Roerich years of life. Nicholas Konstantinovich Roerich - quotes

Among Russian artists, Nikolai Konstantinovich Roerich stands out with his bright cut diamond. His works surprise, delight, and give understanding. The Russian soul is open to the whole world, full of incredible feelings.

Biography

On September 27, 1874, a son, Nikolai, was born into the family of a notary. The boy's life was full of impressions and experiments: his parents' friends were truly outstanding minds (Mendeleev, Mikeshin, Kostomarov). Scientists, artists, and intellectuals told a lot of interesting things, so the boy wanted to explore the world around him.

Nikolai was drawn to knowledge. Showing the greatest interest in the history of the country, painting, and archaeological research. The guy placed the main emphasis on the heritage of the culture of the peoples of Russia, eastern countries. The period of Nikolai’s youth and early youth is filled with many extremely important events:

1982. As a high school student, the young man independently engaged in research archaeological direction. Having become a student, he received membership of the Society of Archaeologists of the country.
1893. Graduation from the gymnasium ended. He immediately transferred to the University of St. Petersburg, choosing the legal path.
1895. The young man undergoes training and internship with A.I. Kuindzhi.
In the mid-90s of the 19th century, the future philosopher and artist actively communicated with Stasov, Diaghilev, Repin, etc.
Even before finishing his studies, he became famous thanks to his discovery (1897). Nikolai discovered a whole complex of ancient burials of Vodya, without leaving the St. Petersburg region, and completed a drawing-sketch of “Oshad”.
Studying at the St. Petersburg Academy of Arts was completed, and he defended his diploma with the work “The Messenger” (1897), which was later acquired by Tretyakov. The film was appreciated by critics, and the writer Leo Tolstoy actively admired the painting.
1898. Successfully defended thesis « Legal status artists of Ancient Rus'", completed his studies.
After graduation, I received an offer of cooperation with the Archaeological Institute of St. Petersburg. Received the rank of lecturer of a separate course.
1901. Took an active part in the creation of the Commission for the registration of ancient monuments of the St. Petersburg province. The new entity was subordinate to the Society for the Protection and Preservation of Monuments of Art and Antiquity in Russia.

The learned man is torn between art and science, trying to combine both passions. The works of Nicholas Roerich of this period belong to historical painting. Ancient Rus', oriental flavor, accurate historical images come to life on canvas.

The young archaeologist and art critic became assistant director of the main museum of Russia. At 24, this was considered a huge achievement, unthinkable to most. At the same time, the master of the brush was invited to become an assistant editor of an artistic magazine called “Art and the Art Industry.” Rapid development the artist's career continued. 3 years have passed. The young man was appointed secretary of the Imperial Society for the Encouragement of the Arts.

Personal relationships developed virtually parallel to public ones: in 1901, Nicholas Roerich’s family was pleased with his marriage. The archaeologist chose Elena Shaposhnikova as his companion. 1902 gave the painter his first child, Yurochka. The youngest child, Svyatoslav, was born in 1904.

For 8 years (1894-1902), the scientist-artist lived for some time in 40 cities, immersed himself in the past, and wrote 90 sketches. An attentive, inquisitive archaeologist drew attention to the ancient Russian works of icon painters and builders, pushing the majority of those who had the opportunity to help to the issue of preserving architectural masterpieces and unique iconographic samples.

Around 1904, the biography and work of Nicholas Roerich changed in character. Constant travel, working on books, supporting magazines, being an editor art publication took away free time. The post of director of the School of the Imperial Society for the Encouragement of the Arts (1906-1918) brought additional troubles. Roerich constantly builds in the school yard, creates decorations for the theater, draws, writes short stories, and reads philosophical treatises.

While traveling, the artist pondered well-known Christian philosophical theories, drew conclusions, and wrote them down on paper. This is how the book “The Power of Light” by Nicholas Roerich was published, where the author linked together real existence, religious dogmas, data from the Bible, and the legends of the elders.

After the October Revolution, the artist traveled with his works throughout Europe and America, organizing exhibitions and communicating with many interesting people. The scientist makes close acquaintance with Herbert Wells, Rabindranath Tagore, and John Galsworthy. Some basic parameters of the book “Agni Yoga” by Nicholas Roerich are beginning to take shape.

Nikolai did not ignore the new hobbies of the upper class, who had been infatuated with spiritualism since 1900. According to records and diaries, by 1921 the family was constantly conducting sessions without using a special table (the right souls responded).

In fact, the philosopher-artist spent his entire life on the road. India, China, countries of the European and American continents replaced the house. It’s a shame, but the famous archaeologist was prohibited from freely visiting his homeland. Each time we had to submit requests for permission. The date of death of Nicholas Roerich (12/15/1947) fell on the days when the response from Russia was on the way; accordingly, the artist did not know that the request was rejected.

Crossing the line of existence, the painter gave his descendants 7,000 paintings, approximately 30 books (including two books by Nicholas Roerich with poems, “The Seven Great Mysteries of the Cosmos” by Nicholas Roerich). The results of the excavations replenished the museums with tens of thousands of examples of ancient art found by the scientist.

Creation

Roerich gained greatest fame as an artist. Nicholas Roerich's paintings with titles revealing the essence of the masterpiece conquered the world.

“The Path to Shambhala” is a canvas that connects the landscape with spiritual notes. Sharp lines, clear strokes, sun rays on the mountain tops reveal the grandeur of the path, the loneliness of the road, the coldness of the naked soul. Only the strong in spirit will overcome the road.

The painting “Overseas Guests” reveals the historical past. Ancient Rus', epic heroes become closer and clearer. A caravan of rooks visits Russian soil for peaceful purposes, in a friendly manner. It is clear that weapons and armor are close to the warriors, the first danger will stir up a warlike mood.

“Madonna Oriflamme” combines the features of virtually all cultures that appeared directly before the artist’s eyes during his travels. It can be considered one of the symbols of the unity of peoples in Christianity. The Mother of God is the protection of the Russian people. With a patterned cover, the Mother of God protects the children of God, keeping enemies at a distance.

The painting “Mother of the World” shows admiration for the Mother of God, to whom women bring gifts and prayers. The souls of the dead are drawn to her, seeking protection, mercy, forgiveness.

"Zarathustra" - worship of light, the sun. The captured sunrise enchants and does not let the viewer go. It seems that new rays will break through into a new day, blessing the figure of the priest standing on the mountain.

Already looking at the painting “Himalayas. Everest,” a chill runs through my skin. It seems that the viewer finds himself in an unpleasant, cold environment, looking at the high-altitude snow. Strength of character, endurance, and fearlessness will help the traveler overcome the peak.

The charm of the morning Venus in the Himalayan sky is undeniable. The magnificent landscape with a bright star approaching the Earth in the painting “Star of the Morning” beckons in the foggy distances.

“Saint Sergius of Radonezh,” the guardian of the Russian land, protects it in the past, present, and future. This is evidenced by the picture where the saint came out with the army and led it.

"Kanchenjunga". Sacred peak of the Himalayas. Soaring perfection above the mists of clouds attracts with its purity and tenderness of colors. It’s easy to cleanse your soul, repent, and take vows here.

“The Doomed City” reveals the master of the brush’s view of the state of society. Vices, dirt, mental laziness filled the souls. Sodom and Gomorrah are cities that were destroyed. Such a fate awaits those who refuse to repent.

Nicholas Konstantinovich Roerich is an extraordinary figure. A lawyer, a scientist, an artist proved the ability to combine incongruous things, to create far from home, to live in the hope of return, while remaining oneself.

Life and work of the great Master

“Life is always bright. You still can’t invent anything better than life itself!”

Biography of Nicholas Konstantinovich in audio format, prepared by the Siberian Roerich Society:

Russian period

The ancient Scandinavian family of the Roerichs settled in Russia under Peter I and gave the Russian state many statesmen and military leaders.By the way, in some articles the surname Roerich is written like this - Rerich. But given our long-standing trends in Russian grammar, when we write the word “yolka” as “yolka”, it is possible that such a substitution of letters has occurred in Roerich’s surname over many years.

His father, Konstantin Fedorovich, was a famous notary and public figure. Mother - Maria Vasilievna Kalashnikova, came from a merchant family.

In January 1860, the first train arrived in Ostrov along the St. Petersburg-Warsaw road that was under construction. This led to an acquaintancedraftsman (and future notary)The Main Society of Russian Railways of Constantine Roerich and Maria Kalashnikova. They got married on October 16, 1860 in the Trinity Cathedral in the city of Ostrov.

The owner’s wife “knew how to create an atmosphere of cordiality and friendliness.” Maria Vasilievna's main concerns were related to family and raising children. Their parents raised them, as was customary for all the master's children of St. Petersburg, and from an early age they took them with them to the theater and concerts.

In the name of Maria Vasilievna, the Izvara estate was purchased, where children were guaranteed village freedom. Nicholas Roerich's childhood and youth were associated with the Izvara estate, which was located not far from the Volosovo station, outside Gatchina. The estate was surrounded by dense forests, and not far away there was an unfrozen lake with icy springs. In the living room there are paintings on the walls, in front of which little Kolya stood for a long time. One struck the imagination: flaming from the setting sunhigh mountains:"...it turned out to be none other than Kanchendenga! Where did it come from? How did it get there?" (Kanchenjunga - mountain range in the Himalayas on the border of India and Nepal).

And another interesting fact: during the time of Catherine II, a Hindu rajah lived not far from the estate. The name of the estate “Izvara” was attributed to Indian origin; from Sanskrit the word is translated as “Almighty” or “Divine Light”.

Nicholas Roerich was born September 27 (October 9, new style) 1874 In Petersburg.

Roerich was also interested intheater. They built a stage and bought cut-out pictures for the plays, but this was not enough, and the boy began to show his own productions: “Ondines” by Schiller, “Aida”, “Ivanhoe”. Candles were used and colored paper, to create lighting effects. The love for literature, and especially for poetry, even manifested itself in the fact that poems, epics, legends, folk tales were written down and memorized, and already in his old age Roerich quoted many of them from memory. But he also wrote: “Olga’s Revenge for Igor’s Death”, “Igor’s Campaign”, plays on historical topics, essays about hunting.

At the age of nine, Roerich met someone who came to Izvaraarchaeologist L. Ivanovsky. The scientist began excavating in the vicinity of the estate and taking the inquisitive boy with him. Subsequently, Roerich, recalling the Izvar burial mounds, wrote: "Nothing and in no waywill bring you closer to the feeling of the ancient world, like a personal excavation."

The Kole family diligently instilled high concepts of honor, dignity, goodwill, hard work and responsibility. The question of the meaning of life began to worry the future artist and thinker early on.

Nikolai was not in good health from birth. Weak lungs were especially annoying. Constant colds, bronchitis. After the third grade, the family doctor recommended winter and spring hunts to harden the body, where there was full communication with nature, a thirst for new sensations, a desire to show ingenuity, courage, resourcefulness, and ingenuity.

Elder sister - Lydia (married Ozerov), younger brothers- Vladimir (agrobiologist, teacher) and Boris (architect-artist, teacher) Roerichs. Among the friends of the Roerich family were such prominent figures as the scientist D. Mendeleev, historian N. Kostomarov and many, many others.

In 1891, a family friend, artist and sculptor M.O. Mikeshin drew attention to his hobbydrawingand started systematic classes with him. Meeting the mosaicist I. Kudrin aroused interest in mosaic works.

In 1893, after graduating from the Karl May Gymnasium, Nicholas Roerichsimultaneously arrives at the Faculty of Law of St. Petersburg University (graduated in 1898) and at the Imperial Academy of Arts (graduated in 1897). Since 1895 he has been engagedin the studio of the famous artist Arkhip Ivanovich Kuindzhi . At this time, he communicated closely with famous cultural figures of that time - V.V. Stasov, I.E. Repin, N.A. Rimsky-Korsakov, D.V. Grigorovich, S.P. Diaghilev.

Since 1892, Roerich began to conduct independent archaeological excavations. Already in student years he becomesmember of the Russian Archaeological Society . Conducts numerous excavations in St. Petersburg, Pskov, Novgorod, Tver, Yaroslavl, Smolensk provinces,teachesat the St. Petersburg Archaeological Institute (from 1897 to 1903).

Beginning in 1904, together with Prince Putyatin, he discovered several Neolithic sites in Valdai (in the vicinity of Lake Piros). Since 1905, Roerich began collecting a collection of Stone Age antiquities. It was presented at the French Prehistoric Congress in Perigueux (1905), where it received high praise. By 1910, the collection included more than 30 thousand exhibits from Russia, Germany, Italy, and France. In the summer of 1910, Roerich, together with N. E. Makarenko, conducted the first archaeological excavations in Novgorod.

In 1897 N.K. Roerich finished Petersburg Academy arts His diploma painting “The Messenger” was acquired by the famous collector of works of Russian art P. M. Tretyakov.

Stasov V.V., a famous critic of that time, 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 became fateful for the young Roerich. Addressing him, Leo Tolstoy said:“Have you ever crossed a fast-moving river in a boat? You must always edit above the place where you need it, otherwise it will blow away. Likewise, in the area of moral requirements, one must always steer higher - life will destroy everything. 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! We will have to work hard for the Motherland.”

N.K. Roerich works a lot inhistorical genre. In the early period of his creativity, he created canvases: “The Elders Converge” (1898), “Yaroslavna’s Lament” (1893), “The Beginning of Rus'. Slavs” (1896), “Idols” (1901), “Building Boats”, etc. These works demonstrate the artist’s original talent and innovative search in art. “Already in the first filmsa distinctive style emergesRoerich: his all-encompassing approach to composition, clarity of lines and laconicism, purity of color and musicality, great simplicity of expression and truthfulness.” The artist’s paintings are based on a deep knowledge of historical material, convey a sense of the spirit of the times and are rich in philosophical content.

At the age of 24, N.K. Roerich becomesassistant museum director at the Imperial Society for the Encouragement of the ArtsAnd simultaneously assistant editor art magazine "Art and Art Industry". Three years later he holds the position of secretary of the Imperial Society for the Encouragement of Arts.

In 1899 (at the age of 25) he met at the estate of Prince Putyatinwith Elena Ivanovna Shaposhnikova. Their wedding took place in October 1901. Elena Ivanovna became a faithful companion and inspiration for Nicholas Roerich; they would pass their entire lives hand in hand, creatively and spiritually complementing each other. In 1902, their son Yuri, a future orientalist, was born, and in 1904, Svyatoslav, a future artist and public figure.

In 1903-1904, N.K. Roerich and his wife traveled around Russia,visiting more than 40 cities , famous for its ancient monuments. The purpose of this “trip through the old days” wasstudying the roots of Russian culture. The result of the trip waslarge architectural series of paintings artist (about 90 sketches) 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.

In 1906 he creates 12sketches for the church The Protection of the Virgin Mary in the Golubev estate in Parkhomovka near Kiev (architect V. A. Pokrovsky), as well as sketches of mosaics for the church in the name of the Holy Apostles Peter and Paul at the Shlisselburg gunpowder factories (architect V. A. Pokrovsky), for the Trinity Cathedral of Pochaevskaya laurels (1910), 4 sketches for painting the chapel of St. Anastasia at the Olginsky Bridge in Pskov (1913), 12 panels for the Villa Livshits in Nice (1914). In 1914 he decorated the Church of St. Spirit in Talashkino (composition “Queen of Heaven”, etc.). Some mosaics created according to Roerich’s sketches in the workshop of V. A. Frolov have survived to this day.

The multifaceted talent of Nicholas Roerich also manifested itself in hisworks for theatrical productions : “The Snow Maiden”, “Peer Gynt”, “Princess Malen”, “Valkyrie”, etc. He was among the leading ideologists and creators of the reconstructive “Ancient Theater” (1907-1908; 1913-1914) - a notable and unique phenomenon V cultural life Russia in the first quarter of the 20th century, and N. Roerich participated in this historical and dramatic event and asset designer, and as an art critic . During the famous “Russian Seasons” of S. Diaghilev in Paris, the “Polovtsian Dances” from “Prince Igor” by Borodin, “The Woman of Pskov” by Rimsky-Korsakov, and the ballet “The Rite of Spring” to the music of Stravinsky were staged in Paris, designed by N.K. Roerich.

era Silver Age, in which N.K. Roerich began his creative career, was an era of spiritual uplift, which undoubtedly influenced the formation of the artist’s personality. A galaxy of outstanding thinkers: V. S. Solovyov, E. N. Trubetskoy, V. V. Rozanov, P. A. Florensky, S. N. Bulgakov, N. A. Berdyaev and others introduced deep philosophical thought into Russian culture, filled her with an intense search for the meaning of life and moral ideals. The Russian intelligentsia showed particular interest in the culture of the East. In search of values that have universal human significance, N.K. Roerich, in addition to Russian philosophy, alsostudied Eastern philosophy , the works of outstanding thinkers of India - Ramakrishna and Vivekananda, the work of Rabindranath Tagore.

Acquaintance with the philosophical thought of the East was reflected in the works of N.K. Roerich. If in early paintings the artist's defining subjects were ancient pagan Rus', colorful images folk epic(“The City is being Built”, “Sinister”, “Overseas Guests”, etc.), thenalready from mid 1905 many of his paintings and essays were dedicated to India(“Lakshmi”, “Indian Way”, “Krishna”, “Dreams of India”, etc.). Ancient cultures of Russia and India,their common source , are of interest to Roerich as an artist and as a scientist. In his historical concept vital importance has a relationship between the temporal categories of past, present and future. He measures the past and present by the future:“...when we call to study the past, we will do it only for the sake of the future” . “Make the steps of the future from wonderful ancient stones” .

From 1906 to 1918 Nicholas Roerich wasdirector of the School Imperial Society for the Encouragement of the Arts, while simultaneously studyingteaching work . Having accepted the appointment, he enthusiastically gets to work: expanding the territory of the school, opening new departments and classes, restoring the rights of the pedagogical council, creating aMuseum of Russian Art , dreams of reorganizing the School of Educational Arts into the Free People's Academy, or the School of Arts. The school organizes a number of workshops. Includingiconographicled by the famous icon painter Tyulin. AtRoerich increased the number of female classes, A women's sketch 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 were introduced. Started in 1914 choir practiceunder the leadership of S.S. Mitusova. There have also been changes in the training programs: in the full-scale class, the time for setting up life has been reduced, the copying method of teaching has been eliminated, and training in working with adhesive paints has been restored for the training of decorative artists. A unique report of the six-month activity of the icon-painting workshop was the act of presenting an icon made by students to Emperor Nicholas II on December 6, 1909.

Since 1906, the artist has constantlyparticipates in foreign exhibitions . We got acquainted with his workParis, Venice, Berlin, Rome, Brussels, Vienna, London. Roerich's paintings were acquired by the National Museum of Rome, the Louvre and other European museums.

Since about 1906 it has been celebratednew, more mature period in the works of Roerich. His approach to the historical theme changes: history, mythology, folklore turn into sources from which the artist draws material for metaphorical visual language. His art combinesrealism and symbolism . During this period, the search for a master in the field of color intensifies. He almost gives up butter and goes totempera technique . A lot of experimenting with paint compositions, uses a method of layering one color tone on top of another. The originality and originality of the artist’s art was noted art criticism. In Russia and Europe, during the period from 1907 to 1918, nine monographs and several dozen art magazines devoted to Roerich’s work were published. Leonid Andreev figuratively called the world created by the artist “the Power of Roerich.”

In 1909, N.K. Roerich was electedAcademician of the Russian Academy of Arts and member of the Reims Academy in France.

Since 1910 he heads the art association “World of Art” , whose members were A. Benois, L. Bakst, I. Grabar, V. Serov, K. Petrov-Vodkin, B. Kustodiev, A. Ostroumova-Lebedeva and others.

“The greatest intuitionist of the century,” according to A.M. Gorky, N.K. Roerich in symbolic images expressed his alarming premonitions on the eve of the First World War: the paintings “The Most Pure City—Bitterness for the Enemies,” “The Last Angel,” “Glow,” “Human Affairs,” etc. They show the themethe struggle of two principles - light and darkness, passing through the artist’s entire work, as well as man’s responsibility for his destiny and the whole world. Nicholas Roerich is not onlycreates anti-war paintings, but also writes articles, dedicated to the protection of peace and culture.

In 1915, N.K. Roerich made a report to Emperor Nicholas II and Grand Duke Nikolai Nikolaevich (the younger) with an appeal to acceptserious government measures for the nationwide protection of cultural treasures.

In 1916, due to a serious lung disease, N.K. Roerich, at the insistence of doctors, moved with his family to Finland (Serdobol), on the coast Lake Ladoga. The proximity to Petrograd made it possible to carry out the affairs of the School of the Society for the Encouragement of the Arts.

On March 4, 1917, a month after the February Revolution, Maxim Gorky gathered in his apartment large group artists, writers and performers. Among those present were Roerich, Alexander Benois, Bilibin, Dobuzhinsky, Petrov-Vodkin, Shchuko, Chaliapin. Elected at the meetingArts Commission. 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 its borders with Russia, and N.K. Roerich and his family found themselves cut off from their homeland.

In 1919, having received an invitation from Sweden, Nicholas Roerichtravels with exhibitions to Scandinavian countries . In the same year he goes to London , hoping to go to India.

Together with my wife joins the Theosophical Society founded by H. P. Blavatsky . In the autumn of the same year, at the invitation of S. P. Diaghilev, he designed Russian operas in London to the music of M. P. Mussorgsky and A.P. Borodin.

In 1920, N.K. Roerich received a proposal from the director of the Chicago Institute of Arts to organizelarge exhibition tour of 30 US cities . Among the artist’s 115 paintings were exhibited: “Treasure of Angels” (1905), “The Last Angel” (1912), “The Viking’s Daughter” (1917), “Call of the Sun” (1918), “Ecstasy” (1917), and the “Eroica” series. and “Dreams of the East” and others. The exhibitions were a great success. In America, Roerich painted a series of paintings “Sankta” (Saints), “New Mexico”, “Ocean Suite”, “Dreams of Wisdom”, etc.

In America, Roerich earned a reputation as a seer, guru and opponent of war.

At the expense of donated charitable funds, thecultural and educational organizations .

Opened in New York in November 1921Master-Institute of United Arts , main goal which was the rapprochement of peoples through culture and art. Defining the tasks of the Institute, Roerich wrote:

“Art will unite humanity. Art is one and inseparable. Art has many branches, but the root is one... Everyone feels the truth of beauty. The gates of the sacred spring must be open to everyone. 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.”

Almost simultaneously with the Institute of United Arts in Chicago there wasthe association of artists “Cor Ardens” (“Burning Hearts”) was established , and in 1922 aroseInternational Cultural Center “Corona Mundi” (“Crown of Peace”) .

In November 1923 Nicholas Roerich Museum opened in New York , containing a large collection of paintings by the artist (see below).

Spiritualistic seances. "Automatic letter"

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

Direct notes using the automatic writing method were made mainly by N.K. Roerich, and partly by his son Yuri. That. a series of pencil portraits was created depicting Eastern Teachers - Buddha, Lao Tzu, Sister Oriola, 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” in automatic writing.

This is how V. A. Shibaev (later Roerich’s secretary) describes their first joint spiritualistic session:“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 didn’t 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 had asked their leaders to let me join the circle. But having secured a positive response, I was asked to come in and sit at a table. There was full light in the room, and I clearly saw that all possibility of deception was excluded. The table shook and jumped nervously, and when he was asked who it was (there was a conventional knock: once - yes; twice - no; three times - reinforced yes), whether it was the Teacher, the table jumped up and knocked 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. Several phrases were collected in this way.”

The spiritualistic sessions of the Roerichs are also known from their intra-family correspondence and diary entries.During spiritualistic sessions of “table turning”, which were not an end in themselves, the Roerichs triedestablish contact with Teachers (Mahatmas), which, according to them, they managed to dofrom the second half of 1921. Later, the Roerichs began to prohibit their circle from using spiritualistic seances, and to introduce their “interlocutors” and to “hear” them, the Roerich family no longer needed the help of the table.

Roerich himself did not consider himself a spiritualist or mystic, arguing that the desire for “cognition of the subtlest energies” is not mysticism, but a 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 emigrant press. Howeversoon his views suddenly changed, and the Bolsheviks found themselves among Roerich’s ideological allies.In the fall of 1924, he left America for Europe , where he visited the USSR representative office in Berlin, met with Plenipotentiary Representative N.N. Krestinsky and then with his assistant G.A. Astakhov.

Ideological closeness to communism manifested itself in the Roerichs' literature.The Mongolian edition of "Community" (1926), one of the books of Agni Yoga, contained frequent references to Lenin and parallels were drawn between the communist community and the Buddhist one.In essence, it gave instructions to the Soviet government on the need to immediately implement the reforms begun by Lenin (which was not done). Later, a “universal” version of the book was published (2nd ed., Riga, 1936) - without mentioning the names of Lenin and Marx, and the word “commune” was replaced by the word “community”. For example, paragraph 64 of the 1936 “Community” no longer contains the words that were in the 1926 edition:“Take the appearance of Lenin as a sign of the sensitivity of the Cosmos” .

In Khotan (southeast Xinjiang Uygur Autonomous Region China) the Roerichs had a famousa letter from the Mahatmas for delivery to the Soviet government and a casket with Himalayan soil for the grave of “Mahatma Lenin” . Roerich personally presented all the gifts 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 “Mountain of Lenin,” which is now kept in the Nizhny Novgorod Museum of Fine Arts. The painting clearly depicts the easily recognizable image of Lenin. Later, Roerich renamed the painting “The Appearance of the Time,” but in Moscow it appeared under its original name, as stated in Roerich’s deed of gift with my own hand wrote: “Mount Lenin.”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 expedition diary of N.K. Roerich “Altai-Himalayas”, preserved in the archive Foreign policy RF (Moscow), entry dated 10/02/1925.

Roerich handed over to the People's Commissar of Education A.V. Lunacharsky 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 at A.M. Gorky’s dacha.

Central Asian expedition 1924-1928

The events of the first Central Asian expedition were reflected in the diaries of N. K. Roerich “Altai-Himalayas” and Yu. N. Roerich “On the Paths of Central Asia,” as well as the diaries of other participants in the Tibetan journey, which drew attention to the special “Buddhist mission” » expeditions to Lhasa (Ryabinin, Portnyagin, Kordashevsky). There are also a number of declassified documents from Soviet, English and German intelligence services about the activities of the Roerichs during the expedition.

December 2, 1923 N.K. Roerich and his family arrive from America to India. The expedition route passed through Sikkim, Kashmir, Ladakh, China (Xinjiang), Russia (with a stop in Moscow), Siberia, Altai, Mongolia, Tibet, and through unexplored areas of the Trans-Himalaya. The expedition continuedfrom 1924 to 1928year. Officially, the expedition was declared as American.

During the expedition there were carried outarchaeological and ethnographic research in unexplored parts of Asia, foundrare manuscripts , collected linguistic materials , works folklore, descriptions madelocal customs, written books(“Heart of Asia”, “Altai - Himalayas”), created aroundfive hundred paintings, on which the artist depicted a picturesque panorama of the expedition route, a series of canvases “Himalayas” was started, the series “Maitreya”, “Sikkim Way”, “His Country”, “Teachers of the East”, etc. were created.

In the process of preparing the expedition, the Roerichs, together with the American businessman Louis Horsch, created two business corporations in New York - “Ur” and “Belukha”, which had the goal of conducting widespread business enterprise in the territory of the Soviet Union. While on an expedition in Moscow, 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 proposed concessions and studying the possibility of “organizing a cultural and industrial center in the area of Mount Belukha.”

The first Central Asian expedition of N.K. Roerich took place in several stages. Upon arrival in Mongolia, it grew 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 the statement of its leader, Roerich, had the status of a diplomatic embassy on behalf of the “Union of Western Buddhists”.

In the fall of 1927, the expedition was detained by the Tibetan authorities on the outskirts of Lhasa and spent five months in snow captivity high in the mountains on the Changtang plateau, where Roerich wrote numerous letters to the Tibetan authorities, including the Dalai Lama, about how unfairly the first “Buddhist embassy". The expedition was never allowed to enter Lhasa and was forced to make its way to India at the cost of incredible difficulties and losses.

Institute of Himalayan Studies "Urusvati"

The extensive scientific material collected by the Roerichs during the expedition required systematization and processing, and at the end of the expeditionOn July 12, 1928, the Institute of Himalayan Studies was founded in New York., and then in the Western Himalayas,in the Kullu ValleyN.K. Roerich foundedUrusvati Institute, which translated from Sanskrit means “Light morning star" Here, in Kullu, it will be held last period life of an artist. Yuri Roerich, the eldest son of Nicholas Roerich, an orientalist, becomes the director of the Institute. He also led ethnological and linguistic research and exploration of archaeological sites.

Worked at the institutemedical, zoological, botanical, biochemical and many other laboratories. A largework in the field of linguistics and philology of the East. Collected and translated into European languages rare written sources from centuries ago, half-forgotten dialects were studied. Invited specialists and temporary employees collected botanical and zoological collections.

Dozens of scientific institutions from Europe, America and Asia collaborated with the institute. He sent scientific materials to the University of Michigan, the New York Botanical Garden, the Punjab University, the Paris Museum of Natural History, Harvard University, and the Botanical Garden of the USSR Academy of Sciences. Academician N.I. Vavilov, a famous 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 asAlbert Einstein, Louis de Broglie, Robert Millikan, Sven Hedin and others. Since 1931, the institute published a yearbook in which the results were published scientific activity his employees. Scientific and periodical publications in Asia, Europe and America published articles on special issues being developed at Urusvati.

Soon a global crisis broke out, then a world war. The Institute of Himalayan Studies was deprived of its activities and was mothballed.

Louis Horsch and Master-Building

In 1922, Roerich met a successful New York brokerLouis L. Horsch(Louis L. Horch) and his wife Nettie.

In 1925, while Roerich was in Asia, Horsch beganconstruction of the Master Building (The Master Building, the title can be translated asHouse of the Teacher or House of the Master). The Master Building was a 29-story Art Deco skyscraper, the first two floors of which housed The Roerich Museum and The Master Institute of United Arts, and the upper floors housed an apartment hotel. For the construction of the building, a public organization was established in 1923 - the Roerich Museum, managed by President L. Horsch and the Board of Trustees, N.K. Roerich was elected Honorary President. Sources of funding included donations from Horsch and a bond issue.

The Master's house was solemnlyopened in November 1929. The museum's collection includedmore than a thousand paintings by Roerich, works of art of Tibet, library of Tibetan manuscripts. An auditorium with 300 seats was intended for public events. United Arts Instituteorganized classes in painting, sculpture, architecture and design.

Horsch also helped Roerich in his other endeavors - he financed the “Guru” expeditions and the enterprises he organized, primarily the “Ur” and “Belukha” concessions. Since 1929, all commercial endeavors of Roerich and Horsch went unsuccessfully. Roerich's Manchurian expedition of 1934-35 (see below) turned, as it was perceived from the USA, into a complete scandal; The American press accused Roerich of “humiliating the US government.” In August 1935, a crisis broke out and Horsch stopped communicating with Roerich.

Horsch, as President of the Roerich Museum and its creditor, had significant influence on the Board of Trustees. As it turned out, control over the Master’s House essentially belonged to Horsch, and Roerich disposed of it based on not entirely clear agreements with Horsch. As a result of a series of scandals, seizures of property and trials The Roerich Museum and the Institute were closed by 1938, and the building came under the control of Horsch.

Horsch initiated an audit by the US Tax Service, which revealed that N.K. Roerich had failed to pay income taxes in the amount of $48,000, and also won a lawsuit against Roerich in the amount of $200,000. Coupled with Roerich’s break with Minister G. E. Wallace, claims against Roerich by the US Government, and the critical attitude of the American press towards Roerich, these debts led tothat Roerich was never able to return to the USA. Some of the paintings were sold by the Horsch family to private collections; the museum was closed until 1949.

Manchurian expedition 1934-1935

Roerich, having analyzed the trends in world politics and the prophecies collected in the Central Asian expedition, 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. Wanting to take part in this process if possible, he organizes a long-term expedition to Manchuria and northern China through the American Agricultural Department. In 1930, Roerich became friends with G. E. Wallace, who, having become a minister Agriculture in the administration of Franklin Roosevelt, sent Roerich on an expedition to collect plant seeds that would prevent the destruction of fertile soil layers.

The expedition was organized in 1934-1935 and consisted of two parts. The first route included the Khingan ridge and the Bargin 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 parts of modern China. The artist wrote a lotsketches, spent archaeological research , collected materials on linguistics and folklore . Roerich wrote within 17 months222 essaysfor the “Diary Sheets”, which reflect expeditionary work, touch on scientific and philosophical topics. As a result of the expedition it was foundabout 300 species of drought-resistant herbs, medicinal plants collected. 2000 parcels of seeds were sent to America. Secretary of Agriculture Henry Wallace, who initiated the expedition, subsequently reported that almost all the seeds found were either of low value or had no value at all.

However, during the expedition, Roerich, largely ignoring the mission entrusted to him, plunged into Asian politics, in vain encouraging the Buddhist masses to revolution. Roerich's first business meeting after leaving the USA for the expedition was in Japan with the Minister of War Hayashi Senjuro, and the purpose of the meeting wasresearch into the possibilities of creating a new state in northeast Asia. Roerich was also active among the large Russian emigration, becoming a prominent cultural leader. This caused dissatisfaction with the US authorities, on whose behalf and at whose expense the expedition was carried out. This 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 circulation of N. Roerich’s book “The 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, since they could ruin his reputation in the eyes of voters.

The expedition was terminated early 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 USA.

Roerich Pact and Banner of Peace

In his philosophical and artistic essays, Roerich creates a new concept of 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 foundation” of this process.“Culture rests on Beauty and Knowledge” - he wrote. Beauty is learned by man only through Culture, an integral part of which is creativity. This is also discussed in the books of Living Ethics.

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

Creation and signing of the Pact

In 1929, N. K. Roerich, in collaboration with the doctor of international law and political sciences of the University of Paris, G. G. Shklyaver, prepared a draft Treaty for the Protection of Cultural Property (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, G. G. Shklyaver.on Nobel Prize peace .

In 1929, the text of the draft Treaty with an accompanying appeal from 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 all over the world. As a result, committees in support of the Pact were formed in a number of countries. The draft Pact was approved by the Committee on Museum Affairs of the League of Nations, as well as 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, butlike educational law, who, from the first days of school, will educate the younger generation with noble ideas about preserving true values of all humanity" , said Nicholas Roerich. The idea of the Pact was supportedRomain Rolland, Bernard Shaw, Rabindranath Tagore, Albert Einstein, Thomas Mann, H.G. Wells and etc.

The US State Department considered the pact “useless, weak and unenforceable.”" On August 30, 1933, the government announced the uselessness of the Roerich Pact, since all 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 April 15, 1935 at the White House in Washington with the personal participation of Franklin Roosevelt. The document was ratified by 10 of the 21 countries of the American continent.

On June 23, 1935, a scandal broke out in America, provoked by an article by Beijing journalist John Powell in the Chicago Tribune newspaper, and concerning Roerich's Manchurian expedition.As a result of the scandal, Henry Wallace terminated Roerich's 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 virtually all European powers, reporting“those who fanatically continue their policies, elevating the name, not the ideal” (57 countries in total). Having lost faith in Roerich, Wallace even tried to rename the Roerich Pact.

The Roerich Pact became the first international act specifically dedicated to the protection of cultural property,the only agreement in this area adopted by part of the international community before World War II. In 1949, at the 4th session of the General ConferenceUNESCOit was decided to begin work on international legal regulation in the field of 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-Oriflamme” is especially dedicated to the Pact.

The Second World War

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

During the war years, the artist again turned to the theme of the Motherland in his work. During this period, he created a number of paintings - “Igor’s March”, “Alexander Nevsky”, “Partisans”, “Victory”, “The Heroes Awoke” and others, in which he uses images of Russian history and predicts the victory of the Russian people over fascism.

last years of life

Nicholas Roerich personally visited Indiafamiliar with famous Indian philosophers, scientists, writers, and public figures.

In 1942, Nicholas Roerich hosted Indian freedom fighter Jawaharlal Nehru 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. 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 captured the spirit of these mountains, reflecting their countless moods and color combinations. Nicholas Roerich’s paintings inspired many new trends among our artists.”

In India, the artist continues to work on the series of paintings “Himalayas”, part ofmore than two thousand paintings . For Roerich, the mountain world is an inexhaustible source of inspiration. Art critics noted a new direction in his work and called it “master of the mountains" In India, the series “Shambhala”, “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 .

Immediately after the end of the war, the artist requested a visa to enter the Soviet Union, but on December 13, 1947, he passed away without knowing that his visa was denied.

In the Kullu Valley, at the site of the funeral pyre, a large rectangular stone was installed, on which the inscription was carved: “On December 15, 1947, the body of Maharishi Nicholas Roerich, the great Russian friend of India, was committed to fire. Let there be peace."

Inheritance

After the death of Nicholas Roerich, it turned out that in his will he wrote: “I hereby bequeath all my property, paintings, literary rights... for lifelong use to my wife Elena Ivanovna Roerich. After her, I will bequeath all the specified property to the All-Union Communist Party.” Roerich appointed I.V. Stalin, People's Commissar for Foreign Affairs G.V. Chicherin and Consul General of the USSR in China A. Bystrov as the executors of his will.

In 1957, part of N.K. Roerich’s property was brought to Moscow by his eldest son Yuri. More than 400 paintings weretransferred to the stateand formed the basis of the exposition of the corresponding sectionMuseum of Oriental Art. The most valuable paintings family archive, works of art of the peoples of the East and other things Yu. N. Roerich kept in his apartment. He died in 1960, and a significant part of N.K. Roerich’s inheritance continued to remain in his apartment, since the decision by the USSR Ministry of Culture to create a memorial apartment museum was delayed. They stayed in the apartment former housekeeper N.K. Roerich and her husband, who categorically refused to give up valuables that did not belong to them.

The other part of the inheritance remained in India, in the possession of Roerich’s youngest son, Svyatoslav. In 1974, in connection with the celebration of the anniversary of Nicholas Roerich in the USSR, Svyatoslav Nikolaevich brought from India a collection of paintings by himself and his father. The paintings were widely exhibited and were later transferred to the State Museum of Oriental Art. In 1990, another part of his father’s property that belonged to Svyatoslav Roerich was transferred to himTo the Soviet Roerich Foundation.

Roerich movement

The Roerich movement arose in the 1920s in countries such as the USA (New York), Latvia (Riga), France (Paris), Bulgaria (Sofia). In the 1920s and 1930s, Roerich societies began to be created, with the goal of promoting the Roerich Pact, while simultaneously disseminating the ideas of Agni Yoga (“Living Ethics”). Since 1935, after the cessation of support for Roerich from businessman Louis Horsch and politician Henry Wallace, the movement began to decline.

One of the most active was the Roerich Society in Latvia. It was in Riga that many books of Living Ethics were first published. This society existed until Latvia joined the USSR in 1940. In a short period of time, the publishing house of the Latvian Society published about 50 books, periodicals, etc. The founder of this publishing activity was Riga resident Vladimir Anatolyevich Shibaev (1898-1975). Since 1932, the publishing activity was taken over by Richard Yakovlevich Rudzitis (1898-1960), a poet and expert on the culture and traditions of the East, invited in 1929 to translate works on philosophy.

Roerich societies, circles and groups also existed in Germany, Switzerland (“Crown Mundi”), Estonia, and Manchuria (Harbin).

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.

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 a close circle of Roerich associates and the financial support of businessman Louis Horsch. At that time, it was the only museum in America dedicated to the work of only one artist. Since 1929, the museum and all Roerich institutions were housed in a specially built building on the site of the former museum - a 29-story skyscraperThe Master Building. However, the conflict between the Roerichs and Horsch, which began in 1935, led to the ruin of all American Roerich organizations and, among other things, to the closure of the museum.

Thanks to the efforts of Helena Roerich, Katherine Campbell-Stibbe and Zinaida Fosdick, another Nicholas Roerich Museum was opened in New York in 1949. It is the oldest center in the world presenting Roerich's paintings and distributing reproductions of his paintings and numerous books about him, his life and work.

Roerich Museum in Riga (1933-1940)

The Roerich Museum in Riga was created in 1933 by the Latvian Roerich Society on the initiative of N.K. Roerich. The exhibition was based on forty paintings by N.K. Roerich, including “Bramaputra” (1932), “Stronghold of Tibet” (1932), “Chapel of St. Sergius" (1936), "Kuluta" (1937), Himalayan and Mongolian landscapes. The museum existed until 1940. In January 2010, a memorial plaque was unveiled on the building in which the museum was located.

Museum of the International Center of the Roerichs in Moscow

As a result of complex and dramatic events, the Museum named after N.K. Roerich was created under public organization"International Center of the Roerichs", whose director is Lyudmila Shaposhnikova.

The first exhibition was opened in the museum on February 12, 1993. In the halls of the museum, annual international scientific and public conferences are held with the participation of major scientists and public figures, exhibitions and concerts are organized, and lectures are given on the Roerich heritage.

Museum-Estate of N.K. Roerich in Izvara

In the Izvara estate near St. Petersburg, the Museum-Estate of N.K. Roerich has been opened since 1984, which is a unique complex of monuments of nature, archaeology, architecture, history and culture, the first state Roerich museum in Russia. Currently, the Museum complex is located on 60 hectares and includes 9 manor buildings from the 18th - early 20th centuries, an ancient park, and 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 acquired 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, celebrations, poetry and music evenings, and international peacekeeping events. Since 2002, a comprehensive scientific expedition to study the nature of Izvara has been operating on the territory of the Estate Museum, and archaeological research has been carried out. July 31, 2006 by Governor Leningrad region V. P. Serdyukov signed an Order on the development of a project for the creation of a Specially Protected Natural Area “Nature Monument” within the boundaries of the Museum-Estate of N. K. Roerich in Izvara.

Museum of the Roerich Family in St. Petersburg

The St. Petersburg state cultural institution “Museum-Institute of the Roerich Family” was created on March 12, 2007. The basis of the memorial exhibition of the Museum-Institute is the legacy preserved by Helena Roerich’s niece L. S. Mitusova and her family. Over the several years of the museum's existence, owners of private collections have donated a number of art and other exhibits to the museum. Today, its funds include about 15 thousand items, including personal belongings, manuscripts, paintings, decorative and applied arts, archaeological finds, photographs and other exhibits related to the life and work of the Roerich family.

Museum of N.K. Roerich in Novosibirsk

House-Museum of the Roerichs in Ulaanbaatar

Awards

Knight of the Russian orders of St. Stanislaus, St. Anna and St. Vladimir.

Knight of the Yugoslav Order of Saint Sava.

Knight of the French Legion of Honor.

Knight of the Royal Swedish Order of the Polar Star.

List of organizations of which N.K. Roerich was a member (45 items)

Full member of the Russian Academy of Arts.

Founder of the Institute of United Arts in New York (USA).

Founder of the International cultural center"Corona Mundi" (USA).

Honorary Director of the N.K. Roerich Museum in New York and its branches in Europe, America and Eastern countries.

Full member of the Yugoslav Academy of Sciences and Arts (Zagreb).

Full member of the Portuguese Academy (Coimbra).

Full member of the Reims Academy (France).

Full member of the International Institute of Science and Letters (Bologna, Italy).

Honorary member of the Committee on 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 Educational Society (India).

Honorary member of the Mora Society (France).

Member of the Red Cross (France).

Member of the Society for the Study of Antiquities (France).

Lifetime member of the Federation of French Artists (Paris).

Member of the Autumn Salon (Paris).

Lifetime member of the Society of Antiquaries (Paris).

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).

Founding member of the Ethnographic Society (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 Nagati Prachari Sabha (India).

Life Member of the Royal Asiatic Society of Bengal (Calcutta).

Lifetime member of the Oriental Art Society (Calcutta).

Honorary President and Doctor of Letters of the International Institute for Buddhist Studies in San Francisco (California) [International Buddhist Institute (USA)].

Honorary member of the Russian Museum of History and Culture in Prague (Czechoslovakia).

Honorary member of the Luzas Society (Paris).

Honorary member of the League for the Defense of Art (Paris).

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 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. St. Petersburg, 1898. No. 3; 1899. No. 4-5.

Some antiquities of the Shelonskaya Pyatina and the Bezhetsky End. St. Petersburg, 1899.

Stone Age on Lake Pyros. St. Petersburg, 1905.

Collected works. Book 1. M., 1914.

Paths of Blessing. New York, 1924.

Heart of Asia. Southbury, 1929.

Power of Light. Southbury, 1931.

The Fiery Stronghold. NY, .

Banner of Peace. Harbin, 1934.

Sacred Watch. Harbin, 1934.

Gateway to the Future. Riga, 1936.

Unbreakable. Riga, 1936.

Altai - Himalayas: Travel Diary. M., 1974.

From the literary heritage. M., 1974.

Flowers of Moria: Poems. M., 1984.

Fairy tales. L., 1991.

Abode of light. M., 1992.

Take care of the old stuff. M., 1993.

Ancient sources. M., 1993.

Artists of life. M., 1993.

To a young friend. M., 1993.

Urusvati. M., 1993.

East - West. M., 1994.

Culture and civilization. M., 1994.

About the Great Patriotic War. M., 1994.

Fenugreek. M., 1994.

Soul of nations. M., 1995.

Diary sheets. In 3 vols. M., 1995-1996.

Shambhala. New York, 1930.

Banner of Peace. New York, 1931.

Himalayas - Abode of Light. Bombay, 1947.

Adamant. New York, 1967.

Assessments of N.K. Roerich and his work

At Roerich's request in the spring of 1919L. Andreev wrote an article "Roerich's Power":

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

Nikolay Gumilyovpraised 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 untold areas of the spirit that our generation is destined to develop. .

Prime Minister of IndiaJawaharlal Nehru :

When I think about 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 sheer quantity is amazing - thousands of paintings, and each of them is a great work of art .

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

N.K. Roerich was an ascetic of culture on a global scale. He raised the Banner of Peace, the Banner of Culture over the planet, thereby showing humanity the ascending path of improvement .

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 interpretation .

In October 2011, at the presentation of the Nicholas Roerich Prize,Leon.Mich. Roshalsaid the following:

Roerich for me is a huge admiration for a humanist man who was always searching, who had plans, who carried out plans. In everything, he had the idea of uniting people and opposing everything that is bad in the world.

In October 1975, the Prime Minister of IndiaIndira Gandhi, who personally knew N.K. 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. And he himself, with his appearance and nature, seemed to be to some extent imbued with the soul of the great mountains. He was not verbose, but a restrained power emanated from him, which seemed to fill the entire surrounding space. We deeply respect Nicholas Roerich for his wisdom and creative genius. We also value him as a link between the Soviet Union and India... I think that Nicholas Roerich's paintings and his stories about India will convey to the Soviet people part of the soul of their Indian friends. I also know that N.K. Roerich and his family contributed greatly to creating a more complete picture of the Soviet country in India.

President of RussiaVladimir Putinthis is what he said about N.K. Roerich(answer to the question: What are your associations with India?)

Firstly, we must immediately recall the artist Nicholas Roerich, famous both in Russia and India. This is an amazing life, this is an 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 enduring importance for Russian-Indian friendship.

From the joint statement of the parties on the results of V.V. Putin’s visit to India on December 3-5, 2002.

Memory of N.K. Roerich

In 1974, the 100th anniversary of N.K. Roerich was included by UNESCO in the “Calendar of Memorable Dates of Great Personalities and Events (1973-1974).”

In Moscow, on the territory of the Lopukhin estate in front of the Museum named after N.K. Roerich, a monument to N.K. and E.I. Roerich was erected.

One of the streets in the center of Riga is named in honor of N.K. Roerich.

In the village of Izvara, Leningrad Region, where Nicholas Roerich lived for a long time, the Museum-Estate of N.K. Roerich has been operating since 1984.

In St. Petersburg there is the St. Petersburg Art School named after. N.K. Roerich and the Roerich Family Museum.

In 1999, the Bank of Russia issued two commemorative coins dedicated to the 125th anniversary of the birth of N.K. Roerich.

The motor ship “Artist Nicholas Roerich” was named in honor of N.K. Roerich.

In 2003 it was founded international prize named after Nicholas Roerich, in honor of the 300th anniversary of St. Petersburg, and has been awarded annually since then.

In 2007, Aeroflot's new airliner was named in honor of Nicholas Roerich.

Familiarity 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 State Education Board Chairman Chaman Lal Gupta, the younger generation should know about the life and legacy of such an extraordinary personality.“We are proud that Himachal Pradesh became for Roerich the place that in the Indian tradition is considered to be a person’s predetermined destiny.” , noted Chaman Lal Gupta.

On March 25-26, 2008, as part of the Year of Russia in India, the Russian-Indian festival “The Roerichs and the Cultural and Spiritual Unity of Russia and India” was held in New Delhi, dedicated to the 80th anniversary of the founding of the Institute of Himalayan Studies by the Roerichs in Naggar (Kullu Valley). research on “Urusvati” and the 100th anniversary of the birth of the outstanding Indian film actress Devika Rani Roerich, wife of N.K. Roerich’s youngest son, 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 met our expectations. Over 150 events took place within its framework. But, of course, it is not only their number that is impressive, but also the extraordinary nature 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 N.K. Roerich was unveiled 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, at one of the largest universities in the Indian capital, Jamia Millia Islamia (New Delhi), the grand opening of the photo exhibition “Banner of Peace - Roerich Pact”, organized by the Representative Office, took place

Rossotrudnichestvo in India together with the Academy of Third World Studies (ATWS-JMI)

The International Exhibition Project “Roerich Century” (St. Petersburg) was dedicated to the celebration of the 75th anniversary of the signing of the Roerich Pact in 2010, in which more than 70 museums, libraries, archives and private collections from 33 cities of Russia and the world took part.

On November 9, 2010, a monument to N.K. 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.

A new species of equestrians from Nepal is named in honor of N.K. Roerich,Lathrolestes roerichi Reshchikov, 2011

In 2013, the International Astronomical Union named a crater on Mercury after N.K. 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 it in honor of the Roerich family. Asteroid number 4426 was registered.

In October 1999, in his speech at the N. K. 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 is the name accepted. The appearance of the small planet “Roerich” is international recognition of the creativity and outstanding achievements of the Roerichs.”

Geographical objects named in honor of N.K. Roerich:

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

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

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

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

In 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 Chontash, Tyuz and Achiktashsu rivers. 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-Shiirak ridge and connects the middle part of the Petrov glacier and the valley of the Sary-tor river. The height of the pass is 4500 meters.

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

Postage stamps depicting N.K. Roerich and his work

1974, USSR - The USSR Ministry of Communications issued a marked envelope. It depicts a portrait of N.K. Roerich against the background of his painting “Overseas Guests.” In the same year, a stamp with an image of this painting was published.

1974, India - a commemorative stamp was issued, which depicts the obverse of the commemorative medal created in 1929 in Paris on the occasion of the 40th anniversary of the artistic, scientific and social activities of N.K. Roerich.

1977, USSR - The USSR Ministry of Communications issued two stamps depicting the Church of the Holy Spirit in Talashkino, above the entrance of which there was a mosaic “The Savior Not Made by Hands” based on 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 Sofia Main Post Office on April 5, 1978, the first day stamp was canceled.

1986, Mexico - a stamp with a coupon dedicated to the International Year of Peace (Año Internacional de la Paz) was issued. On the stamp is the UN emblem and the symbol of the Banner of Peace of N.K. Roerich, the signatures are “ONU” (UN) and “Pax Cultura” (Pact of Culture).

1990, USSR - two stamps dedicated to the Soviet Cultural Foundation were issued. One of them reproduces the painting by N.K. Roerich “Unkrada” (1909), the second - the painting “Pskov-Pechora Monastery”.

1999, Russia - publishing center "Mark" of the Ministry of Communications and mass communications Russia was issued a marked envelope “Russian artist N.K. Roerich. 1874-1947" for its 125th anniversary. The stamp depicts a fragment of a portrait of N.K. 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 publishing center "Marka" of the Ministry of Communications and Mass Communications of Russia released a marked envelope dedicated to the International Treaty for the Protection of Artistic and Scientific Institutions and Historical Monuments (Roerich Pact). The illustration shows N. Roerich’s painting “Pact of Culture. Banner of Peace" (1931).

2003, Moldova - a stamp was issued depicting the painting “Pact of Culture. Banner of Peace" (1931), as on the Russian stamp of 2001.

2008, Russia - the Marka publishing center released an envelope dedicated to the Central Asian expedition of Nicholas Roerich (1923-1928).

International organizations, foundations and museums

Scientific department of the Roerichs' heritage in State Museum East

Nicholas Roerich Museum (New York)

International Center-Museum named after. N.K. Roerich (Moscow)

International Council of Roerich Organizations named after S. N. Roerich (Moscow)

International Roerich Memorial Trust (Naggar, India)

Museum-Estate of N.K. Roerich in Izvara (St. Petersburg)

Museum-Institute of the Roerich Family (St. Petersburg)

Roerich Research Foundation (St. Petersburg)

Odessa House-Museum named after. N.K. Roerich (Odessa)

Roerich organizations

Museum of N.K. Roerich (Novosibirsk)

Memorial House-Museum of N.K. Roerich in Altai (Verkhny Uimon village)

Siberian Roerich Society (Novosibirsk Center)

Kuzbass Roerich Society (Center Novokuznetsk)

Videos

"Nicholas Roerich - Messenger of Beauty." 2008

“Time to Collect Stones...” is a documentary film about the Roerich Pact. Director Valery Shatin, 2007.

"Letters. Nicholas and Svyatoslav Roerich." 2005 year.

"Artist Nicholas Roerich." USSR, 1958

"Nicholas Roerich". Kievnauchfilm studio, 1976

"The Legend of the First Mystery of the Cosmos." Cinema Art Studio, 2011

Interesting Facts

In 1912, at the grave of the composer N. A. Rimsky-Korsakov, a monument was erected in the form of an ancient Novgorod cross, made according to a sketch by N. K. Roerich

Famous historian and orientalist L.N. Gumilyov used a fragment of N. Roerich’s painting “Timur’s Flowers. Fires of Victory" (1931) for the cover of his book "Xiongnu" (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: blue, indigo, violet, black. Indescribable colors! Like in the paintings of the artist Nicholas Roerich

On June 5, 2013, Roerich’s painting “The Works of the Mother of God” was sold at auction auction house Bonhams in London for £7.88 million. This is a world record for a painting by a Russian artist.

LIFE AND WORK OF N.K. ROERICH
Petersburg period

“It’s not easy to describe life, there was so much variety in it. Some even called this diversity contradictions... Let’s call these features of life labor,” - this is how Nikolai Konstantinovich Roerich begins his autobiographical notes, which open to us the world of an artist and scientist, a publicist and public figure, a citizen who passionately loved his homeland. His path truly consisted of creative, painstaking, joyful, enthusiastic work, which yielded grain in all fields where a person can apply his strength.

This man's life was difficult. historical era wars, revolutions, led to the east, not allowing them to return to their homeland, but it serves as an example of amazing integrity, as if every event is filled with a single meaning, uniting names, dates, countries and cultures.

Nikolai Konstantinovich Roerich spent his childhood, student years, and almost 18 years of tireless work in St. Petersburg; he has a lot to do with this city.

Here on October 9, 1874 he was born. Little Nikolai spent his childhood in a house on the Neva embankment near the Nikolaevsky Bridge (now Lieutenant Schmidt Bridge). Under the same roof as the residential apartment was the office of his father, the famous St. Petersburg notary Konstantin Fedorovich Roerich. Among his clients were famous scientists, writers, public figures, people of art, including D.I. Mendeleev, Kramskoy, Yaroshenko, Myasoedov, A.I. Kuindzhi and others. Nikolai Konstantinovich’s mother, Maria Vasilievna Roerich, née Kalashnikova, came from a merchant family families. The ancient Scandinavian family of the Roerichs settled in Russia under Peter I and produced many statesmen and military leaders.

In 1882, at the age of eight, Nicholas Roerich entered the private gymnasium of K.I. May. “He will be a professor,” Karl Ivanovich May, the director of the gymnasium, will say upon first meeting. From the first years of his gymnasium education, Nikolai developed interests that determined the direction of his entire creative work. multifaceted life- this is painting, theater, history, archeology and travel.

Every year in the summer the entire Roerich family went to the Izvara country estate, located forty miles from Gatchina. Here two favorite hobbies are intertwined: the history of Ancient Rus' and art.

The inquisitiveness of the young schoolboy brought him closer to the famous archaeologist and scientist L.K. Ivanovsky, who arrived in the summer of 1883 to excavate ancient mounds around the estate. “Nothing and in any way will bring you closer to the feeling of the ancient world as a personal excavation,” - this is how N.K. Roerich would later remember. He transfers his first finds and reports on excavations to the gymnasium.

Here, in Izvara, a third love quietly entered - love for India. According to legend, the name of the estate comes from the Sanskrit word “ishvara”, which means “mercy of the gods”. “Even during the time of Catherine II, some Indian rajah lived nearby,” Roerich writes in his diaries. In one of the rooms on the wall hung a picture of the five-domed snow-capped peak of Kanchenjunga, which Nikolai Konstantinovich would later see with his own eyes in the Himalayas.

Close contact with the world of the ancients, with their culture, will sharpen the desire to become an artist and determine the first motives of creativity. In order not to go against the will of his father, in 1893, after graduating from the Karl Ivanovich May gymnasium, Nikolai Konstantinovich entered the law department of St. Petersburg University, but at the same time did not abandon his dream and took the exam at the Imperial Academy of Arts. In parallel with this, he manages to attend lectures at the history department of the university. Since 1895, Roerich moved to the workshop of the famous artist Arkhip Ivanovich Kuindzhi, who would become “a teacher not only of painting, but of all life.” His teaching system was built in a special way. Arkhip Ivanovich developed a sense of decorative color in his students, insisted that paintings be painted “from memory,” so that artists would nurture composition and color within themselves. This is how Byzantine and Old Russian masters worked, this is how old Italian and Dutch artists painted, this is how Buddhist masters in the east worked, and this is how Nikolai Konstantinovich will create his paintings, calling them “works.” Kuindzhi liked to say: “everything can be explained, but you go and win.”

Roerich won many victories. In 1897, for the painting “The Messenger” he was awarded the title of artist; Tretyakov himself acquired it for his famous gallery. While still a student, Nikolai Konstantinovich became close to the outstanding artist of that time, V.V. Stasov, who introduced him to L.N. Tolstoy. “Let your Messenger hold the steering wheel higher,” the great writer gives parting words to Roerich.

In 1898, Roerich received offers to take the position of assistant director of the museum of the Society for the Encouragement of Arts and the position of assistant editor of the magazine “Art and the Art Industry”. A year later, Nikolai Konstantinovich becomes secretary of the Imperial Society for the Encouragement of the Arts. At the same time, Roerich began cooperation with the artistic association “World of Art”. Archaeological studies have not been abandoned either.

In the summer of 1899, the Russian Archaeological Society sent Roerich to the Pskov, Novgorod and Tver provinces to study the issue of preserving ancient monuments. Nikolai Konstantinovich stops on his way to the estate of Prince P.A. Putyatin in Bologoye, Tver province, where he meets Elena Ivanovna Shaposhnikova, who came from the ancient noble family of the Golenishchev-Kutuzovs. Two years later, in 1901, Elena Ivanovna becomes the artist’s wife, hand in hand they will go through all the difficulties of life’s path. Many years later, Roerich would write: “Forty years is a long time. On such a long voyage many storms and thunderstorms may be encountered. Together we overcame all sorts of obstacles, and the obstacles turned into opportunities. I dedicated the books to my wife, Elena, friend, companion, inspiration. Each of these concepts has been tested in the fires of life. We created together. It’s not without reason that it is said that my works should bear two names: male and female...”

Nikolai Konstantinovich and Elena Ivanovna devoted a lot of attention and time to raising their sons. The eldest of them, Yuri, was born in 1902 in Okulovka, Novgorod province, and the youngest, Svyatoslav, was born in 1904 in St. Petersburg. In the future, Yuri Nikolaevich will become an outstanding orientalist, and Svyatoslav Nikolaevich will become a famous artist.

In 1903 and 1904, the Roerichs set off on a long journey through the cities of Rus'. They visit more than forty cities, and everywhere Nikolai Konstantinovich tries to penetrate into the very depths, into culture, into traditions, into the origins. The world-famous cycle “The Beginning of Rus'. Slavs”, where the artist acts as a witness to the events of bygone days. He tries to present all the diversity of cultural connections of Ancient Rus', to find the common origins of ancient cultures. Roerich penetrates into the holy of holies and the significance of the Byzantine heritage in Rus' is revealed to him, he tries to comprehend the meaning of the mystical rites of our pagan ancestors. And all his searches will be reflected in his works: in the libretto and scenery of the ballet “The Rite of Spring” (summer of 1911), in the paintings of churches (in Talashkino, near Smolensk, in 1914 the artist completed his work on painting the Church of the Holy Spirit), in the decorations to the operas “Prince Igor” by A.P. Borodin, “The Snow Maiden” by N.A. Rimsky-Korsakov. The list of the artist’s works in the field of theatrical and decorative painting does not end there: he works on the works of M. Maeterlinck, R. Wagner, G. Ibsen.

In the spring of 1906, Nikolai Konstantinovich Roerich was appointed director of the school of the Society for the Encouragement of the Arts. Alexandre Benois will call the transformations that followed over the course of several years a miracle: “This miracle happened thanks to the energy of one person, one artist - Roerich, who deserves more and more respect for the consistency with which he fights for living art against carrion and bureaucracy.” Nikolai Konstantinovich headed the school of the Society for the Encouragement of Arts until 1917, and during this period of time it became one of the largest and most democratic educational institutions in Russia. Eighty teachers taught two and a half thousand students. The school owned two houses - on Morskaya and Demidov Lane, four country branches, an excellent museum collected by D.V. Grigorovich. Permanent exhibitions and displays by artists and high school students. Along with running the school, Roerich teaches a composition class, works on decorations for theaters, paints pictures and participates in foreign exhibitions of Russian art.

In 1909, Nikolai Konstantinovich was awarded the title of academician of the Russian Academy of Arts and became a member of the Reims Academy in France. By this time, he was repeatedly invited to international exhibitions in the largest cities of Europe, his paintings were acquired by the Louvre and the National Museum in Rome, the artist’s works were the focus of the famous “Russian Seasons”. Fruitful work is going on in all directions, but notes of anxiety are already appearing in the pictures.

In anticipation of the war of 1914, well aware of the deplorable state of cultural monuments throughout Russia, Roerich came up with the idea of a Pact for the Protection of Cultural Monuments. He thinks of this document as international and at the beginning of the First World War he turns to the governments of Russia, France, and the United States with a proposal to sign it, but is met with complete indifference. This circumstance does not stop Nikolai Konstantinovich, and the cause of protecting cultural property occupies an important place in his life.

In December 1916, Nikolai Konstantinovich, together with Elena Ivanovna and two children Yuri and Svetik, moved permanently to the city of Serdobol, Finland (now Sortavala in Karelia). For health reasons, Roerich was contraindicated from living in a big city. Proximity to St. Petersburg makes it possible to travel and continue to manage the school of the Society for the Encouragement of the Arts.

Roerich met the February Revolution of 1917 in Serdobol. In August of the same year, Nikolai Konstantinovich resigned from the leadership of the school due to the impossibility of conducting daily business, but remained a member of the committee and a trustee, taking an active part in the affairs of the life of the school in the new conditions. Along with this, he is a member of the committee of the Commission “on issues related to the development of art in a free Russia”, assembled by M. Gorky.

In January 1918, Finland separated from Soviet Russia, and in May of the same year the border between the countries becomes closed. Nikolai Konstantinovich and his family, being on the territory of Finland, find themselves on the other side of the border, and coming to Russia becomes impossible.

During this period, in his diaries and literary works, Roerich increasingly mentioned the East and India. His dream - to arrive "in the mysterious cradle of humanity" - becomes more feasible.

After recovery in 1918, Nikolai Konstantinovich received an invitation to Stockholm to organize his exhibition. The opening took place on November 8, 1918, and the exhibition was a great success. In Stockholm, S. Diaghilev invites Roerich to take part in the production of the opera “Prince Igor” in London. In March 1919, Nicholas Roerich and his family left Finland for England.

This is how the “Petersburg” period of Nicholas Roerich’s life ends. Everything was reflected in him: the desire and dreams of distant India, and love for his people, for their past in all the diversity of its ancient cultural ties, and a swift impulse to preserve, preserve, defend the cultural heritage of Russia and all humanity. This period was an important milestone in Roerich’s life and, thanks to his talents, aspirations, will and, of course, painstaking, joyful, enthusiastic work, it opened the way to great achievements and wonderful conquests that are so necessary for us today.

The third volume of "Leaves of the Diary" of N.K. Roerich includes essays and letters from the last years of his life - 1942-1947. Written during the harsh years of world war and devastation, they carry a call for the cultural unity of mankind and service to the Motherland, and teach the perception of the eternal and true.

The collection presents the most profound literary works of the great artist and thinker N.K. Roerich. Being a collaborator with the spiritual Teachers of the East, N.K. Roerich reflected the spiritual and philosophical foundations of their worldview in his literary work.

Other worlds and planes of existence; the sacred relationship between man and the Cosmos; mysteries of life, death, immortality; unusual natural phenomena indicating the multidimensional structure of the universe; parapsychological phenomena and secrets of the highest spiritual abilities of man; finally, the most unique cultural and historical phenomenon of our planet - the abode of the Supreme Mind, Shambhala - all these questions have found a fascinating artistic reflection in the stories, essays and novellas of the thinker.

Legends of Asia. Collection

Brilliant painter, outstanding publicist, thinker, traveler N.K. Roerich is rightly considered one of the most mysterious figures of his era.

This collection contains the most mysterious, exciting stories and stories of N.K. Roerich. These works are devoted to the secrets of the history and culture of the East, natural phenomena not solved by science, the wisdom of the spiritual Teachers of India, predictions of the future of our planet and much more - in a word, topics that interest everyone!

Myth of Atlantis

The book "The Myth of Atlantis" presents stories, essays and essays by the great Russian artist and thinker U.K. Roerich, dedicated to the most mysterious, unknown aspects of existence.

Ancient civilizations, legends and myths, other worlds and unusual natural phenomena; paranormal abilities of the human psyche and other mysteries of nature and man - all these topics are reflected in fascinating and interesting ways in the literary works of the great painter and researcher.

Paths of Blessing

The book “Paths of Blessing” is imbued with the belief that the forces of good and creation will win in the arena of life.

N.K. Roerich, through the storms of destruction, through the darkness of misunderstanding and through the walls of enemy obstacles, carries into the Future the unspilled cup of Beauty and Wisdom. And thus he becomes one of the greatest spiritual leaders of our time, to whose voice younger generations should listen with special sensitivity.

Seven Great Mysteries of the Cosmos

Knowledge about the Cosmos is accumulated by humanity slowly. Over the course of centuries, man has been discovering the laws of nature, cosmic laws.

These laws existed even when people did not yet know about them. And now there are laws that have not yet been discovered by humanity. What we already know is our knowledge. What we don't yet know is a mystery to us. But what is still a mystery to us is knowledge for someone - there are Beings in the Cosmos who know more. And to know something means to think about it. This is how thoughts are created and they live independently in space. The space is filled with images of Truth; people call them ideas.

Fairy tales

Nicholas Roerich has a worldwide reputation as a painter and scientist. We are less familiar with his literary heritage.

For example, few people know that Nikolai Konstantinovich also wrote... fairy tales. With beautiful allegorical images, with the alluring beauty of mysterious worlds.

The heroes of his fairy tales are bearers of sublime feelings and thoughts that have eternal universal value. They encourage deep thought, incite high feelings, and direct one toward spiritual improvement.

Collected works

Collection of literary works of the Russian artist, mystic philosopher, scientist, writer, traveler, public figure and politician Nikolai Konstantinovich Roerich (1874 - 1947).

Altai - Himalayas
Gateway to the Future (collection)
Let the deserts flourish
Power of Light (collection)
Hierarchy
Favorites
Mothers of cities
World of Fire (Book 1)
World of Fire (Book 2)
The world is fiery
On the mound
Unbreakable
Spirit Robe
On the way from the Varangians to the Greeks
In the old days
Paths of Blessing (collection)
Ways of Blessing
Heart of Asia
Poetry
The Fiery Stronghold (collection)

Himivat

People in all parts of the world want to know about the Himalayas. The best people heartily strive for this treasure of India. At all times there has been an attraction to the Himalayas. People know that anyone seeking spiritual ascent should look towards the Himalayas.

This book contains Nicholas Roerich's thoughts and impressions from his expeditions to the Himalayas.

Flowers of Moria

The only collection of poems by the great Russian artist, philosopher and public figure Nicholas Roerich.

The collection contains several poetic suites and the poem “Admonition to a Hunter Going into the Forest.”

These poems are the fruit of Roerich’s unique individuality, which contained and melted into itself the wisdom of the East and the original Russian worldview.

Human and nature

The essays of N.K. Roerich collected in this book are reflections on the spiritual knowledge of the Cosmos, the Earth and man himself.

The tragedy of nature in our century is predetermined by the destruction of spirituality. No one, perhaps, conveys this truth to us, this warning in such a clear and irrefutable form as N.K. Roerich. Roerich “is united in soul with nature, and nature knows more than us, nature is life, life is the path,” wrote Vs. N. Ivanov.

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

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

For many years, Roerich was the director of the school of the Society for the Encouragement of the 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 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. Various publishing houses around the world have published twenty-seven books written by Roerich.

The life of this artist is amazing, he traveled to many countries and spread the fame of Russian culture throughout the world. In the history of our fine arts, perhaps, there is no name of another figure who would have received such wide recognition. global 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 high school years, his rare talent and breadth of interests were evident. He was interested in history, geography, composed epics and fairy tales, and painted. Roerich did not have enough of the knowledge that he received in the gymnasium. In his free time, he constantly found some new exciting activities for himself. There was no end to his curiosity. The summer months on his father's estate in Izvara near St. Petersburg were especially fruitful for him.

Roerich was attracted to dense, dense forests, the surface of a lake with thick fogs, and thickets of reeds. Early on his attention was drawn to the mounds. This was subsequently reflected in many of his works.

In 1893, he graduated from high school and simultaneously passed exams at the university and the Academy of Arts. At the insistence of his father, he entered the Faculty of Law, but his favorite was the Faculty of History and Philology. Roerich was especially fascinated by archeology.

He studied even more enthusiastically 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 paid attention to Roerich and warmly supported him was I. Repin. Roerich also interested Stasov, primarily with his craving for Russian history and the breadth of his creative plans.

By the autumn of 1895, the general life class was completed, and Roerich entered the workshop of A. Kuindzhi. Kuindzhi had a great influence on his student. He awakened a new gift in him - the gift of a landscape painter. Roerich, who had a keen sense of nature, began to work a lot on landscape sketches from life. The structure of his historical paintings also changes. Landscape now plays a very 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 life class, Roerich repeatedly tried to compose essays on “plots of purely archaeological content.” In 1897, he took on the implementation of a big plan. He was deeply interested the most important moment history - the formation of the ancient Russian state in the 9th century. This period seemed to him difficult, full of acute, intense struggle both within the tribes and with their neighbors. Roerich ponders individual subjects for a long time and tries to develop various compositions. Gradually, he developed a plan for a large series “The Beginning of Rus'. Slavs."

In 1897, the first picture of the series appeared - “The Messenger. Generation after generation has risen." The picture takes the imagination to distant times. Deep night. In this picture, one is struck by the penetration into antiquity, the understanding of the spirit of the historical era from its characteristic features: the types and feelings of people, the tense moments of their lives, the landscape. Correct historical details also give a unique flavor of the time: a single-tree boat, a fortified Slavic town. The artist worked especially hard on them. He repeatedly consulted with Stasov about the type of 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, in the film there is no slavish adherence to archaeological details, no desire for an extremely accurate reconstruction of the past. Turning to a distant era, which could then be judged mainly by meager information, sometimes gleaned from legends, and isolated monuments of material culture, Roerich acutely felt the impossibility of creating works of art based solely on this material. He came to the firm conviction that the artist should widely supplement known facts with poetic invention, conjecture, and strives to convey in the picture, first of all, a holistic idea of the era, a certain historical mood. This idea determined the method of creating many of Roerich’s works, and in “The Messenger” it found its first successful embodiment. The success of the painting was finally secured 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 he, essentially, was one of the first to so widely and talentedly begin to show the little-studied world of Slavic Rus', and this promoted him to the ranks of original masters. Of the early works, particularly interesting are “Idols” (1901) and “Overseas Guests” (1901), performed in France, where the artist went in the fall of 1900 to supplement his artistic education. At one time, these paintings received high praise from their contemporaries.

In addition to them, Roerich abroad began paintings “Traitor”, “Ancient Russian City”, and developed sketches for two large panels “Princely Hunt”. New ideas arise, one replaces another, and they are all 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 delved even deeper into the study of Russian antiquity. These years are full of intense creativity, completion of the old, searches for new themes and artistic solutions.

One of the most interesting works of this time was the painting “The Evil Ones” (1901). It evokes alarming, heart-aching forebodings in the audience. Its dull, gray landscape is sad. The crows turn frighteningly black. There is something ominous and painful in their immobility and alertness.

In 1902, another significant work was created - “The City is being Built.” From alarming premonitions, from “ominous” ones, Roerich again returns to Slavic Rus' and looks for life ideals in it, an answer to the question of the destinies of the people. This work of art caused a lot of controversy. The audience was most surprised by the unusual style of writing. Few people were able to appreciate the painting at that time, and above all V. Serov, who insisted on purchasing it for the Tretyakov Gallery.

The search for images of ancient folk Rus', the desire for a laconic decorative style of writing was reflected in other works of this time: “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 around Russia - a tour of cities rich in ancient monuments. The journey resumed the following summer. This unique trip “for antiquity,” as the artist called it, covered a huge region - Yaro-Slavl, Kostroma, Nizhny Novgorod, Vladimir, Suzdal, Rostov Velikiy, Vilna, Mitava, Riga, Pskov, Tver, Uglich, Kalyazin, Zvenigorod and other cities.

Roerich set himself the enormous task of studying ancient Russian architecture of various eras and schools. Along the way, he met old painting, in remote remote villages he patiently looked for objects of applied art, listened with enthusiasm to fairy tales, songs, and admired dances. And in all this he saw the true beauty of the people, “his wondrous wonders, cherished by him for centuries.”

During the trip, Nikolai Konstantinovich saw a majestic spectacle of diverse, unique in their forms, monuments of Russian antiquity. At this time he completely abandons stylization. His broad, confident brushstroke beautifully and expressively accurately conveys the 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 the unique historical beauty. He created a large painting series, numbering about nine hundred works. They widely show the diversity and richness of ancient Russian architecture, glorify the most valuable and expensive things, which constitute the pride of Russian art. One of the artist’s biographers called these sketches “the Pantheon of our former Glory”, “Russian Champs Elysees”. Unfortunately, this series of works was lost in Russia: seventy-five paintings were sold separately at auction.

While traveling through ancient Russian cities, Roerich saw something else - terrible pictures of the destruction of ancient monuments, the death of many of them. Since then, he has tirelessly appeared in periodicals promoting his native art and calls for urgent measures to be taken to preserve it.

Roerich’s aspirations in the early period of his creativity were so diverse. His extreme interest in his native history, in everything folk and national, tirelessly led him to expand his knowledge and search for new, still unknown materials.

In their early works Roerich showed the new world of Slavic Rus', which was little known in art before him, and revealed his understanding in a vivid figurative form ancient era. In his works it is unnecessary to look for the utmost accuracy in conveying this or that fact of history. He creates poetic paintings, inspired by the epic spirit, which 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 vibrant energy. They decide their own fate: they consult, bravely pave waterways, build cities together, and courageously defend themselves. These deeply national works are permeated with ardent love for the hardworking, brave pioneers of Rus', and pride for our past. Each of them was created by the artist on the basis of great knowledge of Russian history, ancient monuments, and the development of the best traditions of Russian culture.

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

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

Roerich’s artistic aspirations in the second period of his creativity were also permeated with dreams of a new art that would bring joy and beauty to people, and the quest for this art. Still fascinated by the history of Slavic Rus' and creating paintings on these topics, he now also turns to the most ancient period - the Stone Age. He carefully, with scientific insight, examines historical materials, carries out archaeological excavations, and collects a rich collection of objects from 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, earliest period of history and awakening patriotic feelings in the audience, he tries to give the depicted a deep philosophical meaning.

In 1906, the monumental panel “Fight” was completed. It is perceived as a picturesque poem about fearless Vikings. Cold northern sea. Large gray boats with red sails entered into a heavy, fierce battle. And it seems that not only important warriors are fighting, but also these huge monstrous boats. As if echoing the furious battle, the forces of nature came into confusion. The waves rise and foam. The sky is burning ominously. Heavy crimson-blue clouds are swirling...

“Fight” was perhaps the last work executed in oily colors. In terms of writing technique and content, it seems to complete the first period of Roerich’s work.

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

In search of the beauty of the long past, Roerich, in his mature period of creativity, explored 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 “Battle”.

Since 1910, he, together with the composer I. Stavrinsky, began working on a new ballet “The Rite of Spring”, and thus gradually began 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 movements. He especially appreciated Tagore and Gandhi, about whom he wrote: “Tagore and Gandhi are the rarest expression of modern India.”

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

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

In the art of Roerich great place are occupied by images of Russian ascetics. In the 20s, paintings appeared one after another: “And we open the gates”, “And we work”, “And we are not afraid”, “And we continue fishing”, “St. Sergius the Builder." In these works, against the backdrop of poetically written Russian landscapes, ascetics are depicted who spend their days in tireless worries: they work, call for goodness, feat.

In the 20s - 40s, Roerich began to be interested in widely known in history and art heroic images women who called for a feat. This is how the triptych “Joan of Arc” and the canvas “Nastasya Mi-Kulichna” appear.

Roerich also painted symbolic works, in which he sought to convey a meaning sacred to all peoples into the concepts of Woman and Mother and to glorify woman as a warrior for the wonderful future of humanity. Often, 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” (“Flaming Madonna”) was performed. It depicts a calm, majestic image of the Madonna. On her hands is a banner with the symbol of the Banner of Peace. At one time, this work was widely known to the world community. It was located in one of the rooms International Union Roerich Pact in Bruges.

In the last period of his creativity, Roerich paid a lot of attention to landscapes, into which he invested deep meaning. A huge section here is occupied by works depicting mountains. Roerich captures the glaciers of the Karakorum, the eternal snows of Altai, rocky ledges of the Tibetan Plateau, mountain lakes, and stormy rivers. The relief of its landscapes is diverse. But the Himalayas became a particularly close and vivid 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 mountains in all their diversity: in the bright extravaganza of sunsets and in the silence of the night, in snow hurricanes and the radiance of the sun, in their reality natural form and in the refraction of Indian mythology. Every motive, no matter what he took on, he conveyed with incomprehensible skill. Many of his paintings became an artistic discovery for viewers...

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

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. Paintings, books, articles, biography.