Roerich Nicholas

Painting “messenger”. On canvas, the artist writes a story so long that it does not even preserve reliable data about those times. Only echoes of the 9th century, scraps, small

Painting “Buddha the winner” in front of the source of life. Buddha Siddhartha Gautama – prince of the Shakya clan in North India. One of his names is Shakya Muni,

Nicholas Roerich as a fine artist and connoisseur of beauty attracted complex, great images, be it mountain peaks or heroes of the spirit. In the work of Roerich there is

The work of Nicholas Roerich “St. Francis” is a pair to the canvas of 1932 “St. Sergius of Radonezh”. The picture was painted in the same 1932 and is currently

In 1912 Nicholas Roerich began work on the scenery and costumes for the production of “Peer Gynt” at the Moscow Art Theater. The dramatic poem of Ibsen the philosopher, combining

The painting “Sarakha – Good Arrow”. “Sarakha” in Sanskrit means “archer”. The “Great Brahman” Sarakha is one of the greatest yogis of India, he is a Buddhist Mahasiddha, that is,

The picture of N. K. Roerich “Sergius the Builder” is dedicated to the great saint of the Russian Land – Sergius of Radonezh N. K. Roerich writes that “Work in

The painting “And we are not afraid.” We see a touching scene of the meeting of two monks, talking to each other. Next to one of them, a bear stands

The series “Sancta” was written in 1922 during the artist’s stay in America. Translated, “Sancta” means “Saints,” but Nikolai Konstantinovich himself preferred the word “Ascetics.” The series includes the paintings

The synthesis of beauty, truth and goodness, embodied in the “Banners of the East” series, brings together N. Roerich’s artistic ideas and the philosophy of the Unity. Here, in Asia,

Honoring and waiting for Buddha Maitreya, but no longer “in secret caves”, but in friendly conversations among caravan drivers at the sites, is the theme of the “Whispers of the

The painting “Oirot-Messenger of the White Burkhan” was painted by the artist in 1925, before the expedition arrived in Altai. Nikolai Konstantinovich attributed it to the “Banners of the East”

The fire sign of the era of Shambhala – the Red Horseman or the Red Horse – is the plot-semantic leitmotif of the Maitreya series. It represents a picturesque embodiment

In Paris, where N. K. Roerich traveled in 1900, he continued to work on the “Slavic” series of paintings. There was a painting “Idols”. Even before his departure abroad, the

The painting “And we work.” Early in the morning, when the sky is flooded with golden sunlight, the monks with buckets on the yoke leave the monastery, which is located