I also know that N. K. Roerich and his family contributed in many ways to creating a more complete picture of the Soviet country in India.

Russian President Vladimir Putin spoke of N. K. Roerich in the following way:

First, we must immediately recall the well-known both in Russia and in India artist Nicholas Roerich. It's an amazing life, it's amazing creativity, this is an amazing example of spiritual closeness, perhaps not lying on the surface, but nevertheless the spiritual closeness of our peoples ...
Russia and India noted the importance of preserving and supporting the unique artistic and cultural heritage of the Roerich family, which is of lasting importance for Russian-Indian friendship.

From the joint statement of the parties on the results of Vladimir Putin's official visit to India on December 3-5, 2002

Valery Kuvakin, President of the Russian Humanist Society, Doctor of Philosophy expressed the following opinion about the research of Nicholas Roerich:

Traditional science does not confirm Roerich's "discoveries" in the field of medicine, psychology and anthropology. All the studies that he conducted were not evaluated by an independent expert appraisal. Roerich's teaching on the Living Ethics is a contradictory mixture of scientific, anti-scientific, paranormal and quasi-religious statements.

Encyclopedia "Krugosvet" calls N. K. Roerich "one of the brightest figures of Russian symbolism and modernity."

controversy

freemasonry

Modern researchers of Freemasonry claim that N. K. Roerich was a Freemason. According to the biography of the artist, written by the historian M. L. Dubaev (ZhZL series), Nikolai Konstantinovich joined the Masonic (Rosicrucian) lodge in the USA in the 1930s, immediately receiving the highest degree of initiation.

The founder of the Ancient Mystical Order of the Rose and Cross (AMORC), Harvey Spencer Lewis, listed Nicholas Roerich among the famous people who were Rosicrucians. The artist was the subject of articles in the magazine Rosicrucian Digest. Ibid in 1933 for authorship Frater Nicholas de Roerich, F.R.C. article was published The New Banner of Peace. A special message to all rosicrucians" dedicated to the Roerich Pact. According to V. S. Brachev, Doctor of Historical Sciences, the ideas of the Roerich Pact and the Banner of Peace are Masonic in nature.

As V. A. Rosov notes, during the Manchurian expedition, Nicholas Roerich failed largely due to the fact that the artist in the Harbin press “a flurry of accusations rained down that he was a representative of“ secret forces ”, a legate of the Great White Brotherhood - AMORK (Ancient Mystical Order of the Rose and Cross)”.

Sources close to the Roerich movement believe that information about Roerich's affiliation with Freemasons comes from the book by V.F. Ivanov "The Orthodox World and Freemasonry" and critical publications of the emigrant press during the artist's stay in Harbin. Helena Roerich denied that their family belonged to Freemasonry.

Political views and projects

For a long time, N. K. Roerich was known only as an artist and cultural figure (Roerich's paintings, Roerich's pact). Only after the 1990s did documents revealing his ambitious political views and plans become public. It was under these projects that the skyscraper Master Building was built for N. K. Roerich in New York. When in 1935 it became clear that all plans had finally failed, President F. D. Roosevelt personally told Roerich's sponsor L. Horsch, "We don't need Roerich anymore."

Roerich's political projects are analyzed in detail by Doctor of Historical Sciences. V. A. Rosov. See his fundamental work “Nicholas Roerich, Bulletin of Zvenigorod. Expeditions of N. K. Roerich on the Outskirts of the Gobi Desert”, Volume 1: “The Great Plan” (2002) and Volume 2: “New Country” (2004), dedicated respectively to the Central Asian and Manchurian expeditions.

There is evidence that during the Manchurian expedition, Nicholas Roerich actively interfered in Asian politics. These facts are denied by researchers who consider Roerich's activity to be exclusively cultural, just as they were previously denied by Roerich himself:

“We have never been involved in politics, and I know that this circumstance sometimes caused bewilderment and even censure. We didn’t belong to any political party and even had some long and unpleasant conversations about this.”

Memory of N. K. Roerich

• In 1974, the 100th anniversary of Nicholas Roerich was included by UNESCO in the "Calendar of memorable dates of great personalities and events (1973-1974)".
• The 100th anniversary of Nicholas Roerich was celebrated in the USSR. As reported in the UNESCO Courier, greetings were received from the World Peace Council and a personal message from Indian Prime Minister Indira Gandhi. An exhibition of paintings by N. K. Roerich was held at the Academy of Arts of the USSR, and a conference dedicated to his work was held, at which the artist's son, S. N. Roerich, spoke. IN Bolshoi Theater Union of the USSR On November 21, a solemn anniversary evening was held with the participation of members of the public.
• In Moscow, on the territory of the Lopukhins' estate in front of the Museum named after Nicholas Roerich, a monument to Nicholas and Helena Roerich was erected.
• In honor of N. K. Roerich, one of the streets in the center of Riga was named, as well as a street in Moscow.
• In the village of Izvara, Leningrad region, where Nicholas Roerich lived for a long time, since 1984, the Museum-estate of Nicholas Roerich has been operating.
• In St. Petersburg, there is the St. Petersburg Art College. N. K. Roerich and the Museum of the Roerich family.
• In 1999, the Bank of Russia issued two commemorative coins dedicated to the 125th anniversary of the birth of Nicholas Roerich.
• In honor of N. K. Roerich, the ship "Artist Nicholas Roerich" was named.
• In 2003, the international Nicholas Roerich Prize was established in honor of the 300th anniversary of St. Petersburg, and since then it has been awarded annually.
• In 2007, the new Aeroflot airliner Airbus A321 (VP-BRW) was named after Nicholas Roerich.
• Acquaintance with the life and work of Nicholas Roerich is included in the compulsory curriculum for high school students in the Indian state of Himachal Pradesh. This decision was made by the Education Council of this region in northern India, where Nicholas Roerich and his family lived for many years. According to Himachal Pradesh Board of Education Chairman Chaman Lal Gupta, the rising generation should know about the life and legacy of such an extraordinary personality. “We are proud that it was Himachal Pradesh that became for Roerich the place that, in Indian tradition, is considered to be a predestined destiny for a person,” said Chaman Lal Gupta.
• On March 25-26, 2008, as part of the Year of Russia in India, New Delhi hosted the Russian-Indian festival "The Roerichs and the Cultural and Spiritual Unity of Russia and India", timed to coincide with the 80th anniversary of the Roerichs' foundation in Naggar (Kulu Valley) of the Institute of Himalayan Studies. studies of "Urusvati" and the 100th anniversary of the birth of the outstanding Indian film actress Devika Rani Roerich, the wife of the youngest son of Nicholas Roerich - S. N. Roerich. In December 2008, at the closing ceremony of the Year of Russia in India, Russian President Dmitry Medvedev noted:

  The Year of Russia in India fully justified our expectations. More than 150 events took place within its framework. But, of course, not only their number is impressive, but also the originality of these events. This is both the Festival of Russian Culture and joint work to preserve the heritage of the Roerich family.

• In September 2009, a monument to Nicholas Roerich was opened on the territory of the special economic zone "Turquoise Katun" in the Altai Territory.
• As part of the celebration of the 135th anniversary of the birth of N. Roerich, on November 11, 2009, in one of the largest universities in the Indian capital Jamia Millia Islamia (New Delhi), a solemn opening of the photo exhibition "The Banner of Peace - the Roerich Pact" was held, organized by the Representative Office of Rossotrudnichestvo in India in association with the Academy of Third World Studies (ATWS-JMI).
• On November 12 and 13, 2009, an international seminar "Nicholas Roerich: heritage and search" was held in the hall named after Rabindranath Tagore of the Jamia Millia Islamia University.
• To celebrate the 75th anniversary of the Roerich Pact in 2010, the International exhibition project"Roerich's Age" (St. Petersburg), which was attended by more than 70 museums, libraries, archives and private collections from 33 cities of Russia and the world.
• On November 9, 2010, a monument to Nicholas Roerich was unveiled in St. Petersburg. A monument made of Karelian granite 3.5 meters high was installed in the Vasileostrovets garden at the intersection of Bolshoy Prospekt with the 25th line of Vasilyevsky Island. Sculptor V. V. Zaiko and architect Yu. F. Kozhin.
• In honor of N. K. Roerich, a new species of riders from Nepal is named, Lathrolestes roerichi Reshchikov, 2011
• In 2013, the International Astronomical Union named a crater on Mercury after N. K. Roerich.

Asteroid "Roerich"

On October 15, 1969, astronomers of the Crimean Astrophysical Observatory Nikolai Stepanovich and Lyudmila Ivanovna Chernykh discovered a minor planet (asteroid) in the solar system and named after the Roerich family. Asteroid 4426 has been registered.

In October 1999, in his speech at the Roerich Museum about this event, astronomer N. S. Chernykh, who discovered more than 500 asteroids, said: “The name was approved by a special commission of the International Astronomical Union, consisting of 11 representatives from different countries of the world. Only with unanimous opinion the name is accepted. The appearance of the small planet “Roerich” is an international recognition of the creativity and outstanding achievements of the Roerichs.”

Geographical objects named after N. K. Roerich

Peak and pass named after N. K. Roerich in Altai

On August 15, 1963, on Independence Day of India, Tomsk climbers V. Syrkin, G. Shvartsman, A. Ivanov, V. Petrenko, L. Spiridonov, G. Skryabin, V. Slyusarchuk, Yu. Salivon, B. Gusev, S. Lobanov climbed to the previously unnamed peak and named it after N. K. Roerich.

Near the Roerich Peak there is a pass, also named after him.

Glacier and passes named after N. K. Roerich in the Tien Shan

On the Tien Shan there are two passes and a glacier named after N. K. Roerich.

The Roerich Pass is located on the Saryzhaz Ridge. The height of the pass is 4320 meters. It connects the valleys of the rivers Chontash, Tyuz and Achiktashsu. The first ascent of the pass was made by a group of climbers led by A. Posnichenko.

The second pass, named after N. K. Roerich, is located in the northwestern part of the Ak-Shyirak ridge and connects the middle part of the Petrov glacier and the valley of the Sarytor river. The height of the pass is 4500 meters.

The glacier of Nicholas Roerich is located at an altitude of 3700 meters and originates on the Alamedin wall.

Postage stamps depicting N. K. Roerich and his work

• 1974, USSR - A stamped envelope was issued by the Ministry of Communications of the USSR. It depicts a portrait of N. K. Roerich against the background of his painting "Overseas guests". In the same year, a stamp was issued with the image of this picture.
• 1974, India - a commemorative stamp was issued, which depicts the obverse of a commemorative medal created in 1929 in Paris on the occasion of the 40th anniversary of the artistic, scientific and social activities N. K. Roerich.
• 1977, USSR - The Ministry of Communications of the USSR issued two stamps with the image of the Church of the Holy Spirit in Talashkino, above the entrance of which a mosaic "The Savior Not Made by Hands" was made according to the sketches of N. K. Roerich.
• 1978, Bulgaria - a stamp was issued with a fragment of the portrait of N. K. Roerich, made by S. N. Roerich. In addition to the stamp, a first-day envelope was issued, and at the main post office in Sofia on April 5, 1978, the cancellation was carried out with a first-day stamp.
• 1986, Mexico - Issued a stamp with a coupon dedicated to the International Year of Peace (Año Internacional de la Paz). On the stamp there is the emblem of the United Nations and the symbol of the Banner of Peace by Nicholas Roerich, the signatures are “ONU” (UN) and “Pax Cultura” (Pact of Culture).
• 1990, USSR - two stamps dedicated to the Soviet Cultural Fund were issued. On one of them, the painting by N. K. Roerich "Unkrada" (1909) is reproduced, on the second - the painting "Pskov-Pechora Monastery".
• 1999, Russia - the Marka Publishing Center of the Ministry of Telecom and Mass Communications of Russia issued a stamped envelope “Russian artist N. K. Roerich. 1874-1947" for his 125th birthday. The stamp depicts a fragment of the portrait of Nicholas Roerich, painted by S. N. Roerich in 1934, against the background of a fragment of Nicholas Roerich's painting "The Book of Life".
• 2001, Russia - the Marka Publishing Center of the Ministry of Telecom and Mass Communications of Russia issued a stamped envelope dedicated to the International Treaty on the Protection of Artistic and Scientific Institutions and Historical Monuments (the Roerich Pact). In the illustration - a painting by N. K. Roerich “The Pact of Culture. Banner of Peace "(1931).
• 2003, Moldova - a stamp was issued with the image of the painting “Pact of Culture. Banner of Peace" (1931), as well as on the Russian stamp of 2001.
• 2008, Russia - the publishing center "Marka" issued an envelope dedicated to the Central Asian expedition of Nicholas Roerich (1923-1928).

• In 1912, a monument was erected on the grave of the composer N. A. Rimsky-Korsakov in the form of an ancient Novgorod cross, made according to the sketch of N. K. Roerich
• The famous historian and orientalist L. N. Gumilyov used a fragment of the painting by N. K. Roerich “Flowers of Timur. Lights of Victory" (1931) for the cover design of his book "Hunnu" (1960).
• On April 12, 1961, during the first flight into space, cosmonaut Yuri Gagarin wrote in the logbook:

  The rays shone through the earth's atmosphere, the horizon became bright orange, gradually turning into all the colors of the rainbow: to blue, blue, purple, black. Indescribable colors! Like on the canvases of the artist Nicholas Roerich.

• June 5, 2013 Roerich's painting "The Works of Our Lady" was sold at the auction house Bonhams in London for 7.88 million pounds. This is a world record for a painting by a Russian artist.

Nicholas Konstantinovich Roerich occupies an honorable place among the figures of Russian culture. Roerich is a man of the most interesting biography, phenomenal knowledge, and rare talent. He is widely known in the world as a major artist, scientist, public figure, who left behind a huge legacy.

Forty-two years Roerich lived in Russia, about twenty in India, three years in the USA. He visited almost all countries of Europe, America, Asia. The artist spent five years on a large scientific expedition to Central Asia.

For many years, Roerich was the director of the school of the Society for the Encouragement of Arts in Russia. In New York, he founded the Institute of United Arts and a museum, in India, in the Kullu Valley, the Himalayan Institute of Scientific Research.

The so-called Roerich Pact, which in 1954 formed the basis of the International Convention for the Protection of Cultural Property in the Event of Armed Conflict, received worldwide recognition and approval.

Over the long years of his life, Roerich created more than seven thousand paintings. They have spread all over the world. Collections of the artist's works are available in St. Petersburg, Moscow, Riga, Nizhny Novgorod, Novosibirsk, New York, Paris, London, Bruges, Stockholm, Helsinki, Buenos Aires, Benares, Allahabad, Bombay and many others cities. Twenty-seven books written by Roerich have been published by various publishing houses of the world.

The life of this artist, who traveled around many countries and carried the glory of Russian culture around the world, is amazing. In the history of our fine arts, perhaps, there is no name of another figure who would receive such wide world recognition as Roerich.

Nicholas Konstantinovich Roerich was born on September 27 (October 9), 1874 in St. Petersburg in the family of a prominent lawyer. Already in his gymnasium years, his rare talent and breadth of interests manifested themselves. He was fond of history, geography, composed epics and tales, and drew. Roerich was not enough of the knowledge that he received in the gymnasium. In his free time, he constantly found for himself some new exciting activities. His curiosity had no end. Particularly fruitful for him were the summer months at his father's estate in Izvara near St. Petersburg.

Roerich was attracted to himself by deaf, dense forests, the surface of a lake with thick fogs, thickets of reeds. Early his attention was drawn to mounds. Later this was reflected in many of his works.

In 1893 he graduated from the gymnasium and at the same time passed the exams for the university and the Academy of Arts. At the insistence of his father, he entered the Faculty of Law, but his favorite was historical and philological. Roerich was especially fascinated by archeology.

With great enthusiasm, he studied at the Academy of Arts. From the very first days of his studies, in addition to class assignments, he tried to work independently on historical compositions.

The first who drew attention to Roerich and warmly supported him was I. Repin. Roerich also became interested in Stasov, primarily with his craving for Russian history, the breadth of his creative plans.

By the autumn of 1895, the general full-scale class was over, and Roerich entered the workshop of A. Kuindzhi. Kuindzhi had a great influence on his student. He awakened in him a new gift - the gift of a landscape painter. Roerich, who subtly felt nature, began to work a lot on landscape sketches from nature. The structure of his historical canvases is also changing. The landscape now plays an active role in them. It becomes one of the components of the content of his works and the main source of mood.

Even in the full-scale class, Roerich repeatedly tried to compose an es-kiza on "plots of a purely archaeological content." In 1897, he undertakes the implementation of a great plan. He was deeply interested in the most important moment in history - the formation in the 9th century of the ancient Russian state. This period seemed to him difficult, full of sharp intense struggle both within the tribes and with neighbors. Roerich ponders individual plots for a long time, tries to develop various compositions. Gradually, he formed an idea for a large series “The Beginning of Rus'. Slavs."

In 1897, the first picture of the series appeared - “Messenger. Rise generation upon generation." The picture takes the imagination to distant times. Deep night. In this picture, the penetration into antiquity, the understanding of the spirit of the historical era with its characteristic features are striking: the types and feelings of people, the tense moments of their lives, the landscape. Correctly taken historical details also give a peculiar flavor of the time: a one-tree boat, a fortified Slavic town. The artist worked especially hard on them. He repeatedly consulted with Stasov about the type of an ancient Slavic hut, the fence of the town, the shape of the boat, sent him his sketches in letters and, only when he received full approval from Stasov, introduced them into the picture.

And at the same time, there is no slavish adherence to archeological details in the picture, no striving for an extremely accurate reconstruction of the past. Turning to a distant era, which at that time could be judged mainly by meager, sometimes gleaned from legends, single monuments of material culture, Roerich acutely felt the impossibility of creating works of art only on the basis of this material. He came to the firm conviction that the artist should broadly supplement the known facts with poetic fiction, conjecture, and strives to convey in the picture, first of all, a holistic view of the era, a certain historical mood. This idea determined the method of creating many of Roerich's works, and found its first successful embodiment in The Messenger. The success of the painting was finally confirmed by the fact that it was bought from the exhibition by P. Tretyakov.

After graduating from the Academy of Arts, for many years Roerich enthusiastically continued to work on the series “The Beginning of Rus'. Slavs". One after another, his paintings appear, in which, in fact, he was one of the first to show the little-studied world of Slavic Rus' so widely and talentedly, and this pushed him into the ranks of original masters. Of the early works, Idols (1901) and Overseas Guests (1901), performed in France, where the artist left in the fall of 1900 to replenish his artistic education, are especially interesting. At one time, these paintings were highly appreciated by contemporaries.

In addition to them, Roerich abroad begins the paintings "The Traitor", "Old Russian City", develops sketches for two large panels "Prince's Hunt". New ideas arise, one replaces another, and all of them are connected with Ancient Russia, with thoughts about the homeland. But great creative plans are accompanied by an acute homesickness. And in the summer of 1901 the artist left France.

Upon returning to his homeland, Roerich deepened even more into the study of Russian antiquity. These years are full of intense creativity, the completion of the old, the search for new themes and artistic solutions.

One of the most interesting works of this time was the painting "Evil Prophets" (1901). Anxious, heart-wrenching forebodings it causes in the audience. Its dull, gray landscape is unhappy. Crows are frighteningly blackening. Something ominous, painful lies in their immobility and alertness.

In 1902, another significant work was created - "The city is being built." From disturbing forebodings, from "sinister", Roerich again returns to Slavic Rus' and looks for life ideals in it, the answer to the question about the fate of the people. This work of art caused a lot of controversy. The audience was most surprised by the unusual manner of writing. Few were able to appreciate the picture at that time, and first of all V. Serov, who insisted on acquiring it for the Tretyakov Gallery.

The search for images of ancient folk Rus', the desire for a laconic decorative style of writing also affected other works of this time: “The Town” (1902), “Building Boats” (1903), “Ancient Life”, “The Battle of Alexander Nevsky with Jarl Birger” (1904 ), "Slavs on the Dnieper" (1905).

In May 1903, Nikolai Konstantinovich began a long journey through Russia - a detour of cities rich in ancient monuments. The journey resumed the following summer. This kind of trip "for antiquity", as the artist called it, covered a huge area - Yaroslavl, Kostroma, Nizhny Novgorod, Vladimir, Suzdal, Rostov Veliky, Vilna, Mitava, Riga, Pskov, Tver, Uglich, Kalyazin, Zvenigorod and other cities.

Roerich set himself the ambitious task of studying ancient Russian architecture of various eras and schools. Along the way, he got acquainted with old painting, patiently searched for objects of applied art in remote remote villages, listened with enthusiasm to fairy tales, songs, and admired dances. And in all this he saw the true beauty of the people, "his marvelous diva, cherished by him for centuries."

During the trip, Nikolai Konstantinovich saw a majestic spectacle of diverse, unique in their forms monuments of national antiquity. He completely refuses at this time from stylization. His wide, confident stroke beautifully, expressively accurately conveys the most characteristic features of various architectural structures. Roerich writes them with a subtle understanding of the constructive basis, the peculiarities of the style of the era, and a kind of historical beauty. He created a large pictorial series, numbering about nine to a hundred works. They widely show the diversity and richness of ancient Russian architecture, glorify the most valuable and expensive, which is the pride of Russian art. One of the artist's biographers called these sketches "Pantheon of our former Glory", "Russian Champs Elysees". Unfortunately, this series of works was lost by Russia: seventy-five paintings were sold separately at auction.

During his travels in the ancient Russian cities, Roerich saw something else - terrible pictures of the destruction of ancient monuments, the death of many of them. Since then, he tirelessly appears in the periodical press with the propaganda of his native art and calls for urgent measures to be taken to preserve it.

Roerich's aspirations in the early period of creativity were so diverse. An extraordinary interest in his native history, in everything folk, national, tirelessly led him to expand knowledge, to search for new, yet unknown materials.

In his early works, Roerich showed the new world of Slavic Rus', which was little known in art before him, revealed in a vivid figurative form his understanding ancient era. In his works, it is unnecessary to look for the utmost accuracy in the transfer of one or another fact of history. He creates poetic, epic-spirited paintings that give the most general idea of ​​the era.

The heroes of his art are the people: the wisest elders of the tribe and clan, workers, warriors. Their life is full of seething energy. They decide their own fate: they confer, bravely build waterways, build cities together, and courageously defend themselves. These deeply national works are permeated with ardent love for the industrious brave founders of Rus', pride in our past. Each of them was created by the artist on the basis of a great knowledge of Russian history, ancient monuments, the development of the best traditions of Russian culture.

Possessing an exceptionally bright personality, Roerich very early grew into an interesting, original artist. His social ideals and his views on the lofty purpose of art were determined early on.

In the 1900s, especially after the revolution of 1905-1907, Roerich directs all the passion of his soul, all thoughts to the future, calls to create for the people, to create art saturated with great ideals of humanism.

Dreams of a new art carrying people joy and beauty, in the pursuit of this art, Roerich's artistic aspirations in the second period of creativity are also permeated. Still being carried away by the history of Slavic Rus' and creating paintings on these topics, he also now turns to the most ancient period - the era of the Stone Age. Carefully, with scientific foresight, he explores historical materials, conducts archeological excavations, collects the richest collection of objects of this time. By 1916 there were about 35 thousand of them. This was one of the largest private collections of its kind in the world.

In his works, in addition to resurrecting this little-studied, the earliest period of history and awakening patriotic feelings in the audience, he tries to give the depicted deep philosophical meaning.

In 1906, the monumental panel "Fight" was completed. It is perceived as a picturesque poem about the fearless Vikings. Cold North Sea. Large gray boats with red sails entered into a heavy fierce battle. And it seems that not only from-important warriors are fighting, but also these huge monstrous boats. As if echoing the furious battle, the forces of nature were thrown into confusion. Waves rise and fall. The sky is burning ominously. Heavy crimson-blue clouds swirl...

"Fight", perhaps, was the last work performed with oily paints. In terms of writing technique and content, it seems to complete the first period of Roerich's work.

Gradually, in the art of Roerich of this period, images of folk tales began to occupy an increasing place.

In search of the beauty of the past, Roerich, in his mature period of creativity, explores the history and art of not only Russia, but also other countries. Harsh Scandinavia inspired him to create the picturesque Viking Suite, which also included the famous Fight.

Since 1910, together with the composer I. Stavrinsky, he began to work on a new ballet The Rite of Spring, and thus gradually begins to join the theater. In 1914, Roerich's cherished dream of a complete production of the opera "Prince Igor" came true.

In 1923, his long-term dream came true - a trip to India and Central Asia. In India, Roerich studied the primary sources of classical Eastern philosophy, he was also fascinated by modern philosophical currents. He especially appreciated Tagore and Gandhi, about whom he wrote: "Tagore and Gandhi are the rarest expression of modern India."

His painting “Shadow of the Teacher”, written by Roerich in 1932, is widely known. Unusual figurative solution of this canvas. The folk tales of the East often tell of people who have left their shadow. It can appear unexpectedly in any place and remind a person of duty.

In the secluded mountains, Roerich did not leave a sense of responsibility for what was happening in the world. Even a bare rock, over which, perhaps, the Teacher's shadow once glided, should remind the traveler of his duty to humanity, carry the message of love, bless him for good deeds. This philosophical thought artist and determined the ideological content and construction of the painting "Shadow of the Teacher".

In the art of Roerich great place are occupied by the images of Russian followers. In the 1920s, paintings appeared one after another: “And we open the gates”, “And we work”, “And we are not afraid”, “And we continue to fish”, “St. Sergius the Builder. Against the backdrop of poetically painted Russian landscapes, these works depict ascetics who spend their days in tireless worries: they work, call for good, feat.

In the 1920s and 1940s, Roerich became interested in the heroic images of women, widely known in history and art, who called for a feat. This is how the triptych "Jeanne d'Arc" and the canvas "Nastasya Mi-kulichna" appear.

Roerich's brushes also belong to symbolic works, in which he sought to invest in the concepts of Woman, Mother, a meaning sacred to all peoples and glorify a woman as a warrior for the wonderful future of mankind. Often, at the same time, he used the image of the Mother of God that had existed for centuries and interpreted it in his own way.

In 1932, the composition "Oriflamma" ("Fiery Madonna") was performed. It depicts a calm majestic image of the Madonna. On her hands is a cloth with the symbol of the Banner of Peace. At one time, this pro-product was widely known to the world community. It was located in one of the premises of the International Union of the Roerich Pact in Bruges.

In the last period of creativity, Roerich paid much attention to the landscape, in which he put a deep meaning. A huge section here is occupied by works depicting mountains. Roerich captures the glaciers of the Karakorum, the eternal snows of Altai, the rocky ledges of the Tibetan Plateau, mountain lakes, and stormy rivers. The relief of his landscapes is varied. But the Himalayas became a particularly close, bright source of inspiration for him. He dedicated more than six hundred works to the Eastern Himalayas. Among them is such a significant and famous painting as "Remember!" (1945).

Genre and cult scenes were introduced into some landscapes. Often among the mountains, near water sources, the artist depicted hermits.

Roerich loved the mountains in all their diversity: in the bright extravaganza of sunsets and in the silence of the night, in snowstorms and the radiance of the sun, in their real natural form and in the refraction of Indian mythology. Every motive, no matter what he undertook, he conveyed with incomprehensible skill. Many of his paintings have become an artistic discovery for the audience...

Nicholas Roerich died December 13, 1947. But he is forever preserved in the hearts of the people. He always thought about his homeland. And through all the storms and hardships of life, he carried his bright, sincere feeling of love for Russia, devotion to her.

Bibliography

1. V. V. Sholokhaev “History of Russia”, Moscow, 1996.

2. V. P. Knyazeva “N. Roerich", Moscow, 1968.

Roerich.Ru - site about the artist Nicholas Roerich. Pictures, books, articles, biography.

Paintings by Svyatoslav Roerich can be seen in the museums of Belgium, Bulgaria, USA, France, India, Russia. The skill of the artist has earned worldwide recognition. The complexity of the compositions, the harmonious sound of colors, the expressiveness of lines - his work is equated to masterpieces of art.

Magnificent paintings, philosophical books left behind Roerich. Svyatoslav Nikolaevich - teacher, organizer, public figure - spent most of his life in India. Honorary awards from many countries testify to his great contribution to the development of culture and friendship between peoples.

His multifaceted activities cover architecture, theatre, painting, graphics, book illustration, ornithology, and archaeology. It is a known fact that the epidemic of pneumonic plague in India could not be stopped by official medicine. Svyatoslav Nikolaevich independently compiled a vaccine recipe. Vaccinations based on it have saved many lives.

Roerich family

Even under Peter I, the ancestor of the Roerich family, a Swede by nationality, moved to Russia. His surname, translated into Russian, meant "rich in fame." This family was famous for its public figures, writers, artists, philosophers.

• Nikolai Konstantinovich(1874-1947) - Academician of the Russian Academy of Arts. Thanks to him, the Society for the Protection and Preservation of Monuments of Art and Antiquity appeared in Russia. In the USA, he created cultural and educational communities and associations. His travels in the Himalayas, Tibet, Altai, Mongolia, and later in Manchuria and China were reflected in travel notes and stunning canvases. He ended his earthly journey in India, leaving behind more than 7,000 paintings.
• Elena Ivanovna(1879-1955) - his wife, in her youth shone with musical talents. She has performed in solo concerts as a pianist. She participated in the expeditions of her husband, was the inspirer and companion of his creative plans. He is the author of the books Fundamentals of Buddhism, Cryptograms of the East, Banner of St. Sergius of Radonezh.
• Yuri Nikolaevich(1902-1960) - their eldest son, had amazing linguistic abilities. He knew dozens of languages ​​perfectly. He was the director of the Himalayan Institute of Scientific Research "Urusvati", taught at the University of Kalimpong (India). In Moscow, he headed the sector of religion and philosophy of India at the Institute of Oriental Studies of the USSR Academy of Sciences.

Svyatoslav Roerich. Brief biography

Svyatoslav Nikolaevich (1904-1993) - the youngest son of Nikolai Konstantinovich and Elena Ivanovna. Growing up among talented people, he himself had many abilities. From childhood he was engaged in painting, learning languages. Father took Svyatoslav on archaeological trips, where he studied the history of ancient Russian cities.

After graduating (USA), he is engaged in book illustrations and graphics. Since 1923, he headed the Crown Mundi International Center for the Arts in New York, founded by his father.

Later, having moved to his parents in India, he devotes his time entirely to artistic creativity. Creates landscapes, portraits, holds solo exhibitions. Gradually joining the religion and philosophy of India, he heads the School of Arts in Bangalore. His wife was Devika Rani, an Indian film actress.

Roerich Svyatoslav Nikolaevich was the initiator of the creation in 1989 of the Soviet Fund of the Roerichs, where he transferred the archives of his parents and brother. He contributed to the strengthening of friendly ties between Russia and India. He was awarded the highest order of this eastern country - "Padsha-Bhushan".

Devika Rani

Devika Rani was brought up from a very young age in the family of her relative, Nobel Prize winner writer Rabindranath Tagore. The high culture of her environment, her passion for art - all this served as an impetus for the development of beautiful acting qualities. Devika Rani graduated from the Royal Academy of Dramatic Arts and the Royal Academy of Music in England.

Received in architecture. She starred in films directed by her first husband. Not only in India, but also in Europe, the films were a huge success. Subsequently, Devika Rani herself became a decorator and director (she studied this art in Germany).

Indian fidelity to the family, European education, numerous talents and beauty did not leave Roerich indifferent. They met while working on her new film. At first, Svyatoslav Roerich refused to fulfill the order of the film producer Rani. She liked the paintings of the artist. She planned to create scenery for her film in the same style. Devika went to a personal meeting with Roerich, not suspecting that he would soon become her life partner.

Roerich, whose biography is closely intertwined with the life of Devika Rani Roerich, at first sight fell in love with his future wife. He paints numerous portraits of his wife. His parents highly appreciated the spiritual qualities of the daughter-in-law, her high culture, education.

Paintings by Svyatoslav Roerich

Numerous travels from an early age, passion for different cultures and languages ​​left their mark on the work of Svyatoslav Nikolaevich. He created magnificent canvases on oriental themes. Participated with his father in creating scenery for the operas Sadko, Snegurochka, Prince Igor.

The versatility and vivid individualism of his paintings were appreciated during the life of the artist. Personal exhibitions were held with great success. They featured portraits of famous people of that time, Himalayan landscapes, genre sketches from Indian life.

Roerich paid much attention to the study of colors. Indian paintings are not oil paintings. Roerich was fascinated by the method of painting with tempera (on water). local artists kept their secrets carefully. Their colors remained bright and alive after centuries.

Father Roerich had a great influence on the work of Svyatoslav. The paintings created by Nikolai Konstantinovich are deeply symbolic. At the same time, they are accurate and documentary (in particular, the mountain ranges of the Himalayas). Landscapes of Svyatoslav - more tender, softer. Its tones are muted, details are slightly blurred and hazy.

All Roerich's paintings with titles cannot be found in museums in reproductions or in electronic form. He painted a little over 4,000 paintings, many of which are in private collections in different countries.

landscapes

The description of Roerich's paintings cannot be conveyed unambiguously. The artist's canvases consist of color contrasts softened by atmospheric flow. They seem to be pierced by the light of the Indian sun or clouded by the bluish shadows of dusk. In the painting "Big Rain" the power of the elements captures the viewer, captivates with its power a tropical downpour.

“And we are approaching” - the flow of the river and boulders pacify with grandeur. The white peaks of the mountains resemble the Himalayas. Roerich filled the picture with the clear rhythm of the river, the pulsation of life in contrast with the eternity of the snowy peaks.

"Girnar" is a monumental mountain, smoothed by the softness of the clouds and the light of the setting sun. "Spring in Kullu" is permeated with the pink light of blossoming trees. "Kanchenjunga" is an almost mystical interweaving of clouds, mountains, light and all kinds of shades. "Damodar Kund" shows us how the transparency of the water reflects the greenery of the trees, the high sky, this is an idyll of life.

portraits

Roerich's work is inextricably linked with portraits of famous people, political figures, and the artist's relatives. Portraits of father, mother, wife are painted with love and boundless respect. "Pandit Jawaharlal Nehru" creates the image of a wise, noble person.

"Portrait of a Lama", "Portrait of an Old Tibetan" - Indian portraits of ordinary people (blacksmith, sisters, maharajas, girls), they are written realistically, brightly, piercingly.

The artist Roerich in his paintings emphasizes universal ideals - wisdom, fortitude, courage, confidence, kindness, care. His portraits are elegant, laconic, inexpressibly beautiful.

Roerich's desire for portrait painting showed up early. He was not even 20 years old when the talent manifested itself and demanded more and more new models for creativity. Highlanders, Tibetan lamas, children - in everything you can see the brightness of images, folk wisdom or carefree fun.

Women's portraits are imbued with love, admiration external beauty combined with wealth and fortitude. The subjective perception of the artist is superimposed on the careful realism of the letter.

household sketches

Roerich often returns to the work of ordinary people in his canvases. Svyatoslav Nikolayevich fills his paintings with ingenuous simplicity and rich hues, they come to life before the eyes of the audience.

"My Neighbors" - a village scene. Two women are resting under the scorching sun, a dog is lazily lounging nearby. The picture is rhythmic with its combination of midday rest and the figure of a woman passing in the distance with a basket on her head.

"Potter's House" represents the hut of a pottery seller. A pile of pots, palm leaves of a house and two figures - the simplicity of the composition is mesmerizing.

The painting "Race" shows how a young girl and a little pig run, barely touching the ground. One can hear the boisterous laugh of an Indian woman, who easily picked up the edge of her robe.

"Daughters of the Sea" - a picture dedicated to the fishermen. They themselves go to sea, catch and process fish. Bronze bodies, the energy of these women is saturated inner strength and wholeness.

religious paintings

Roerich's life is connected with India, its epos. Svyatoslav Nikolaevich often used legends about Krishna in his paintings. His "Sacred Flute" is the young Krishna playing his flute. The blue of the sky, the dark figure of a young man, a lonely cloud and gold foliage - the gentle sound of a flute resounds through the desert.

Before us is Jacob and the Angel. The Christian theme of the painting is intertwined with the mystical shade of the sky and sparkling angel wings. “Christ with His Disciples” is a traditional, almost iconic depiction of people and an incredible, colorful sky. “When yogis gather”, calm figures do not disturb the peace of the blue mountains, the general peace of the area.

The eternal ideals of beauty and spirituality are reflected in the triptych "Crucified Mankind", the paintings "Eternal Life", "Eternal Call", "Feat".

Social activity

Roerich Svyatoslav Nikolaevich was interested in the search for beauty, the highest spirituality of man. He believed that proper education contributes to the development of a harmonious personality. He took a great part in the work of the children's school in Bangalore. It was created on the basis of the philosophy of the Indian thinker Ghosh.

Even Nicholas Roerich initiated the creation of the Roerich Pact, an agreement on the protection of monuments of art and architecture from destruction. Svyatoslav Nikolaevich also had to exert a lot of effort to get the Indian government to sign the document. India joined the Pact in August 1948.

For his contribution to friendship between Russia and India, the strengthening of cultural ties, S. N. Roerich received the title of laureate of the International J. Nehru Prize and the Padma-Bhushan Order, government awards from different countries.

In the 70-80s of the 20th century, Svetoslav Roerich, whose biography is full of pious deeds, presented the paintings of his father to the Russian people, published his books. Roerich readings are arranged. Later, after meeting with M. S. Gorbachev, with the support of the Council of Ministers of the USSR, Svyatoslav Nikolayevich became the initiator of the creation of the Soviet Roerich Fund and the Museum named after N. K. Roerich. After the collapse of the USSR, the foundation was renamed the International Center of the Roerichs.

The artistic and cultural heritage of the family includes paintings, personal correspondence, books, essays, a family library, relics, and personal items. All contents (the weight of the cargo was 4 tons) were to go to the Center-Museum, one of the halls of which bears the name of Svyatoslav Nikolaevich. Lectures are given in the museum, exhibitions and theme evenings are held.

Philosophy of S. N. Roerich

All members of the Roerich family adhered to the same philosophical line. The Ethics of Life was their system of views. This is the doctrine of the universe, its origin and evolution. The Philosophical Teaching of the Living Ethics (Agni Yoga) is a 14-volume work by Roerich. ancient wisdom of the Teachers of the East.

To reveal harmony, the highest sound in a person or in an object became the main idea of ​​Svyatoslav Nikolayevich. To saturate with cosmic vibrations, to make the soul respond - only in this way is it possible to become familiar with new ideas and concepts.

Spiritual education through the vision of the beauty of nature is reflected in his work. Art can touch the soul of a person. The formation of one's own character is a long process that takes place throughout life. Through the consonance of art, nature, soul, it is possible to join the cosmic consciousness. Which will gradually lead to the improvement of the person himself.

Beauty and harmony will help eliminate ugly thoughts, vile deeds, and will contribute to the evolution of the soul. The artist is able to awaken an emotional response in people. It will help you see the world differently. Beauty must penetrate into all spheres of human life. It is not abstract, but quite real. To be cleansed of the ordinary, to see the beauty in every moment of life - this is the main concept of Roerich. If you feel its vibration, then a change in daily thoughts and actions will contribute to a change in the soul.

Philosophy in creativity

The themes of humanism, justice, equality, brotherhood of all peoples described in the Ethics of Life run like a red thread through the work of Svyatoslav Roerich. He freely writes on any topic - religious, everyday. His paintings reflect Eastern teachings and Christian laws, mythology and the triumph of faith.

The artist synthesizes modernity and past eras, different cultures and nationalities. For him there are no countries and borders. His art unites everyone, from a simple shepherd to a top politician.

In his paintings, the struggle between good and evil is clearly drawn by light and darkness. His portraits are concrete and able to convey the inner state of a person. Realism is synthesized with a truly cosmic color combination.

Roerich's individuality and his inner wealth are clearly seen in the artist's art. The man in his paintings is a devoted son of nature, a tireless worker in her fields. He immortalized in his canvases the stability of the mountains and the mobility of the air, the beauty of sunrises and moonlit nights. External forms are subordinate to the inner vision of the artist.

Conclusion

The artist Roerich sought not only to grasp the basics indian art. He was completely imbued with the very essence of the philosophy of life of the Indians. For thousands of years, the foundations of the human existence of this country were created. The artistic language of Roerich is a fusion of Russian and Indian culture.

Roerich's reproductions can be purchased online. They are prepared from 3 to 5 days. The originals of his paintings are in the studio in Kullu and Bangalore, the State Tretyakov Gallery, the State Russian Museum, in private collections and numerous museums in India.

The singularity of his paintings catches the eye. A non-standard approach in the combination of colors, compositional solutions has a rich range. The beautiful, bright paintings of Roerich are imbued with kindness, faith in the bright future of mankind. Some canvases sound like a warning - the elevation of the heart is more important than the body and mind. He points out that compassion and mercy are the way of mankind's survival in the age of wars, ecological disasters, and epidemics.

Roerich was interested in the idea of ​​self-education of a person, the search for beauty in his soul and environment. He also strived for perfection and harmony in his work. Cosmic sound of his canvases, saturation artistic language, amazing energy testify to the undoubted talent of this teacher, public figure, organizer, artist, writer.