Roerich's painting depicts a legendary hero. Description of the painting by Nicholas Roerich “Star of the Hero”
justify;text-indent:35.45pt;line-height:150%"> line-height:150%;font-family:" times="" new="" roman="">Among the many phenomena of Nicholas Roerich’s painting, a special role is played by the phenomenon of citing images of the world cultural heritage. Iconic images from different times and cultures are mixed compositionally in Roerich's paintings, creating a symbolic unity of the canvas. If icon painting, which is based on quoting standardized images, limits its figurative range to the established tradition, then Roerich's painting, taking its basis in icon painting, considers the entire world cultural heritage with its figurative source. Thus, Roerich's paintings express the idea universality and unity of world culture.
justify;text-indent:35.45pt;line-height:150%"> line-height:150%;font-family:" times="" new="" roman="">This artistic method corresponds to Roerich’s general theosophical worldview, which professes both the religious and cultural unity of humanity. At the same time, this method creates multi-layered symbolic layers in the painting, not only bringing to the canvas the ideas that fill the quoted images, but also building new meanings through their interaction.
justify;text-indent:35.45pt;line-height:150%"> line-height:150%;font-family:" times="" new="" roman="">So in Roerich’s paintings, the bridge of European Bruges stretches quite organically across a crevice in the Arizona rocks, the figure of the Namburg Uta rises against the backdrop of the Himalayan spurs, the image of Buddha's disciple Drona is similar to the Orthodox Savior, the Indian saint Ramakrishna is depicted as a bodhisattva, saints Zosima and Savvaty stand at the gates to the fabulous Zvenigorod, and in the images of the Christian paradise one can find scenes from Buddhist thangkas.At the same time, such a fusion of images serves the unified concept of the picture , harmonious and completely devoid of any eclecticism.
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" times="" new="" roman="">N.K. Roerich. “Victory” (1942)
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justify;text-indent:35.45pt;line-height:150%"> line-height:150%;font-family:" times="" new="" roman="">Roerich’s painting “Victory” (1942), apparently painted shortly after the victory of the Soviet troops in the battle, is also filled with symbolism of this kind near Moscow in March 1942. The painting depicts a Russian hero standing against the backdrop of the Altai “Belukha” in front of the carcass of the dragon he killed.
justify;text-indent:35.45pt;line-height:150%"> line-height:150%;font-family:" times="" new="" roman="">It would seem that the symbolism of the picture is clear - the victory of Russian weapons over the fascist machine. Many researchers also note that the color of the dragon’s skin resembles the color of the German infantry uniform, the Altai mountains symbolize the Siberian divisions that played a decisive role in the battle of Moscow, the hero is certainly a general symbol of the Russian people, “Ivan the Hundred Thousand,” as Roerich liked to write.
justify;text-indent:35.45pt;line-height:150%"> line-height:150%;font-family:" times="" new="" roman="">But this is only the first obvious symbolic layer. At the second level of consideration, you can notice that the image of the hero is a quote from the famous image of Filippo Scolari, created in mso-ansi-language:EN-US">XV 150%;font-family:" times="" new="" roman=""> century Andrea del Castagno. The image of Filippo Scolari is interesting because he is a symbol of an enlightened warrior-ruler, one of the pillars of the Early Renaissance.
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" times="" new="" roman="">Portrait of Filippo Scolari by Andrea del Castagno
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justify;text-indent:35.45pt;line-height:150%"> line-height:150%;font-family:" times="" new="" roman="">It was precisely this image of a “cultural leader”, a defender of culture and art, that was very close to Roerich and the philosophy he professed. Roerich was reflected in this ideal also in the images of the Belgian King Albert, the Yugoslav King Alexander and the first President of Czechoslovakia Tomas Masaryk... For Roerich, the “people's stronghold” is constituted by the “leader of Culture” through the primacy of the spirit and the primacy of culture. It is no coincidence that in the essay of the same name “Victory”, written in May 1945, Roerich sees the image of the future Russia in the cooperation of peoples, which should be ensured precisely through “cultural connections” and “exchange of art.”
Line-height:150%;font-family:" times="" new="" roman="">However, the symbolic series of the picture does not end there. The image of Filippo Scolari by Andrea del Castagno is itself a quote from an older symbol of the warrior-snake fighter - St. George the Victorious from the sculpture of Donatello.
Font-family:" times="" new="" roman="">Donatello. “St. George” (1415-1416). Initially, the sculpture had a helmet on its head and a sword in its hand
Stained glass "St. George". Anglican Church in Rome (19th century)
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justify;text-indent:35.45pt;line-height:150%"> line-height:150%;font-family:" times="" new="" roman="">Through this image, the picture is revealed in a completely different symbolic key. We have before us, in a sense, a variant of the iconographic image of a warrior- serpent fighter. The symbol of “victory" takes on additional meaning. The serpent-dragon here already appears on the one hand in the form of global world evil, and on the other - as a symbol of spiritual victory over the internal evil that lives in man.
justify;text-indent:35.45pt;line-height:150%"> line-height:150%;font-family:" times="" new="" roman="">In this sense, the image of the serpent-dragon becomes almost an iconographic serpent from the “Miracle of the Serpent,” and the image of a warrior is rather not closer to the image of St. George the Victorious, and to another snake fighter - Theodore Tiron. This is not surprising - in religious texts and paintings, the images of the snake fighters St. George the Victorious, Theodore Tiron and Theodore Stratilates are often mixed.
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Icon "Theodore Tyrone". Athens. Around 1453
Font-family:" times="" new="" roman="">Icon “Theodore Stratilates”
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justify;text-indent:35.45pt;line-height:150%"> " times="" new="" roman=""> line-height:150%;font-family:" times="" new="" roman=""> At the same time, the theme of snake fighting was well known to Roerich. It appears in Roerich’s paintings at the beginning of his work - and certainly in connection with ancient Russian spiritual poems containing apocrypha about both Fyodor Tyrone and St. George the Victorious (Egory the Brave) and their serpent-fighting plot.In 1906, the artist created the painting “Zmievna”, illustrating the plot of the “Dove Book”, where Yegory the Brave saves the Rakhlin princess from paw of a serpent-dragon.
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" times="" new="" roman="">N.K. Roerich “Zmievna” (1906)
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justify;text-indent:35.45pt;line-height:150%"> line-height:150%;font-family:" times="" new="" roman="">The image of Theodore Tiron is also not accidental for Roerich. On the fateful days of Russia - 1917 and 1940 - Roerich writes the painting “Message to Tyrone,” which captures his vision of a plot from the apocryphal life of the saint, when he receives news of his mother’s captivity by the serpent.
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" times="" new="" roman="">N.K. Roerich. Message to Tyrone, 1940
justify;text-indent:35.45pt;line-height:150%"> line-height:150%;font-family:" times="" new="" roman="">Thus, between the paintings “Message to Tyrone” and “Victory” there is an obvious symbolic connection. In the first painting, the hero receives news of captivity of his mother Motherland by the serpent, and the second depicts the feat of liberating the Motherland from the serpentine captivity.
justify;text-indent:35.45pt;line-height:150%"> line-height:150%;font-family:" times="" new="" roman="">So Roerich, in symbolic language through the method of figurative citation, creates pictures that are multi-layered in meaning, connecting legends with modernity. To understand them, immersion is certainly necessary into the language of world culture and art. A language that Roerich considered universal and timeless, capable of uniting and elevating humanity, synthesizing the best and most sublime. “Art will unite humanity,” wrote N.K. Roerich, “Art is the banner of the future synthesis.”
Schemes of N. Roerich’s painting “Signs of Geser” - ritual dance
in front of the solar symbolic sign. Fragment
The plot of the painting “The Rocks of Lahaul” (1935) was associated with the legendary signs of Geser. The image actually represents a traditional circle dance scene dedicated to the solar deity.
The ritual circular dance in honor of the solar deity in the rock paintings of Central and Central Asia dates back to the Bronze Age. Now we can confidently compare this plot with similar scenes from Bimbetka (India), Saimaly-Tash (Kyrgyzstan), Tamgaly (Kazakhstan), Chuluut (Mongolia). In this chain of well-known archaeological finds, the plot from Lahaul (Western Tibet) has additional significance in the study of the circular dance of a ritual performance, which scientists associate with the cult rituals of the Indo-Europeans of the Bronze Age.
In those distant times, magical influence was carried out through communication with the invisible world, with those divine and astral forces on which the well-being of the community depended.
The painting “The Sword of Geser,” named after the legendary hero of the Mongol-Tibetan epic Geser Khan, on the one hand, reflects the folk traditions of depicting the symbol of a cult hero on the rocks, and on the other, a certain stage in the evolution of material culture. This form of sword or dagger is traditional. Similar daggers were found on the territory of Uzbekistan. Weapons of this type are associated with the invasion of this territory by the Yudzhi tribes, with whom the migration processes of the movement of the peoples of Central Asia are associated. Yu.N. Roerich paid great attention to the study of these problems.
Nicholas Roerich paid considerable attention to the legendary figure of Geser Khan as a character in Tibetan myths, an object of developed cult. The artist’s canvases depict both the hero himself and images associated with his cult. Roerich, as it were, reveals the most ancient core of the image - a cult hero sent from heaven, clearing the earth of monsters. As the chosen ruler and even the first person to descend from heaven, Geser goes back to the pre-Buddhist, Bon tradition.
In the painting “Stronghold of the Spirit” (1932) we see a rock with a traditional Tibetan dedicatory inscription associated with the penetration of Buddhism: “Om mani padme hum” (Oh, treasure in the lotus). In Roerich’s painting the beginning of the inscription is given: “Om mani...”. The inscriptions on the rocks are associated with the Buddhist tradition.
To date, rock paintings from the 2nd century AD have been studied. with inscriptions in the Kazakh tract Kapchagai, representing three figures of Buddhist iconography with dedicatory Tibetan inscriptions deciphering their names. It is also associated with the Indian tradition of the trinity of gods - Brahma, Vishnu and Shiva. Roerich's painting has educational meaning in the study of monuments of this kind.
Currently, German archaeologists have discovered a Buddhist rock art cycle in Pakistan.
Thus, the rock art presented in the paintings of N.K. Roerich significantly complements our understanding of a significant cultural phenomenon in the spiritual life of the peoples of Central Asia in the semantic and chronological aspect over thousands of years in the light of new archaeological discoveries.
The works of modern scientists embody the development of Roerich's ideas about the spiritual and artistic value of primitive art.
Now it’s no longer a secret that many works of art have a healing psychotherapeutic effect on a person and are able to relieve stress and harmonize a person’s overall well-being.
Among such works of art, special mention should be made of the paintings of the famous Russian artist N. Roerich, which have a special, extraordinary flavor. The harmonizing effect of the painting of this wonderful artist has long been noted by art historians, psychologists, doctors, not to mention the many people who study esotericism and esoteric painting.
N. Roerich traveled thousands of kilometers through the eastern lands with various expeditions, studying Eastern philosophy, customs and morals of the inhabitants, getting acquainted with the harsh nature of Altai, Mongolia, India and Tibet. It was from these expeditions that he drew inspiration for his amazing paintings dedicated to the nature and mythology of these regions.
The doctrine of the impact of color and sound on the human body and psyche has been known to the mystics of the East for many millennia within the framework of esoteric knowledge. Did N. Roerich know about this teaching? Judging by the color scheme of his paintings, he knew.
Nowadays, the effect of color waves on the senses has been adopted by modern medicine and psychology, and the concept of color therapy includes special healing and healing techniques that use the positive impact of these waves on the physical and mental health of people.
Many researchers note that, saturated with bright and pure tones, Roerich’s paintings invariably harmonize the aura and biofield of people, raise their vitality and improve their mood.
In the Roerichs' diaries you can read the following information about the effects of various colors:
Yellow color strengthens the physical body as a whole, supports the heart;
The color purple strengthens the brain;
Green color strengthens the nervous system;
Pink color heals the stomach;
Blue color has a general strengthening effect and activates the craving for spiritual knowledge.
It is no coincidence that blue, purple, green and pink colors are often present in the paintings of the Roerichs. It turns out that color can not only heal the soul and body, but also promote the spiritual development of a person. It is on this principle that the main information component of the psychotherapeutic effect of the painting of this amazing artist is based.
Many experts in the field of esotericism claim that the pure, rich colors of Roerich’s paintings transfer a person’s consciousness into a kind of altered state, in which a person’s consciousness opens a channel of communication with his Higher Self. The color scheme of his paintings awakens and harmonizes human energy centers, stimulates spiritual development by activating the higher chakras.
Chintamani - this mysterious word unites four paintings.... Two of them are dedicated
Elena Ivanovna Roerich. One was written by her husband, the other by her youngest son.
In the symbolic paintings of Nikolai Konstantinovich and Svyatoslav Nikolaevich, each
detail, every stroke has a special meaning. These are peculiar picturesque
cryptograms and the key to the cipher - knowledge of the biography of the Family, its
worldview, concentrated in the Teaching of Living Ethics. Many
the works of the Roerichs are relevant to the life of the entire Family or
its individual members.
In the painting “Holder of the World. Stone Bearer” against the backdrop of mountains
Nikolai Konstantinovich depicted a monumental figure of a woman standing with her feet
on Earth, and with its head going to heaven. Previously, icon painters used a similar
composition for the image of saints, emphasizing that the holy ascetic is
like a connecting bridge between Heaven and Earth.
The figure of a woman, her headdress, every fold of her cloak have an absolute
resemblance to the famous sculpture of Margravine Uta, decorating the interior of one of
cathedrals in Germany.
This painting, however, like all paintings by the Roerichs, raises many questions. What
does its name mean? What does Elena Ivanovna have to do with this? Why
the artist's imagination transferred the sculpture of a German feudal lord from the medieval
Germany to the Himalayas? Why in his painting did he place the sacred casket in Uta’s hands?
The answer to the last question can be found in one of Elena Ivanovna’s letters:
“The casket mentioned in the legend dates back to the thirteenth century and, according to legend, it
made from leather that belonged to Solomon himself. There is a lot on the skin
alchemical symbols. Famous rabbi, compiler of the Zohar, persecuted
Spaniards..., found protection in the person of a German feudal lord, who allowed him into her
possession, in gratitude he gave her a talisman and this precious piece of leather.
The feudal lady ordered a casket to be made from this skin and kept the resulting talisman in it.
Legend says that after the new power is established, the treasure must return to
Stronghold of Light."
As an unattainable ideal, it opposes the neo-primitivism of modern art,
present in juxtapositions and collages. Uta's sculpture remains a German icon,
expressing the inexpressible in the three-dimensionality of the plastic ensemble.
The central female image of German culture is the image of Uta, captured in
sculpture of Naumburg Cathedral. Created in the 12th century, when the masters were already trying
to capture in stone the external manifestation of human nature; emotions, feelings,
Uta's sculpture approaches the classical ideal. Features of her appearance, with all
her external restraint reflect the depths of her inexplicably beautiful soul. IN
In German culture, Uta is still the ideal of femininity. Strict and
beautiful, majestic and inaccessible, she was called the “German Artemis”,
Greek goddess, whose image combines tenderness and inaccessibility. Harsh
German nature has honed the features of a Greek goddess, giving them the splendor of an icy
radiance. Concealing the mystery of the highest manifestations of the Spirit in the German national
culture, the image of Uta remained unshakable in the 20th century in the surging waves of the latest
his interpretations. Uta, as well as other sculptures of Naumburg Cathedral (more precisely, their
casts), had to participate in the actions of the 30s dedicated to the 2000th anniversary
German culture. Then Uta appeared both in literary texts and theatrical
on the stage.
In September 1923, the Legend of the Stone came to the Roerichs, where it was said:
“Keep the Stone in the Ark brought from Rothenburg. There are four squares on it
sign "M". The phenomenon will be clear when I say - the path of four to the East... Time
comes, the deadlines are fulfilled. The destined fate is written when the Stone voluntarily comes from the West
will come. We affirm to wait and understand the Stone's path. We affirm to understand the destined
bearers of the Stone going home. The ship is ready!
The New Country will go to meet the Seven Stars under the sign of the Three Stars that sent the Stone
to the world. The treasure is ready and the enemy will not take the gold-plated shield!
Wait for the Stone!
On October 6, 1923, in Paris, the Roerichs received the Ark with the Stone. This episode of their life
described by N.K. in the essay “Milestones”:
“...There was an indication that it would be a very valuable package. Time has passed. Friends
Our people already seemed to have forgotten about this circumstance when they arrived in Paris. Once upon a time from the bank
Beckers Trust sends a notification that the package has been received. It turned out that this
The most unusual parcel was delivered in the most ordinary way. As you can see, and so
It happens".
Chintamani is a fragment of the main Stone, which is located in the Himalayas and is
cosmic magnet, possessing enormous penetrating power of psychic and
spiritual impact on people's consciousness. Its most incomprehensible and mysterious
property - energy rhythm. This is the rhythm of the Heart of our Universe, which is located
in the space of the constellation Orion.
In the essay “Stone” Nikolai Konstantinovich writes:
“Signs are indicated on the stone, which either appear or go deeper. Stone
warns its temporary owner about any significant events. Stone
makes a cracking sound on special occasions. Becomes especially heavy or, conversely, loses weight.
Sometimes the stone begins to glow. The stone is sometimes brought to a new owner
completely unexpectedly by some strangers. The stone has many qualities, it is not without reason that
All kinds of legends and songs have been composed. It is also mentioned in medieval
historical and scientific research. In the Himalayas, Tibet and Mongolia constantly
one has to come across references to this hidden miracle.”
The stone is associated with the feminine principle and marks the era of Woman - the era of Mother
Mira. It was through this stone, entrusted to E.I. Roerich, that the rhythm of energy was coordinated
her body with the rhythm of the Heart of the Universe.
The heart of an earthly woman, having assimilated the fiery-spiritual rhythms of the Heart of the Cosmos,
connected the Earth and the Higher Plans.
This experience has planetary-cosmic significance and, due to its unusual nature, cannot
to be duly appreciated by the current generation.
It was an experience in connecting Worlds...
The Great Teacher, who gave Agni Yoga, or the Teaching of Living Ethics, told humanity
future:
“We, the Sons of Reason, the Spirit Leaders of the planet, have on your planet
trusted, who has drunk the cup of experience. She was sent to you as a witness to the cosmic
phenomena, as the bearer of My instructions, as your prophetess of the future.”
“She is the Mother of an unprecedented, all-encompassing, life-transforming Teaching,
heralding a New Age of Light in the consciousness of humanity,” wrote the wonderful
Latvian philosopher and poet R.J.Rudzitis about E.I.Roerich. — She is an advisor and spiritual mother
for many followers of Living Ethics and seekers, not a single question of which it
left without an answer, she gave everyone a friendly word of help, surrounded
heartfelt tenderness and rays of friendship.
And in the future, truly, she will be a guiding star and a beacon for hungry hearts for
many generations."
It is known that Svyatoslav Nikolaevich Roerich painted about thirty portraits of his
father, academician N.K. Roerich. For one of them in 1939, when the Luxembourg Museum in
Paris purchased his work, the name of Svyatoslav Roerich was included in the list of immortals
artists.
Svyatoslav Nikolaevich painted here his father in clothes that he never wore,
- in the costume of Tashi Lama. Why? Knowing that there is nothing accidental in the paintings of the Roerichs,
we must seek the answer to this question.
We also know that Nikolai Konstantinovich himself believed that in a portrait it was very important
background. In this portrait of Svyatoslav Nikolaevich he is depicted against the background of an ancient
paintings or embroidery with a subtle pattern. But what is clearly visible is this
crown (crown). S.N. built the composition of the painting in such a way that on N.K.’s head. ... crown.
What did Svyatoslav Nikolaevich want to say to his descendants? Maybe it's the crown
The Great Brotherhood, of which his father was a messenger.
In the picture we see a strict man with a remarkable will. But he doesn't
looks at us, his gaze is fixed on the sacred Casket, which he holds in his hands.
The casket is covered with “the fabric of one’s homeland,” on which is written in a circle:
“This way you will win.”
The whole structure of this picture is very solemn and sublime.
Nicholas Roerich was called in India Himalayaputra - son of the Himalayas. Like the ancients
times in Rus' went to the holy elders, so lines of Hindus went to him so that
get answers to life's deepest questions.
India, the land of ancient wisdom, where the institution of teaching has existed for thousands of years, and
the concept of a Teacher is considered sacred, he was named Gurudev, Maharishi, Mahatma, which
means Divine Teacher, Great Teacher, Great Soul.
From other sources we can learn that the Casket became an ark for a meteorite,
sent from Orion. In Asia this stone is known as Chintamani, Norbu Rimpoche -
Treasure of the World, and in Europe - like the Holy Grail.
It is known that the Stone has the shape of a flattened fruit or an elongated heart.
The stone comes on its own, you cannot take it. All the great unifiers and founders
states owned it.
Kurnovuu - the Great Ruler of Atlantis - wore this Stone, which contained
crystal of life, on top of all the gold jewelry.
King Solomon ordered to break off part of the stone and insert it into a silver ring, with which
never separated. On the stone was inscribed “the cup of wisdom, with flame
beamed."
Akbar, the great unifier of India, also owned the Stone.
The Emperor of China built a temple made of turquoise the color of the sky for the Treasure of the World.
The East is full of legends about the Gift of Orion. One of them is the legend of the White Horse “Erdeni”
Mori", bearing the great gem of Wisdom, the light of which dispels darkness:
“On the edge of an abyss, near a mountain stream, in the evening fog the outlines of a horse appear.
The rider is not visible. Something unusual sparkles on the saddle. Maybe it's a horse
lost in a caravan? Or maybe he threw the rider while jumping over
abyss? Perhaps this horse, weakened, was abandoned on the road and now, rested,
is he looking for the owner? The mind thinks this way, but the heart remembers something else. The heart remembers
how a horse will descend from the Great Shambhala, from the sacred mountain heights at the destined hour
lonely, and on his saddle instead of a rider the Treasure of the World will shine: Norbu Rimpoche
- Chintamani - Wonderful Stone, Savior of the World. Isn't it time? Doesn't bring
Do we need the lonely horse Treasure of the World?
Nikolai Konstantinovich wrote that the symbol of the white horse is found in legends and tales
various peoples.
“Erdeni Mori has been walking for a long time, and his treasure shines. At sunrise and sunset
everything calms down, which means that somewhere a great white horse is passing, carrying treasure.”
“As long as the nations know about the destined treasure, they will still remain on the right path. Path
theirs, even if it is long and unusual, is inevitable. As inevitable as service
improvement. Fairy tales for some. Someone's story. Someone will be afraid. And someone will turn it around
pages of the book brought."
“In the sagas we know heroes on white horses.” “We saw the white horse of St. Yegori.” "We saw
white horses Flora and Laurus." “We saw the white horses of the Lithuanian god Svetovit.” "On
Valkyries raced on white horses.”
“We heard about the horse of Gesser Khan, we even saw the blows of his horseshoes on the rocks of Tibet.”
“They knew the horse Himavat - with the fiery burden of Chintamani.”
“The construction of the Great Wall is indicated by a remarkable legend. For guard
the state was launched into a white horse; and where this bright messenger passed, there through
all the ridges and the Great Wall was erected. Again white. "It is the white horse in
in legends belongs to the hero. It is the white horse that is left to walk alone,
bringing great news."
Nikolai Konstantinovich repeatedly depicted the legendary Horse of Happiness on his
canvases. Two of them are in museums named after him: in New York and Moscow.
When I began to study the work of Svyatoslav Nikolaevich Roerich, I was surprised why
he painted about thirty portraits of his father and only one portrait of his mother? Posted by
he met her in 1937, when she was 58 years old. Such a beauty! But why didn't I write it?
young? Another mystery!
Then I found out that E.I. and didn’t like to be photographed. And if she got into the frame, then
covered her face.
Gradually, after immersing myself in the books of the Teaching, understanding came.
There is something that puts E.I. Roerich above all the inhabitants of the planet of the twentieth century. It is her
participation in the most complex space experiment, the scientific description of which she gave us
left. Voluntarily, without leaving life, she submitted herself to the test
spatial fire, that is, cosmic energies of the highest tension.
And so that no one can prevent this even by looking at a photograph or portrait
energy experiment, her image should not have been distributed.
The portrait you see was painted on the instructions of the Great Teacher, when Elena
Ivanovna finished recording the last book of the Teachings of Living Ethics. And then beautiful
the image of Mother Agni Yoga had to be immortalized for posterity.
Here is the description of this portrait given by art critic S. Tyulyaev:
“Her radiant eyes are painted extraordinarily vividly, kindness, high
intelligence, crystal spiritual purity. A straight, thin lip line expresses
remarkable will. The placement of the fingers of the left hand is amazingly expressive and graceful,
with which Elena Ivanovna touches the table. Indian art comes to mind
finger games - "mudra". It was born in Indian dance and deeply rooted in
sculpture and painting. "Mudras are gestures of the soul that transfer moral beauty into
its direct aesthetic equivalent,” said John Ruskin. And here this position
the hands speak volumes, as do the objects on the table in front of the figure: a book, a rose flower
and an old chest. The background in the portrait is deeply thought out and its content echoes
the inner essence of the model, it is written freely and easily: an artistic drawing
fabrics, a bronze figurine of the deity of love Krishna playing the flute - everything
reminds of the breadth and diversity of interests of the person being portrayed, of her special
sublime spirituality. The portrait clearly shows the originality of this woman, the faithful
her husband's assistant and co-worker, who valiantly went through with him
the inhuman difficulties and dangers of their Asian expedition."
On the table, behind which Svyatoslav Nikolaevich depicted his mother, stands a familiar figure
box. In the life of Helena Roerich, the legend became reality. In the 20th century, a box with a Stone
returned to her owner. Since time immemorial, the receipt of this gift marks
the coming date of unification and power of the country where it is located.
from here
The “Banners of the East” series has taken shape. 1. "Buddha the Winner" in front of the source of life. 2. “Moses the Driver” - at the top, surrounded by the radiance of the sky. 3. “Sergius the Builder” - works independently. 4. “Watch of the Himalayas”, in glaciers. 5. “Confucius the Just” - a traveler in exile. 6. “Ienno Guyo Dya” - friend of travelers (Japan). 7. “Milarepa the Hearer” - at sunrise he recognized the voices of the devas. 8. “Dorje the Daring” - come face to face with Mahakala himself. 9. “Sarah is the Good Arrow”, not slow in sending good things. 10. “Mohammed on Mount Hira (message of the Archangel Gabriel)”, legend. 11. “Nagarjuna - the Conqueror of the Serpent” sees a sign on the lake of the lord of the Nagas. 12. “Oirot - the messenger of the White Burkhan”, Altai belief. And those that are already in the Museum: 13. “Mother of the World.” 14. “Signs of Christ.” 15. "Lao Tzu". 16. “Tsongka-pa.” 17. "Padmasambhava". 18. "Chalice". 19. “The Ancient Serpent.”
In the struggle and revelation of truth, the legislators of the common good stand on the chariots of time: the tireless driver Moses; stern Amos; Leo - Winner - Buddha; justice of life - Confucius; the fiery poet of the Sun - Zoroaster; transformed, reflected by “shadows” - Plato; great in the sacrifice of immortality - Good Issa; interpreter of wisdom, lonely Origen, great community leader and ascetic Sergius. All walked tirelessly; all subject to modern persecution; all who knew that the teaching of the common good would come immutably; everyone who knew that every sacrifice to the common good is only an approximation of the path.
On the mountains they talk about these teachings and simply listen to them. Both in the deserts and in the steppes, people sing in everyday life about eternity and the same thing - the common good. Residents of Tibet, Mongolia, Buryats - everyone remembers the common good.
N.K. Roerich “Altai – Himalayas”, M. 1999, p. 118
In Sikkim he painted a large series of paintings (“Banners of the East” - approx.). On his canvases he depicted the founders of doctrines and religions, philosophers and ascetics, reformers and thinkers. There was a pattern in his choice of great personalities of the East. It was as if he was painting not pictures, but the history of the East itself, its culture and thought. Buddha, Christ, Lao Tzu, Confucius, Moses, Tsong-ka-pa, Padma Sambhava, Milarepa, Nagarjuna. He wrote them unusually, unconventionally. It seemed that he knew a lot more about them than could be gleaned from official, legalized sources.
Shaposhnikova L.V. "Master" M. 1998, p. 223
The question arises why Roerich took the subjects of the East. But it is known that the East is the cradle of the most ancient culture on the planet, where philosophical Teachings, religions came from and where the first sages appeared. The Banners of the East series presents wisdom in all its richness - through the "standard bearers" and spiritual processes to which these great ones were directly related.
Shaposhnikova L.V. “The Master’s Universe” M. ICR, 2005, p. 820
E. Matochkin.
“Banners of the East” N.K. Roerich
/abbreviated/
The entire life and entire work of the great Russian artist, thinker, traveler-researcher, public figure Nicholas Roerich (1874-1947) was invariably directed towards the future. And even when he saw into the hoary antiquity of the Slavic tribes - whether in excavations, articles, paintings - he first of all identified in it those building concepts that could serve to create a wonderful future. The same can be said about the five hundred paintings painted during the Central Asian expedition of 1923-1928, which explored the monuments of the ancient cultures of India, China, Mongolia, Altai and Tibet. A special place among these paintings is occupied by the “Banners of the East” series, consisting of 19 canvases dedicated to the great saints, ascetics, and founders of the world religions of the East.
...The subjects of the paintings were drawn from a storehouse of legends and traditions, which allowed the artist to show the Teachers of higher knowledge at those significant moments of their deeds that left an indelible mark on the people's consciousness. They drive out darkness, help in trouble, tirelessly do good and sacrifice themselves; they take on many earthly difficulties in order to help the great Future.
Roerich was deeply convinced that the world would soon become united, and work for the common good would be established as the highest moral value. In beautiful images of art, he wanted to remind humanity of the first “community leaders” - Buddha, Confucius, Christ, Sergius of Radonezh and others, to introduce the great images of these true “legislators of the common good” into the mainstream of modern life...
The synthesis of beauty, truth and goodness, embodied in the “Banners of the East” series, brings the master’s artistic ideas closer to the philosophy of All-Unity. Its creator, the outstanding philosopher of the Silver Age V.S. Solovyov, dreamed of cosmic evolution, carried out in the unity of natural, human and divine principles.
The Christian interpretation of the principle of All-Unity underlay the design of the earlier series “Sankta”, written by Roerich in 1922. Then the heroes of his paintings were Orthodox community members doing their righteous, God-pleasing work on earth, having the Kingdom of God as their ideal. By creating the “Banners of the East,” Roerich thereby expanded earthly brotherhood to a global scale and developed the understanding of the principle of All-Unity to the universal level.
The unifying focus, the central painting of the series is the painting “Mother of the World”. The great female image appears against the background of the night sky. Above her head is a bright star, to the right and left are two constellations: the Seven Elders (Ursa Major) and the Three Magi (Orion). “Between them,” explains the artist, “the morning star, the bright abode of the Mother of the World, is now rushing uncontrollably toward the earth. And with its overwhelming light, its significantly unprecedented approach, it foretells a new great era of humanity.”
In one of the versions of the painting “Mother of the World,” Roerich likens the stars to small anthropomorphic figures, reminiscent of sculptures of Teachers in a traditional Eastern pose. Each star is its own sun, and the comparison of the Teacher with the sun is generally accepted, at least in India. All these Teacher stars are addressed in prayer, standing before the image of the Mother of the World, great and grandiose in its galactic scale. ...
The ideological homogeneity of the images of the 18 paintings in the series, their identical horizontal format and the highlighted vertical of the central canvas “Mother of the World” suggest that the series “Banners of the East” is a single ensemble, united by a common artistic idea and conceived as a majestic iconostasis of a world-encompassing temple.
Today, when the paintings of the series are scattered across different collections, one can only guess what this ensemble should look like according to the author’s plan. Obviously, the structure of the ensemble was symmetrical, that is, on both sides of the central canvas there were 9 paintings, each of which occupied its own specific place. Taking into account the compositional and dynamic gravitation of each canvas (as well as the Teacher stars) to the center, the general rhythmic organization, as well as the harmony of color masses, it can be assumed that the order of the paintings in the ensemble is according to the numbering given (by Roerich - see N.K. Roerich “Altai” -Himalayas", M. 1999, p. 99) the list could be as follows: 8 - 10 - 5 - 1 - 6 - 12 - 7- 16 - 4 - 13 - 18 - 2 - 3 - 9 - 17 - 14 - 15 — 11 — 19.
Such a reconstruction of the ensemble leads to interesting conclusions. Thus, despite the fact that each painting is painted in a certain color tone, the colorful palette of the series from the outer canvases with their warm earthly tones gradually transforms into the gold of the sun’s rays, and then into the cosmic radiance that prevails over everything in the central canvas. As a result, the overall light spectrum of the paintings follows the natural rainbow spectrum: from red through yellow and green to blue. The energy of light waves increases from the periphery to the center. In the middle seven canvases, the dominant blue color, saturated with the vibrations of the spiritual aspirations of the heroes and unearthly white streams, seems to acquire a new quality...
It was not by chance that Roerich compared the paintings in the series with banners. The banner appeared in the states of the East in ancient times as a clearly visible sign for the gathering and unification of warriors. And, apparently, the artist wanted his canvases, dedicated to the great ascetics, not only to delight with their beauty, but also to serve the same purpose of unity on the paths of spiritual ascent.
Quote from: “Roerich. Prophecies." Samara, 2004, pp. 93 – 101
1. "Buddha the Winner" in front of the source of life
Victorious Buddha, 1925
Buddha(Sanskrit) – literally – enlightened.
- The name given to the founder of Buddhism, Siddhartha Gautama (623-544 BC), who, according to legend, came from the royal family of the Shakya tribe in Northern India (one of the names of the Buddha is Shakya-Muni, “hermit of the Shakyas”)
- In the religion of Buddhism, a being who has reached a state of highest perfection.
Buddhism– one of three (along with Christianity and Islam of world religions). Originated in Ancient India in the 6th-5th centuries. BC. The founder is considered to be Sidhartha Gautama. Main directions: Hinayana, Mahayana. The rise of Buddhism in India in the 5th century. BC. – beginning 1 thousand AD, spread in Southeast and Central Asia, partly in Central Asia, Siberia, assimilating elements of Brahmanism, Taoism, etc. In India by the 12th century. dissolved in Hinduism, greatly influencing him...
Qualities of Buddha: Shakya Muni - wise from the Shakya family, Shakya Sinha - Shakya Leo, Bhagavat - Blessed One, Sattha - Teacher, Jina - Winner.
N.K. Roerich “Altai – Himalayas”, M. 1999, p.104
Neither Alara Kalama nor Uddaka Ramaputta (Buddha's teacher - note) did the Buddha find saving solutions. The reformer, who strived for vitality, could not be satisfied with reinterpretations of the Rig Veda. Buddha goes far away, into the hidden places of the mountains. The legend brings the brave seeker to Altai. And the legend of White Burkhan* is preserved in Altai in all its vitality. Near the mysterious Uruvela* the Buddha approaches the simplest expression of all accumulations. And on the banks of Nairnagara he is illuminated with the determination to say words about the community, about the renunciation of personal property, about the meaning of work for the common good and about the meaning of knowledge. Establishing a scientific approach to religion was a true feat. To expose the self-interest of the priests and Brahmins was the highest fearlessness. It was incredibly difficult to reveal the true levers of hidden human forces. It was extraordinarily wonderful for the king to come in the guise of a mighty beggar!
In the awareness of the evolution of humanity, the image of the community Buddha occupies an undeniable, beautiful place.
N.K. Roerich “Altai – Himalayas”, M. 1999, p.106
The Teaching of Living Ethics,“Leaves of the Garden of Moria”, part 2 “Illumination”
Let's talk about Lord Buddha.
People do not understand the basis of the Teaching of the Blessed One. The basis is discipline.
Spiritually and physically, the monk of the community tried to stay on the path. During the first years he endured difficult obedience. He was forbidden to kill himself with the exercises of the stylite, but was ordered to fight the battle with a single principle of the spirit. This is how Buddha taught his disciples sternly. Truly, only in spiritual battle did they know joy, which is why it is said about the thorns of the path.
Only when the will of the ascetic was born like a lion and the silver bridle of the spirit sparkled on the feelings of the student, only then did the Lord lift the curtain and give the task.
Then, gradually, the student was initiated into the secrets of knowledge.
The Blessed One said: “Truth is the only source of courage.” Correctly understood truth is the most beautiful and wisest chapter in the book of the Cosmos.
... Worship did not exist in the Master’s Teachings - there was knowledge and personal achievement. This was precisely what was characteristic of the Master’s Teaching. That is why His symbol was a lion. We often call the Lord the King of Thought!
If they ask: “Who is greater, Christ or Buddha?” - Answer: “It is impossible to measure distant worlds. We can only admire their radiance.” The Ray of Christ nourishes the Earth in the same way as the rainbow of Buddha carries the affirmation of the law of life.
...Lord Buddha, under the name of the Indian prince Joasaph, is honored not only by the Orthodox Church, but also by the Catholic Church...
E.I. Roerich “Letters” vol.5, M. 2003, p.350
Teacher Buddha pointed out that “of the three types of actions, the most destructive is not the word, not the bodily act, but the thought.”
The Buddha's dialectics in many ways anticipated the most advanced ideas of our time. It somehow seems to me that Buddhism is more in line with the spirit of our time, there is a lot of dynamics in it and there is no hint of dogmatism. In addition, in Buddhism the center of gravity lies on experience, which corresponds to the meaning of experiment that is generally recognized by our scientific thought.
P.F. Belikov “Continuous ascent” vol. 2, book. 1. MCR, M. 2003, p. 103
The victory chariot of Yoga.
Who has acquired Faith and Wisdom,
He who is well equipped is moved forward by his mind.
Consciousness is a drawbar, and Mind is a harnessed pair,
Vigilance is a cautious charioteer.
Righteous Life - Chariot;
Joy is the axle, Energy is the wheels.
Calmness is the ally of a balanced Mind.
The absence of desires is its decoration.
Benevolence, non-harm and detachment -
His weapon.
Patience is the armor of Order.
This chariot is moving towards Peace.
It is built by the person himself, his inner self is created.
She is the best of all chariots.
The sages on it leave this world.
And, verily, they achieve victory.
Buddha, from the Samyutta Nikaya (Collected Related Teachings).
Quote from: “The Great Yogi of Tibet Milarepa” Samara 1994 p. 4.
2. “Moses the Driver” - at the top, surrounded by the radiance of the sky.
Moses the Driver, 1925
Museum named after N.K. Roerich, Moscow, Russia
Moses, in biblical mythology, the leader of the Israeli tribes, called by the god Yahweh to lead the Israelites out of pharaonic slavery through the parted waters of the “Red” (Red) Sea; On Mount Sinai, God gave Moses the tablets with the “10 Commandments.” For Jews, Muslims and Christians, Moses is a prophet.
Soviet encyclopedic dictionary, ed. 3rd, M. 1985
Moses was truly a great Leader, and you correctly note that he was the creator of the people of Israel…. Moses, being a student of the Egyptian priests, was initiated into secret knowledge, into the Unity of the Cosmos, Unity in Diversity. And he established this idea of Unity in the form of Unity of Command precisely among the masses, securing the veneration
one aspect of the Deity as Jehovah.
Moses was in the full sense a Leader and Legislator, and he had the difficult task of creating a people from a nomadic tribe that had been in long slavery and, as a result, had acquired many negative traits, and laying in it the foundations of order, construction and statehood. All hints at the cruelty and vindictiveness of the laws he established are unfounded. For, looking through them with an open mind, you are amazed at their wisdom and mercy. In many ways they
more just and merciful than the laws currently existing. And it is not for us, in our age of horror, cruelty, destructive selfishness, the most terrible crimes and corruption to talk about the cruelty of the laws of Moses.
E.I. Roerich “Letters” vol. 2, M. 2000, pp. 123 – 124
3. “Sergius the Builder” - works independently.
Sergius – builder, 1925
The painting is dedicated to one of the outstanding spiritual leaders of the Russian people, Saint Sergius of Radonezh, who lived in the 14th century. Sergius played a huge role in the unification and strengthening of the independence of Rus'. He inspired Dmitry Donskoy to fight the Tatars on the Kulikovo field, which brought victory to the Russian soldiers. He also made a huge contribution to the development of Russian culture and education. Under him, communal living for monks was first introduced in monasteries. The Trinity-Sergius Lavra, created by this outstanding Teacher of the Russian land, reminds us of his tireless labors and concerns for his people.
Shaposhnikova L.V., album “Nicholas Roerich”, M. 1997, p. 60
He began the construction of Rus' with the construction of his monastery. There is no need to imagine that it was idyllically calm, blissful and serene. It is with the building of the community that the most dramatic pages of the Life of Sergius are connected.
Magazine “Before the Sunrise” 1995, No. 7, N. Grebennikova “Community of Sergius”, p. 2
Sergius, the Builder of Communities, forbade his employees to accept alms. Food and things could only be accepted in exchange for labor. Starving, he himself offered his work. Community building and education were the only occupations of this remarkable man. Refusal from the metropolitan rank and from wearing valuable metals in his life is a natural act without any pretentiousness. Tirelessness of work; selection of young, unknown employees; simplicity, both above and below. Refusal of personal property not by decree, but out of awareness of the harmfulness of this concept. Sergius retained a large place in the list of community builders.
There are not so many of them - builders of life that corresponds in the inner sense to the coming evolution. And we must carefully select these names of the coming light, continuing their list to the present.
N.K. Roerich “Altai – Himalayas”, M. 1999, p.117
N. Spirina
"Bear"
Early in the morning he was awakened by an unfamiliar sound. The huge brown bear snorted, moved his ear and listened. The forest rang with many familiar morning voices, well known to the inhabitant of the remote den. Enthusiastically and loudly, with voices fresh after a night's rest, birds sang to meet the rising sun, grasshoppers chirped, wild bees buzzed, the grass rustled from various swarming small fry, and the treetops rustled slightly. In a word, everything that was happening around was familiar and did not deserve attention. What woke up the bear? Here the sound was repeated again, it sounded again and again, crashing into the music of the forest. The sound vaguely resembled the knock of a woodpecker, but there was something special and unusual about it. Something new has invaded forest life. The bear decided to investigate. He lazily stood up and slowly, waddled, walked in the direction of the sound. As he moved towards the goal, the knocking sound became louder and more distinct. Finally the bear climbed up the hill, the trees began to thin out and part. Carefully sticking his muzzle through the thickets of bushes, he saw an unusual picture in the small clearing that opened in front of him. A Man with an ax in his hand stood bent over a freshly cut down large tree and cut off the branches, clearing the trunk.
The bear had never seen people before. They rarely entered deep, impenetrable forests and were unfamiliar to the beast. Was it friend or foe? The bear decided to come closer and take a closer look. He walked around the felled tree and sniffed it. It smelled of resin and fresh wood. The Beast approached the Man. He poked his nose into the edge of his clothes and sniffed. A highly developed sense of smell brought an unusual, but very pleasant aroma. What made him pleasant, the bear did not know; but the aroma somehow had a particularly calming and joyful effect on him. The beast sensed a Friend. He was no longer wary or afraid of anything, but felt confident and calm as never before. Even in his den he slept, always keeping his sharp ear ready. Who can foresee the accidents of wild forest life?! But there was clearly no need to expect any unpleasant surprises here. The bear grumbled with satisfaction and lay down more comfortably, not far from the amazing Guest. The man, tall, stately, powerfully built, paused his work, looked at the beast and said something.
The Bear did not understand what was said, but the Man’s gaze was very similar to a ray of sunshine in a small clearing in the forest, where he went to bask in early spring. Only, in addition to the warmth, this look also made me feel unusually joyful, my heart beat quickly and strongly. The man said something again. The bear stood up and approached Him. The man looked intently into his eyes and put his hand on the beast's head. The bear stood motionless. He wanted the Man to never take his hand off his shaggy head, he felt so good from this unusual and unexpected caress. The man stroked him, then took the ax and calmly began the interrupted work. The bear sat in the clearing for a long time. He completely forgot that he hadn’t eaten anything since yesterday: he didn’t feel like eating. He seemed to be well-fed and dozed off calmly, watching his Friend’s work through half-closed eyelids. Finally, the Man, having finished cutting down the tree, left somewhere. Then the bear got up and reluctantly walked back.
Several times during the summer the bear visited his lonely Friend. Every time the Man spoke to him, the bear loved to listen to the sound of his voice. He was unusually pleasant to the ears of the powerful forest dweller. And the bear’s heart somehow understood what was said in its own way and trembled in response.
Winter has finally arrived. By this time, several wooden buildings had grown up in the clearing cleared by the Alien’s axe. First of all, a small church appeared - a chapel - an amber frame, smelling of resin, crowned with a cross. She was so bright and fresh, as if she was glowing from within. The bear had never seen such buildings. He walked around the chapel, sniffed it, and it seemed to him that an aroma emanated from it, similar to the aroma of the Man who built it. Then another building appeared: a small hut that could only fit one person. The bear also liked her, and he lay for a long time near the small wooden porch along which the Man entered the hut.
The winter was very harsh. Snow covered the ground in a thick layer, dense and crunchy. The bear hid deep in its den, preparing for a long winter. He lay in deep sleep for part of the winter, but then hunger began to interfere. He did not let the huge beast sleep peacefully and encouraged him to wake up and start looking for food. Finally the bear could not stand it any longer and crawled out of the den. But finding something edible was not so easy. Under the deep cover of snow there was frozen ground, from under which it was extremely difficult to dig anything out.
The bear wandered through the forest for a long time, but failed to get anything. All living things hid from the cold in all directions, and only occasionally did an animal, hearing a noise, timidly stick its muzzle out of the hole and hide again. The hungry beast was vaguely but powerfully drawn in a familiar direction. He wandered towards the Man. Gathering his last strength, he with difficulty climbed the hill where his Friend lived; staggering, he reached the treasured porch and lay down next to it, exhausted. Around the lonely dwelling, as if enveloping it in a transparent, invisible blanket, there was a heartfelt, ringing silence. It merged with the crystalline shine of the snow, the pure blue of the winter sky and the motionless ancient trees standing around, as if in aspiring prayer. The bear lay and waited, listening carefully. Finally, the door of the hut opened and a Man quietly came out onto the porch, holding a piece of bread in his hand. With great compassion He looked at the exhausted animal, and the bear again perceived His gaze as a spring ray, and a warm, life-giving stream spread throughout its entire body. He let out a satisfied grunt and quietly crawled closer.
The man leaned towards him and held out the food. The bear took it and began greedily gnawing on the stale, old bread. Oddly enough, but after eating the humpback, the bear felt that he was full and sighed with satisfaction. The man stroked the beast and began to talk to it. The bear listened and understood something of his own, very important and necessary; and somewhere in the depths of his sleepy consciousness, glimmers of understanding flashed. Then the Man stroked him again and went back, taking with him the warmth and that unknown alluring aroma that was so pleasant to the bear.
More than once in winter the bear came to warm up and feed himself at the hospitable hut, and Man never refused him a piece of bread. Other animals and little creatures came running, and left, caressed, and near the treasured hut they were not afraid of the terrible owner of the forest - the bear. And the bear there had no desire to touch them, his heart was so peaceful and complacent. Peace and goodwill reigned on the hill, penetrated the dark souls of animals, fanned the trees and grass, and saturated the air and earth. It was good and easy to breathe and live near the hut and the tiny church, which seemed to glow from within.
Gradually, people began to settle around the blessed dwelling. They, just like the animals, were drawn there by an unknown, attractive force. They often broke the profound silence with the sound of axes, talking and the noise of work. The bear did not touch them and was not afraid, but began to come less often. Sometimes he accompanied his Friend when he went down to the river for water or on His lonely journeys through the forest. Sometimes other people approached the Friend at this time and they talked about something. In such cases, the bear stood calmly near his Patron, and was not afraid of him.
Little by little the bright monastery grew. Soon it was surrounded by a high tine, blocking access to the animals. The bear still sometimes came to the treasured hill, sat and waited. Sometimes he looked through the crack in the fence in the hope of seeing a Friend. His Friend always worked. Either he was building new huts, then he was chopping wood, then he was digging the ground, then he was doing something in one of the built rooms. But the silent call of the furry guest always reached His heart. He went outside the stockade and talked to the bear, sometimes treating him to a piece of bread. And the bear's soul became clearer and rejoiced.
Time passed, and the taiga retreated further and further from the monastery. The monastery became large, then huge. There was a road leading to it. Many people, on foot, on horseback, and sometimes even armed, on carts and carts, began to walk and ride there. Every day, from the high bell tower of the new large church, a melodic and deep ringing flew into the depths of the forest. There was no access at all for the forest animals, who so loved to resort to a small, unfenced, quiet hut. The bear also left for his forest slums. He didn't need or like people. Only about one Man did he carry with him in his bestial heart some indescribable memory, which, like a fire in the dead of night, illuminated and warmed his dark consciousness.
And the image of Man, who saw his brother in the beast, remained for many centuries in people’s memory as the embodiment of great, all-conquering Compassion.
Magazine “Before Sunrise” No. 7 (15), 1995.
4. “Watch of the Himalayas”, in glaciers.
Himalayan Watch, 1925
Museum named after N.K. Roerich, Moscow, RF
Ancient manuscripts were kept in the secret places of monasteries, which told about the protected country of Shambhala, the borders of which were guarded by inaccessible mountains and snowmen. The manuscripts told about people living in a protected country, who know the past and know the future. They send prophecies into the world, and these prophecies are fulfilled.
Shaposhnikova L.V. "Master" M. 1998, p. 216
The Teaching of Living Ethics,“Leaves of the Garden of Moria”, part 1, “The Call”
M. has many towers and guard apparitions
along the slopes of the Himalayas.
Consider - no one can get through without companions
snow guard.
Giants among the ice watch over the river of the world.
The ice blooms with pure fire, and the air is saturated
ozone.
In the tales of Shambhala, in legends, traditions and songs, perhaps the most significant message of the East is contained. Whoever knows nothing about the vital significance of Shambhala should not claim that he has studied the East and knows the pulse of modern Asia.
N.K. Roerich "Heart of Asia"
L.V. Shaposhnikov “Commands of the Cosmos” M. 1995, p. 66
5. “Confucius the Just” - a traveler in exile.
Confucius the Just, 1925
Museum named after N.K. Roerich, Moscow, Russia
Confucius– (Kun Tzu) (c.551 – 479 BC) – ancient Chinese thinker, founder of Confucianism, the main content of which is the achievement of universal prosperity through moral self-improvement of the individual. The main views of the ethical and political doctrine are set out in the book “Lun Yu” (“Conversations and Judgments”).
“At the age of 15, my mind was bent on teaching. At 30, I stood strong. At 40, I was freed from disappointment. At the age of 50 I understood the laws of Providence. At 60 years old, my ears were listening to the truth. At 70, I could follow my heart."
N.K. Roerich "Behind the Great Wall"
cit. after “Nikolai Konstantinovich Roerich”, album. Samara, “Agni”, 2005, p. 12
Confucius had to move as an exile from place to place. And his traveling chariot is placed in the temple along with his writings and musical instruments. This is not surprising, since the same community lies at the heart of Confucius’s teachings. Let us remember his teaching: “If the hearts of mortals are inflamed with love, then the whole world will be like one family. All men will be one man, and all things, by reason of their wonderful mutual order and union, will appear to be one and the same being. We must love others as ourselves, therefore we must wish for them everything that we wish for ourselves.” “Hypocrisy is the most hated vice.” “He who hides behind the mere appearance of virtue is like a villain, who during the day appears to be an honest man, and at night he steals his neighbor’s property.”
“Beware of those who are committed more by the praisers of virtue than by its followers. Do not be deceived by their learned reasoning, which at least could be understood as the expression of a convinced soul, but they are only the fruit of a corrupt mind and fictitious motives of the heart. Those who speak with some kind of sensitivity about humility, about the common good, are not always themselves examples of this.”
“Abstinence, simplicity in dress, decency, study of sciences and arts, aversion to caresses, love of inferiors, selflessness, prudence, constancy, kindness - these are the prescribed duties.”
“Study the sciences and fine arts, use the instructions of wisdom.”
“A stingy person, being himself in trouble, becomes a terrible and disgusting object for others. Let prudence rule all your affairs.”
“To know people whether they are good or evil, there is no better way than to look at the pupil of the eye; for the pupil of the eye cannot hide the vice that lurks in the heart.”
“Do not let your inferiors feel your high position, do not show the advantages of your merits to your equals.”
“There is nothing that consistency cannot achieve. I can bring a basket of earth every day, and if I continue, I will finally build a mountain.”
“Man must become a co-worker of heaven and earth.”
“All beings feed each other.”
“The laws of motion of the luminaries are fulfilled simultaneously, without violating each other.”
“The actions of heaven and earth are divided into countless streams, acting on each creature separately. Their common action accomplishes great transformations - this is the greatness of heaven and earth.”
“Consciousness, humanity and masculinity are the three world qualities, but to apply them one needs sincerity.”
“A man who has not realized his purpose cannot be considered a great man.”
“Isn’t there a panacea for everything? - Isn't this love for humanity? Don’t do to others what you don’t want for yourself.”
“If a person knows how to govern himself, what difficulty could he encounter in governing the state?”
“A wise man is firm, but not stubborn. Be slow in words and quick in action."
“The wise man expects everything from himself, the insignificance expects everything from others.”
“I love the sparkle of virtue that is not expressed by loud words and pompous movements. Hype and proclamation are very secondary things in the transformation of nations.”
“The ignoramus is proud of his knowledge; insignificant, desiring excessive freedom; a person returning to ancient customs is inevitably subject to disasters.”
“The shooter sets an example for the sage. When he misses the mark, he looks within himself for the reason.”
Teaching about the common good, Confucius had to always have his chariot at hand...
An old Chinese man talks about Confucius. These old thoughts merge with the traces of old Chinese travelers, who left so much useful information about India and all of Central Asia.
N.K. Roerich “Altai-Himalayas” M. 1999, pp. 107 – 108
“No great man suffered as much as Confucius from stupidity, lies, perversion, from lack of sympathy and nobility, and especially from the deep ignorance of his condemners,” says L. Giles and continues:
“Confucius was the prince of philosophers. The wisest of the sages. The highest moralist, the highest and deepest intellect that ever appeared in the world. He was a statesman, a bard, a historian, and an archaeologist. Its broad scope could put the most famous ancient and modern philosophers to shame.”
Then the same author rightly points out that the greater glory of Confucius was not the years of his recognition, but, on the contrary, the time in which he was subjected to special attacks, slander and condemnation. But in relatively recent times, the dust of centuries has been removed from the great figure of the Teacher. So, even this, after all, very clear and vital philosopher certainly had to go through the hardening of slander.
These lines about Confucius were especially remembered when passing the Great Wall of China. The Wall is truly great, and the philosopher - Teacher of Life is also truly great. Isn't it strange that this messenger of peace should always have a chariot drawn, being ready to flee from unexpected persecution?
Just think that it was Confucius in his time who was called a charlatan and a liar, and at best he was called a dreamer and condemned for the inapplicability of life. And this dreamer, when asked what heaven is, answered: “How can I judge heaven when I still don’t know so many earthly things.”
In the Confucian dictionary, the expression “jen” is often found, which is translated either as virtue or valor. This is how it is expressed in the first English translations. At the same time, the researchers themselves do not hide that such a definition is only relative, for lack of a better expression. For us, this concept will rather be the word “feat” in all its highly constructive meaning.
Going beyond the Great Wall, I wanted to think about something great, and the thought of the great sage Confucius was especially close.
N.K. Roerich “Diary Sheets”, M. 1995, pp. 289-290
6. “Ienno Guyo Dya” - friend of travelers (Japan).
Jenno Guyo Dia - friend of travelers, 1925
Museum named after N.K. Roerich, Moscow, Russia
Ienno-guyo-dya(En-no Gyoja, En-no Ozuno, Japan, 7-8 centuries) - a great ascetic, founder of the brotherhood of mountain hermits - yamabushi (yamabushi), who sought to reveal hidden spiritual powers - Shugendo (Shugendo)
Yamabushi (lit. “sleeping in the mountains,” “mountain sages”) were originally a brotherhood of hermits who settled in inaccessible mountains. Thanks to the highest prestige they earned for their spiritual capabilities and morality, this movement gradually became widespread, gaining followers in all levels of Japanese society.
Legends connect Ienno-guyo-dya with Prince Shotoku Taishi (574 - 622) - a great reformer and statesman, ruler of Japan during the period of the struggle of Buddhism with ancient shamanic cults, who became a hermit, and later, after a false funeral, hid in the mountains , taking the name Ienno-guyo-dya.
The activities of Shotoku Taishi (Shotoku Taishi is a posthumous name, translated as Prince of the Holy Virtues. His real name was Prince Umayado.) began in 592 (at the age of eighteen) and covered all aspects of the life of Japanese society. He established Buddhism among the Japanese aristocracy, attracted many Buddhists from Korea and China to Japan, and contributed to the translation of sacred books into Japanese (including creating commentaries on one of the sutras). The construction of 46 Buddhist temples and monasteries is associated with his name.
He created the famous “Law of 17 Articles,” which laid the foundations of Buddhist, Confucian and Taoist ethics in Japanese society. This document determined the direction of the spiritual life of Japan for many centuries.
It is believed that Prince Shotoku proposed the modern name for Japan - Nippon, "Land of the Rising Sun". He managed to establish equal relations with Korea and China, which at that moment were more powerful states than Japan.
The name Shotoku is associated with the emergence of the art of Ikebana, which in medieval Japan had a deeply sacred meaning, as well as the sacred musical instrument “shakuhachi” (bamboo flute). Legend has it that when the prince played this instrument, celestial fairies came down to him. Later, the sounds of “shakuhachi” began to accompany the reading of sutras in temples, because its sound not only embellished the prayer, but also expressed its essence. The prince's flute is now on display at the Tokyo National Museum.
Historical chronicles mention that Shotoku Taishi contributed to the development of the martial art of Ninjutsu.
In culture, politics, spiritual life - everywhere, Shotoku Taishi did not miss the opportunity to lay the foundations for future achievements that glorified Japan and became a contribution to world Culture.
For the Japanese, the image of the prince became the embodiment of the highest virtues and divine wisdom.
The prince's reign was short - only 15 years. In 607, he retired to one of the monasteries built on his orders (according to some sources, continuing to influence government policy).
In 622, according to legend, Boddhidharma himself appeared to him, talked with him and exchanged poems. That same year, the prince passed away at the age of 48.
The activities of Ienno-guyo-dya were not only a continuation, but also the development and enrichment of the created Shotoku Taishi.
Thanks to Jeno-Guyo-dya, Buddhism, which was originally the religion of the upper strata of society, established itself in the popular consciousness.
The Yamabushi movement he created became for the Japanese the bearer of the qualities of Buddhist ethics: compassion, mutual assistance, and the struggle for justice. It was among the Yamabushi that martial arts schools developed, to protect the weak and as a special path of spiritual asceticism, the foundation of which was laid by Prince Shotoku Taishi.
The name Ienno-guyo-dya is associated with the spread of the sakura cherry tree, which later became one of the symbols of Japan. Its flowering is celebrated every year as a national holiday. According to legend, the first cherry trees appeared in the city of Yoshino, where they were grown by Ienno-guyo-dya.
In the popular consciousness, he was endowed with the highest divine abilities - to talk with Buddhas and Bodhisattvas, to fly, to walk on water, to be transformed in fire. In one of the ancient monuments he is called a descendant of the Shinto deity Susannoo. And in Buddhist sources he is called Bodhisattva Jinben-daibosatsu.
It would not be an exaggeration to say that Prince Shotoku Taishi and the spiritual ascetic Ienno-guyo-dya laid the foundations of the spiritual culture of Japan.
Materials used in preparation:
E. Matochkin “Banners of the East” from the collection “Roerich. Prophecies" Samara, 2004
E.P. Blavatsky "The Enchanted Life (The Story of a Quill Pen)"
/Fragment/
But the stronger my affection and respect for this man became, the less able I was to come to terms with the wild doctrine of life after death, and especially with his words about people who had acquired supernatural power. What especially disgusted me was his respectful attitude toward the Yamabushi, those allies of every Buddhist sect in the country. In my opinion, their claims to miracles were lies. At the time, at least, I could not come to terms with the fact that every Japanese I knew in Kyoto, even my own business partner, and he was the most astute of all those I had encountered in the east, always mentioned these followers Lao Tzu with his eyes downcast, his hands folded respectfully, each time confirming that they have a “great” and “wonderful” gift. Who are they, after all, these great wizards with their ridiculous claims to “super-worldly” knowledge?! Who are they, these “holy beggars”, who, as I believed then, deliberately live in the crevices of sparsely populated mountains and on inaccessible rocks in order to insure themselves against random passers-by who can discover their quackery by observing them in their own lair! Yes, these are just arrogant fortune tellers, Japanese gypsies who sell amulets and talismans! That's who they are. And with the greatest fury and the firmest conviction that I was right, I argued with those who tried to convince me that the Yamabushi live a mysterious life, never allowing the uninitiated into their secrets. But sometimes they do accept students, and although it is very difficult to be a student of a Yamabushi, there are such people, and therefore the Yamabushi have living witnesses who can confirm the majestic purity of their lives. In my disputes, I insulted both teachers and students, calling them fools, if not fraudsters, and went so far in my rage as to include them in the ranks of Shinto members. Shinto or Shin-Son, the belief in gods or the path to the gods, is the belief in communication between divine beings and humans. As a religious movement, Shintoism resembles the worship of nature spirits, and from this point of view, perhaps, nothing could be more stupid. By placing all the members of the Shin-Sung Society among the fools and scammers of other sects, I have acquired many enemies. This was because Shinto Kanushi (spiritual teachers) are considered the highest class of society and Mikado himself is at the head of their hierarchy. Their sect includes the most cultured and educated people in Japan. These kanushi of the Shinto sect do not belong to any one caste or class. Moreover, they do not undergo any rite of passage, at least not known to those who do not belong to this society. Since they never demand special privileges and rights for themselves, but dress the same as all the other uninitiated, very often to those around them they remain professors or students studying various occult or spiritual sciences, so I very often met and talked with them, without even knowing who I'm dealing with.
Ed. "Star". Leningrad, 1991, pp. 18 - 20
7. “Milarepa the Hearer” - at sunrise he recognized the voices of the devas.
Milarepa is a Buddhist hermit (1040 – 1123), whom Tibetans call “Thrice Great”: a great poet, a great yogi and a great saint.
N.K. Roerich “Shambhala”, series Big Roerich Library, M. 1994, p. 196
Tibetan Orpheus - Milarepa, surrounded by animals and listening to the prophetic voices of the mountains.
Is a feat possible without difficulties? I so love the words of the wonderful Tibetan ascetic named Milarepa, who indulged in great deeds, and when people persuaded him to take pity on himself, his health and stop his hard life, he answered: “Since we all must die, I prefer to die in pursuit of the beautiful goals". Truly, if a hundred people realized this formula and applied it to life, the world would be transformed in the shortest possible time.
E.I. Roerich. Letters, vol. 3. M. 2001, p. 552
Y. Roerich “On the paths of Central Asia”
One of the most magnificent episodes in the religious and literary history of Tibet is associated with Tingri and the region located southwest of it around the Lapchi Kangri mountain range. In the first half of the eleventh century, the most famous teacher of Tibet, the hermit Milarepa (Mila ras-pa), Saint Francis of the Land of Snows, lived and worked here. In the south of Tingri, in the almost inaccessible mountain valleys leading to the highest plateaus of the earth, where the snow giants Everest, Makalu and Gaurishankar rise to enormous heights, as if competing with each other, hermits still live, jealously guarding the secret of Milarepa, passed down through generations of teachers. Here, in the lost wild mountains, you can still hear the songs of Milarepa and see images of the Teacher listening to the Inner Voice on the walls of abandoned mountain hermits. Every year, pilgrims climb almost inaccessible paths to Everest to see a giant chip on the mountainside - a trace of the fall of Naro Bon-chung.
One day Naro, one of the main teachers of the Black Faith of Tibet, challenged Milarepa to climb to the top of Everest, called here the “Mother of the Great Snows.” Milarepa accepted the challenge and went into deep meditation. Meanwhile, Naro, seeing Milarepa sitting motionless, with the help of supernatural power began to fly to the top of the great mountain. But how could the Black Faith win? Suddenly, a shining throne appeared on the top of the mountain, on which the meditating Milarepa was sitting. Blinded by the brilliant vision, Naro fell into a deep abyss and, as he fell, left a giant trace of his defeat. So says the legend, and hundreds of pilgrims extol the wisdom of the Teacher, to whom both animals and birds were obedient.
There, in the remote mountains, one can still meet recluses, members of a secret brotherhood of Milarepa's followers called the Brothers and Friends of the Secret. On the ice-covered slopes, a passerby can still see the figure of a monk in white robes, an adept of the secret science of “Inner Fire,” or Lung-tum-mo (lung gtum-mo). Word of this region has spread far throughout Buddhist Central Asia, and learned lamas of Mongolia often speak of spiritual teachers and hermits in the mountainous country southwest of Shigatse.
On the way to Tingri we met several lamas - followers of Milarepa, making a pilgrimage to the Lapchi Valley and its temple. ...
I had the opportunity to talk with them and compile the Gurbum, or collection of songs of Milarepa. I asked them about Milarepa's followers and famous mountain refuges...
Milarepa and his songs are very popular among the inhabitants of Tingri and its environs, and legends about him are often told in the evenings around camp fires and village firesides. The author has benefited greatly from such conversations with traveling merchants and traveling lamas.
In some of the houses of Tingri and surrounding villages we found wall paintings depicting Milarepa with his right hand raised to his right ear, listening to the mysterious voices of nature. He is always depicted sitting in front of a cave with a huge snowy mountain in the background. He wears the white robes of his sect and the cord of an ascetic. Gazelles, leopards and deer look at the saint, immersed in deep meditation. His teacher, Jetsun Marpa, is often depicted above him in the clouds, his hands folded in Dhyani Mudra - a pose of meditation. Other popular paintings show the saint in his usual pose, seated among jagged rocks against a backdrop of snow-capped mountains, with the goddess Tshe-ring-moy attending to him. The saint looks completely exhausted after strict penance. The design of the frescoes is rather crude, but the colors are elegant. Time has softened the too bright contrasts and hidden the drawing errors. Painted images of Milarepa are quite common, but bronze figurines of him are extremely rare. It was possible to obtain only one very crudely made bronze image of the saint.
Samara.1994 pp. 435-438
8. “Dorje the Daring” - come face to face with Mahakala himself.
Dorje is daring. (Dorje the Brave), 1925
Nicholas Roerich Museum in New York, USA.
"Dorje the Daring" to come face to face with Mahakala himself.
N.K. Roerich “Altai – Himalayas”, M. 1999, p. 99
A whole group of strange paintings was associated with the materials of the Central Asian expedition (...1923-28). Faces and mysterious figures appeared on them in the bizarre piles of rocks. The ancient forgotten Gods performed mysterious dances. Like ghosts, the blurred features of the terrifying Tibetan Deities emerged from the rocks of the mountains and mists. “Lhamo”, “Palden Lhamo”, “Dorje the brave”.
L.V. Shaposhnikova “Master” M. 1998, pp. 350-351
Dorje (Tibetan) – “lightning”, a sacred ritual object among Buddhists
L.V. Shaposhnikova “Master” M. 1998, p.616
Mahakala (Sanskrit) – Great Time. The name of Shiva as the "Destroyer" and Vishnu as the "Preserver"
9. “Sarah is the Good Arrow”, not slow in sending good things.
“Sarakha - a good arrow”, 1925
Collection of W. Bolling, USA
“Sarah is the Good Arrow”, not slow in sending good things.
N.K. Roerich “Altai – Himalayas”, M. 1999, p. 99
Saraha is a great Brahmin who developed the teachings of Mahayana and the secret of Tantra, the predecessor of Nagarjuna
N.K. Roerich Altai - Himalayas, M. 1999, p. 490
...will is transformed, sharpened psychic energy. In ancient times, the symbol of will was an arrow. Nowadays they talk a lot about the development of the will and offer artificial methods to acquire the will, but it must be developed by vigorous activity...
The Teaching of Living Ethics. Nadzemnoye, p. 729
...an arrow in sure flight strives for a single goal. Compare the arrow with human thought. A trembling hand will not guide the arrow, just as a wavering thought will not reach the goal...
The Teaching of Living Ethics. Nadzemnoye, p.733
Saraha (Sanskrit - “Archer”, also Sarakha, Sarorukha or Saroja, Sarahasta, 7th - 9th centuries) - an outstanding Buddhist ascetic, teacher of Nagarjuna. On Tibetan thangkas (a sacred design on fabric) he is depicted as an ascetic elder holding an arrow in his hand.
Saraha is revered among the 84 maha-siddhis - holy sages who have achieved spiritual perfection. He is also called adi-siddha (main, first), “Highest siddha of the new tantras.”
His life stories contain contradictory and even mutually exclusive information.
Saraha was born in eastern India into a Brahmin family, which is why he is also called the Great Brahmin. The exact date of birth is unknown (some sources claim that he was born 200 years after the passing of Buddha Shakyamuni, i.e. in the 3rd century BC). He was a close associate of King Mahapala (?), received a Buddhist education at Nalanda University. He left many treatises, instructions, and poems, seven of which are included in the Tibetan canon. His spiritual songs “Doha” and “Karya Gita” are especially famous.
Saraha's activities took place during a period of crisis and weakening influence of Buddhism in India. In his spiritual heritage, he called for abandoning excessive enthusiasm for meditation, ritual, and mental speculation; criticized the established dogmas of Buddhism, Hinduism, and Jainism. He considered compassion and comprehension of one’s inner nature to be the basis of spiritual improvement.
In legends and traditions, Saraha is associated with dakinis - the hidden images of the feminine principle in Buddhism. He is called the son of a dakini. He received his first spiritual achievements from dakinis in the guise of “four Brahmin maidens.” And he acquired the nickname “archer” (arrow maker) thanks to his wife, a dakini, who was incarnated as the daughter of a blacksmith from a niche caste. According to one legend, he had a vision that he would meet his Teacher at the market. After some time, he actually saw a girl at the market who made arrows so flawlessly and her movements were so perfect that Saraha realized that she was his Teacher. This girl became his wife and faithful companion on his travels.
Famous Russian Buddhist scholar prof. E. Torchinov in his “Introduction to Buddhology” mentions that among the lamas of Buryatia 20-30 years ago there was a legend that Saraha in the 20s of the twentieth century. visited one of the Buryat monasteries.
"Lions of Buddha - Lives of the Eighty-Four Siddhas"
/as stated/
Saraha, the son of a dakini, was born into a Brahmin family in the city of Raleigh, in Rajni, in eastern India. Having received a classical education, he turned to the teachings of the Buddha, and, after listening to many teachers, came to tantra. He practiced Hinduism during the day and Buddhism at night.
The opponents of Buddhism, the Brahmins, accused Saraha of drunkenness, went to King Ratnapala and told him: “You are the king here. Is it right for you to encourage a religion with such a bad reputation as Buddhism? And besides, even if Sarah’s “archer” occupies a high position, he still has stained himself with drunkenness and must be expelled.”
The king did not at all want to expel the man who controlled fifty thousand small farms. He went to Saraha and said to him: “You are a Brahmin, it is not at all proper for you to drink wine.” “I don’t drink,” Saraha answered. “Gather all these brahmanas here, and I will swear to you.” When everyone had gathered, Saraha said: “If I drank, let my hand burn. If not, let it remain intact.” He put his hand in boiling oil and it didn't burn. “You see, he doesn’t drink,” said the king. “He’s drinking, he’s drinking!” - the Brahmins insisted. Saraha repeated the oath and drank the molten copper. “No, he is a drunkard,” the Brahmins insisted. Then Saraha said: “Let’s do this: whoever walks on water and drowns drinks, but whoever does not drown does not drink.” And he and another Brahman entered the water, and he began to drown, but Saraha did not, and everyone agreed that Saraha was a teetotaler. Then they began to weigh Sarah. “He who is heavy does not drink,” he said. The Brahmins put three steel weights weighing a man each on the scales, and still Saraha outweighed. It was heavier than even six weights. Finally the king said: “Even if someone drinks and has such energy, let him drink.”
The king and the brahmins bowed to Saraha and asked him for guidance. Saraha agreed and sang three cycles of Dokha songs. After this, the Brahmins renounced their views and became Buddhists, and the king and those around him gained siddhis.
One day Saraha asked me to cook him something from radishes. The wife poured sour cream on the radishes and served them to him, but he sat in meditation and she did not bother him. Saraha remained in meditation for twelve years. Finally, waking up, he asked: “Where are the radishes?” The wife replied: “How could I keep it? It’s spring now, the vegetables haven’t grown yet.” Saraha, after a pause, said: “I’m going to the mountains.” “A lonely body does not give solitude,” the woman answered, “the best solitude is in the mind, when it is far from ideas and concepts. You meditated for twelve years, and the thought of the radish remained in you. What good things will you find in your mountains?” “It’s true,” thought Saraha. From that time on, he tried to dissolve concepts and habitual thoughts in the natural light of the mind.
Saraha gained the siddhi of Mahamudra and fulfilled the hopes of all living beings. Having achieved perfection, Saraha and his wife went to the Upper Light, bypassing the usual transitional states.
10. “Mohammed on Mount Hira (message of the Archangel Gabriel)”, legend.
"Mohammed on Mount Hira", 1925
Museum named after N.K. Roerich, Moscow, Russia
“Mohammed on Mount Hira (message of the Archangel Gabriel), legend...
N.K. Roerich “Altai – Himalayas”, M. 1999, p. 99
Muhammad(Mohammed, in European literature often Mohammed, Magomed) (c. 570 - 632) - founder of Islam, in 630 - 631. the head of the first Muslim theocratic state (in Arabia), revered as a prophet.
Soviet encyclopedic dictionary, ed. 3rd, M. 1985
At-Tabari speaks interestingly about the prophetic calling of Mohammed (“History of Prophets and Kings”). “The first thing that began the revelation of the messenger of God was the suggestions of truth, which came like the morning light. Then he became imbued with solitude and remained in a cave on Mount Hira. And then the eternally True One came to him. And he said to him: “Mohammed, you are the messenger of God.” “I knelt down,” says the Messenger of God, “and I stand waiting. Then slowly I walked out. My heart was fluttering. I came to Khadija and said: “Wrap me up, wrap me up,” and my fear passed away. And He appeared to me again and said: “Mohammed, I am Gabriel, and you are the messenger of God.” ...
Varaka, the son of Naufal, said to Mohammed: “This is a divine revelation that was sent down to Moses, the son of Umran. If only I could live to see your people drive you out!” - “Will I be driven out by him?” - said Mohammed. “Yes,” he replied. “Truly, no man has ever appeared with what you appeared with, without arousing enmity towards himself.” Indeed, they will consider you a liar, they will cause you trouble, they will drive you out and fight with you.” Varaka’s words increased his firmness and dispelled his anxiety.”
N.K. Roerich. Altai - Himalayas, M. 1999, p. 314,
“I am sending... a photograph from my painting “Mohammed on Mount Hira” receives a decree from Archangel Gabriel. I heard very touching reviews from Mohammed’s co-religionists about this painting, who noted their understanding of tradition in hiding the face of the prophet.”
11. “Nagarjuna - the Conqueror of the Serpent” sees a sign on the lake of the lord of the Nagas.
Nagarjuna - conqueror of the Serpent, 1925
Museum named after N.K. Roerich, Moscow, Russia
“Nagarjuna – the Conqueror of the Serpent” sees a sign on the lake of the lord of the Nagas.
N.K. Roerich “Altai – Himalayas”, M. 1999, p. 99
Brave Nagarjuna, who at Lake Yumtso gained wisdom from conversations with Naga, the “snake king.”
N.K. Roerich “Altai-Himalayas” M. 1999, p. 106
...many centuries ago, the famous Nagarjuna lived here - a great philosopher who received knowledge from the Great King of the Nagas and transformed the teachings of Buddha.
It was in the same red glow of the sunset that the Great Naga raised his hood from the depths of the sacred lake, on the shore of which Nagarjuna was sitting. This is how Roerich’s painting depicts the mysterious moment of knowledge transfer. In the picture, reality was intertwined with myth, just as in the life of the Buddhist philosopher himself. The dates of his life are controversial, but real - either the first century, or the third. It is known that he was a Brahmin who converted to Buddhism and was educated in Nalanda, the famous center of Buddhist learning. Nagarjuna's fame spread far beyond the borders of India. He was well known in both Tibet and China. This, in fact, is where the real part of his biography ends. Then it moves into the mythical stage, where legends and tales about him as a great magician play a major role.
Legends tell of Nagarjuna's unusual abilities. He could cure a person with one glance, possessed the secret of making the elixir of life, had the ability to find hidden treasures and treasures, knew how to restore broken and broken things, so much so that no one could even imagine that the thing was damaged. Damaged gems in his hands became full again. He could make gold. One day, the Buddhist community where he lived was on the verge of famine due to crop failure. Nagarjuna made gold grains and exchanged them for real ones. He was clairvoyant, possessed the gift of prophecy and could become invisible.
The most mysterious aspect of his legendary biography was his connection with the nagas. He received his name - Nagarjuna, or “victor of the Nagas”, thanks to communication with the latter. The meeting with the Great Naga was, apparently, the culmination of such relationships. Nagarjuna's acquaintance with the nagas, as legends say, took place in Nalanda. Nagas appeared in the monastery in the guise of young men, the same age as Nagarjuna. They, according to tradition, passed on secret knowledge to him, and then invited him to their place. He spent three months with the nagas in a secret place. When the time came to say goodbye, the nagas, according to their custom, presented Nagarjuna with rich gifts and various jewelry. But the most precious book was “Nagasahasrika”, which contained valuable instructions.
There is scant evidence that in the land of nagas, which Nagarjuna visited, lived not only wise nagas, but also arhats. And conversations with them completed Nagarjuna's philosophical education. From the country of the Nagas, according to this version, he went north and from there he ended up in a completely different part of the world. There lived tall beings, among whom Nagarjuna spent twelve years. The Nagas showed him the way to this country.
Finally, the legend says that Nagarjuna lived for some time in a Buddhist community on Mt. There, in a mountain refuge, the Great Naga saw him. He liked Nagarjuna for his learning and inquisitive mind, and the Great Naga invited him to his palace. But the difficulty was that the palace was located on the seabed. However, the Great Naga helped Nagarjuna. How - the legends are silent about this. In the palace, the Great Naga showed him seven vaults with valuables. They also contained ancient books that people living on earth did not know about. The great naga took several books of the Buddha's teachings from the shelf and gave them to Nagarjuna. He studied the books for ninety days in a row, comprehending their deep meaning. And the Great Naga, having daily conversations with him, discussed with Nagarjuna what he had read. When his stay in the palace of the Great Naga expired, he gave him several books. Nagarjuna brought these books with him to India. In addition, the Great Naga said that he, the Great Naga, has many more books than what Nagarjuna saw. But what kind of books these were and what they looked like, the Great Naga did not tell him.
Although all versions of Nagarjuna’s visit to the country of the nagas and his contacts with these mysterious creatures differ from each other, one thing remains common to all of them: Nagarjuna received knowledge and books from the nagas. One of them, "Nagasahasrika", is real and not mythical.
The end of the learned monk was strange and unexpected. The king's son, with whom he was friends, cut off his head in anger. This version of Nagarjuna's end is based on legend. We do not have exact information about his death or birth.
But nevertheless, he existed, studied and taught, visited mysterious mountain refuges, wrote philosophical works... Man and myth, man and legend - his dry, straight figure is depicted in Roerich’s painting “Nagarjuna - the winner of the Serpent.”
L.V. Shaposhnikov "On the Master's Route" book. 2 M. 2000, pp. 84-86
Both the ancient chronicles of Kashmir and its oral tradition were filled with traditions and legends about the mysterious Nagas. Some told about the unusual daily life of the nagas and their love affairs, others about their wisdom and knowledge, and still others about dead and sunken cities. The nagas owned underwater and underground treasures, which they jealously guarded. They owned entire ancient cities, which, due to cataclysms, sank in the seas or lakes or simply fell into the ground. In these cities and other similar places, the Naga kings had their own palaces. They were decorated with gold, silver and precious stones. Music sounded in the halls and beautiful dancers demonstrated their skills. The palaces were surrounded by gardens where unprecedented trees and flowers grew. Kings wore golden crowns and robes embroidered with precious stones. Their necklaces, bracelets and rings sparkled with rare and wonderful examples of diamonds, emeralds, rubies, amethysts, and pearls.
Nagas were not only kings, but also sages, mentors, magicians, wizards and, finally, culture heroes. The chief naga of Kashmir, Nila, created a book that floated out of the blue water of Nilamnag. The book contained wise advice on how to live, who to worship, and how to behave in certain cases. Nila instilled strong cultural traditions in the people of Kashmir. Nag Takshaka brought seeds of valuable saffron from unknown lands. Not far from Pandrethan, in the village of Jayavana, now called Zevan, he showed the inhabitants how to sow and grow it, and saffron became one of the riches of Kashmir. In addition, nagas controlled the weather, had rich knowledge of medicine, and were also clairvoyant and clairaudient.
...The famous Chinese traveler Xuan-jiang in the 7th century visited many places associated with nagas. These were lakes, ponds and other bodies of water. Xuanjiang was one of the first who tried to see elements of historical reality in the mysterious cult of the nagas. Roerich highly valued the authenticity of ancient Chinese chronicles. “In general, we must give justice,” he wrote, “to the old Chinese for the accuracy of their descriptions, which we have seen more than once.”
...The most ancient civilization of India, discovered in the Indus Valley in the 20s of our century, was also associated with the nagas and their cult. The soapstone seals of Mohenjo-Daro contain images of snakes and figures of people with snake hoods over their heads. Even earlier, in 1905, the English archaeologist Marshall excavated an ancient naga sanctuary in Rajagir. It was a stone round building, on the outside of which stood ten statues, well preserved. Five of them depicted nagas and one depicted a nigina. All six had long eyes, thin hooked noses, and full lips. Who were they, from what depths of the past did their mythological heritage emerge? The Indian scholar Ved Kumari, in her preface to the Nilamatpurana, also could not answer this question. “The difficulty in identifying the Nagas,” she wrote, “is that until now they are hidden behind the veil of legends and myths and arise from the depths of time, sometimes as snakes, sometimes as people.”
Hidden by this complex veil, the nagas defied either archaeological or ethnographic decipherment.
...Gods, spirits, guardians of the countries of the world, kings, people, snakes. Cultural heroes, magicians, wizards, warriors, sages, keepers of knowledge and treasures, real-life royal dynasties. The word looked like a spell, like some ancient symbol, like a mysterious drawing on a rock. And I returned again and again to this mysterious milestone left by Roerich. I peered at his paintings, from which mythical nagas rose, and read the meager words he spoke...
L.V. Shaposhnikov "On the Master's Route" book. 2 M. 2000, pp. 70-72
There is the expression “wisdom of the serpent”, “wise as a serpent” and other similar definitions. Some take it literally: the serpent is wise. But no one tested this wisdom from the snake. This symbol is not associated with the snake - naga directly, but is related to the improvement of man...
L.V. Shaposhnikov “The Master’s Universe” M. 2005, p. 824
12. “Oirot - the messenger of the White Burkhan”, Altai belief.
Oirot – Messenger of the White Burkhan, Series “Banners of the East”, 1925
Museum named after N.K. Roerich, Moscow, Russia
In the essay “Shambhala” Roerich conveyed the legend of White Burkhan:
“The mountains from Chuguchak to Altai are becoming wilder and wilder. It is strange to see the Oirot riders for the first time - a Finno-Turkic race lost in the Altai Mountains. Only recently did this region, full of beautiful forests, thundering streams and snow-white ridges, receive its own name, Oirotia. The land of the Blessed Oirot, the folk hero of this secluded tribe. And another miracle happened in this country, where until recently crude forms of shamanism and witchcraft flourished.
In 1904, a young Oirot girl had a vision. Blessed Oirot himself appeared to her on a white horse. He told her that he was the messenger of White Burkhan and Burkhan himself would come soon.
The Blessed One gave the shepherd girl many instructions on how to restore righteous customs in the country and how to meet the White Burkhan, who will erect a new happy time on earth. The girl convened her clan and announced these new instructions of the Blessed One, asking her relatives to bury their weapons, destroy idols and pray only to the merciful White Burkhan. A semblance of an altar was installed on the top of a wooded mountain. People gathered there, burned the heather and sang newly composed sacred songs, touching and uplifting. One goes like this:
You who live behind the white clouds -
Beyond the blue skies -
Three Kurbustans!
You, who wears four braids -
White Burkhan!
You, Lord of Altai -
White Burkhan!
You who inhabit around you
Nations, in gold and silver,
White Altai!
You who shine during the day!
You are the sun Burkhan!
You who shine at night!
You are the Month Burkhan!
Let my call be recorded
To the holy book Sadur!
The local administration was embarrassed to learn about this new faith, as they called it. Peaceful admirers of White Burkhan were subjected to severe persecution. But the instructions of the Blessed Oirot did not perish. Until now, a rider on a White horse appears in the Altai mountains, and faith in White Burkhan is growing. In the scattered yurts, a legend is whispered that the last battle of people will take place on the Katun River, and that from behind the distant White Mountain the light of the White Burkhan is already shining. And at these words, the heads of the interlocutors turn south from Altai, to where the highest mountains rise far away, sparkling in a snow cap. This happened among the Oirots in the Altai Mountains.”
N.K. Roerich, “Heart of Asia”, essay “Shambhala”, Minsk, 1991, pp. 76-77
“White Burkhan, of course, is also the Blessed Buddha. There are traces of radioactivity in the Ak-kema area. The water in Ak-Kem is milky white. Pure Belovodye. The fiftieth latitude passes through Ak-kem. Let us remember the conclusion of Csoma Körösi.”( outstanding Hungarian traveler-orientalist - approx..)
N.K. Roerich “Altai-Himalayas”, M. 1999, pp. 386-387
“... It is not a pity to spend the night in the place where the teaching about White Burkhan and his good friend Oirot was born. The name Oirota was adopted by the whole region. It is here that they await the arrival of White Burkhan. In the rocks above Kyrlyk, the entrances to the caves are blackened. The caves go deep, they have not found an end. There are also caves and secret passages - from Tibet through Kun-Lun, through Altyn-Tag, through Turfan; The “long ear” knows about secret passages. How many people escaped in these passages and caves! And reality became a fairy tale. Just as the black aconite of the Himalayas turned into a heat-color.”
Ibid., page 373
In Altai, the Oirots turn away from shamanism and make new prayers to the expected White Burkhan. The messenger of Burkhan, the good Oirot, is already traveling around the world.
Ibid page 437
13. “Mother of the World.”
Mother of the World, 1924
Museum named after N.K. Roerich, Moscow, Russia
The Mother of the World is a symbol of the feminine Principle in the new era, and the masculine Principle voluntarily gives the treasure of the World to the feminine Principle.
If the Amazons were a symbol of the power of the feminine, now it is necessary to show the spiritual, perfect side of a woman.
Teaching of Living Ethics, Illumination V, paragraph 2
The high commission of women must be given by a woman. And there should be a woman in the Temple of the Mother of the World.
The appearance of the Mother of the World will create the unity of women. Now the task is to create a spiritual and royal position for a woman.
Teaching of Living Ethics, Illumination IV, paragraph 9
315. The Mother of the World indicated: “Gather the winds, gather the snows. Don't come birds and don't approach animals!
The human foot will not establish itself on My Top. The basis of the dark daring will not be established. The light of the month will not stay, but the ray of the sun will reach the Top.
Save, sun, My Top, for where will I stand on guard? The beast will never rise and human strength will never hold!”
The Mother of Existence herself will stand guard with a fiery shield.
What glitters at the top? Why did the whirlwinds form a shining crown? She, the Great Mother, alone rose to the Summit. And no one will come after Her.
317. On the highest mountain the Mother of the World shines. She came out to defeat the darkness. Why do enemies fall? And where do your eyes turn in despair?
She put on a fiery robe and was surrounded by a wall of fire.
She is our strength and aspiration.
The Teaching of Living Ethics, Agni Yoga.
638 ...People want to see matter in everything, and they are not far from the truth if they admit all the diversity of qualities of matter. The word “Matter” itself is good and homogeneous with the great concept of Matter. Now, in the age of the Mother of the World, we need to pay special attention to everything that resembles this beautiful Foundation. In addition, you need to understand that it is the concept of matter that contains the various properties of this generating substance.
It is said that matter is crystallized spirit, but one can say vice versa, for everything, from the subtlest energies, is matter. Judgment will be meager if someone rebels against the energy principle, thereby he will deny matter. What then will such an ignoramus have left? It's time to return the name to its true meaning. Whoever considers himself a materialist must honor matter in all its varieties. It is not permissible to call yourself a materialist and deny the essence of matter.
While it is wonderful to study matter and compare it with evolution, only this way will be scientific. It must be said that this definition is also subject to distortion. Positive learning is not something limited at all. On the contrary, it should be a symbol of constant learning. So think about the meaning of many concepts and you will understand how much We want to approach everything from a scientific point of view. For Us, such a basis does not contradict the freedom of the researcher; it only points to beautiful matter, which is the Mother herself.
772. ... They will ask: “Why is this age called the Age of the Mother of the World?” This is truly what it should be called. A woman will bring great help, not only bringing enlightenment, but also establishing balance.
Teaching of Living Ethics, Supermundane
Mother of the World
The Mother of the World hides Her Name. The Mother of the World covers Her Face.
The common Mother of the Lords is not a symbol, but the Great manifestation of the Feminine Principle, representing the spiritual Mother of Christ and Buddha, the One who taught and ordained Them to the feat.
For a long time, the Mother has been sending people to heroic deeds. Through the history of mankind, Her Hand draws an unbreakable thread.
At Sinai Her voice sounded. The image of Kali was accepted, the basis of Isis, Istar.
After Atlantis, when Lucifer struck a blow to the cult of the Spirit, the Mother of the World began a new thread.
After Atlantis, the Mother of the World hid Her Face and forbade pronouncing the Name until the hour of the Luminaries struck.
Radiance of the Mother of the World
The purple Aura of the Mother of the World shines upon us. Who will bow down? Who will dare against Her?
Among the destined treasures Her bright ornaments are kept. The teaching about Her burns like a purple lotus.
Let the pain of the solar plexus centers be associated with Her days.
Let new coils of the serpent unravel in Her time. Let the pipes of air sound at the beginning of Her.
Mother of the World, go through the desert, for the flowers are behind You. Mother of the World, look at the mountain, for the mountains glow with Your fire!
The hated people are gone, the hordes are rising. New miracles, new carriers and the destruction of walls are covered with a voice:
“Mother is coming!”
“Mother of Buddha, Mother of Christ, guide Your Sons! Even if a rock falls on me, I will know from Your Steps!” So let's fill the space.
Order
And above all verbal orders, the Order sounds: Silent, All-Penetrating, Irrevocable, Indivisible, Irresistible, Dazzling, Generous, Indescribable, Inimitable, Undamaged, Ineffable, Timeless, Urgent, Ignite, revealed in Lightning.
Here are two Orders - at the ends of the World the Lords are Christ and Buddha. And Their word is like a sparkling sword, but above Their thunder the Silent Order is revealed.
On top of Them She covered Her Face, Weaved the yarn of the Distant Worlds, the Messenger of the Unspeakable, the Mistress of the Elusive, the Giver of the Unrepeated!
By Your Order the ocean becomes silent and the whirlwinds mark the lines of invisible signs.
And She, Who has hidden the Face, will stand guard Alone in the radiance of signs. And no one will ascend to the top, no one will see the radiance of the Dodecahedron, the sign of Her Power.
From the spiral of Light, the sign was woven by Herself in silence. She is the Driver of those going to great deeds!
The four corners, the sign of Affirmation, were revealed by Her as parting words to those who had decided.
Mother of the World Game
What a great game of the Mother of the World! She calls the children from the far field.
“Hurry, children, I want to teach you. I have prepared for you watchful eyes and open ears. Sit down on My blanket, let’s learn to fly!”
Fire Shield
The Mother of the World indicated: “Gather together, winds, gather together, snows, do not appear, birds, and do not come, animals.
The human foot will not establish itself on My Top. The basis of the dark daring will not be established.
The light of the month will not stay, but the ray of the sun will reach the Top.
Save, sun, My Top, for where will I stand on guard?
The beast will never rise and human strength will never hold.”
The Mother of Existence herself will stand guard with a fiery shield.
What glitters at the top? Why did the whirlwinds form a shining crown?
She, the Great Mother, alone rose to the Summit.
And no one will rise up for Her.
Flaming board
On the highest mountain the Mother of the World shines.
She came out to defeat the darkness.
Why do enemies fall and where do they turn their eyes in despair?
She put on a fiery robe and was surrounded by a wall of fire.
She is our strength and aspiration!
M. 1992, pp. 36 – 38.
In the era of the Mother of the World, we must welcome every mention of Her. ...In the East, the cult of the Mother of the World, the goddess Kali or Durga is very widespread, and in Hinduism, one might say, it is predominant. But even among other sects one can find more worshipers of the Great Mother than of other aspects of the Divine Forces. In Mongolia and Tibet, Dukkar, or White Tara, and her other sister-tars are highly revered. In all ancient religions, female deities were revered as the most sacred. The Esoteric Teaching does not place the “Father” at the head of the Evolution of Life; he stands third and is the “Son of his Mother.” At the head of everything, or, so to speak, behind the veil is the “Eternal and Continuous Breath of all things.” But on the plane of the Manifested, the Eternal Feminine Nature, or the Great Mother of the World, reigns, the direct reflection of which we find in the Lady of each planet. But every woman is potentially the future Mother of the World.
E.I. Roerich Letters vol.4, M. 2002, p. 309
L.V. Shaposhnikov "On the Master's Route" book. 2
M. 2000, pp. 160 -161
- What kind of mountain is this? - I asked.
“Trikuta,” answered the priest and put aside the glass of tea. - Sacred Trikuta, the abode of the great goddess Vaishnu Devi, the Great Mother of the World, who creates, protects and destroys. Without her wonderful shakti energy, which permeates the entire universe and
the whole cosmos, nothing in the world can move, cannot act. Even the gods Brahma, Vishnu and Shiva are dead and motionless without her. Only the Great Mother of the World, the all-pervading goddess, pouring into them the life-giving golden stream of shakti, can make them act, create, protect and destroy. It has neither end nor beginning. Its true essence has no form. But from time to time it incarnates and takes shape in order to crush the evil with which the world is saturated.
“But how can one imagine something formless and at the same time existing and all-encompassing? - I asked.
“You can,” the priest smiled. - Imagine a thousand lotuses that bloomed and fragrant all at once, in a single moment. Imagine a thousand suns that flashed in the sky in a single moment. Do smell and light have a form? But they exist and penetrate every atom of the Universe. So the Great Mother permeates us with her light and fills us with the fragrance of the lotus.
“Light and smell are truly formless, but even the words “Mother of the World” already suggest some kind of form.
- Listen to me carefully. The sun and moon are her eyes, the stars are her clothes, the green earth is the border on them. She is the bright red color of the beautiful ibicus flower, she is the color of the sunset sky and the color of blood. She is the white snow of the sacred Himavat. She's everywhere. She is in the laughter of a woman, in the rage of a warrior, she is in the flames of a funeral pyre. Now do you understand what she looks like?
- How is the Universe? - I asked.
“Like the Universe,” the priest nodded. - It is manifested and unmanifested, in many forms that are created by it in space. She is like Amba - a kind mother feeding her child, like Tripurasundari - a sorceress of incomparable beauty, like the terrible Kali with a garland of skulls around her neck. It's all her. Both gods and people live and act according to her will,
imbued with her energy. The whole world is like a puppet theater for her. With magic fingers she pulls the invisible threads of our desires, passions and feelings. And we, like dolls, are submissive to these almighty fingers. The whole world, the whole Universe is just a game of the Great Mother. And there is nothing greater in the entire cosmos than it. To those who honor her and pray to her, she grants victory and fulfillment of desires.
- And to whom, for example, did she give victory? - I asked.
“The Great Mother in the form of Vaishnu Devi blessed the mighty Arjuna, and he defeated the Kauravas on the field of Kurukshetra. The words that Arjuna addressed to Vaishnu Devi can be found in the Mahabharata. I won't repeat them. She granted victory to Rama over the treacherous and evil Ravan, the king of Lanka. Where she appears, she triumphs
justice and good defeat evil.
“I listened to the priest and again remembered Nicholas Roerich. “Great Mother”, “Mother of the World”, “Queen of Heaven”. Paintings by a Russian artist floated before my mind's eye. Lines from his essays were heard. This theme occupied one of the most important places in his work. It had its own mythological imagery, its own symbolism.
14. “Signs of Christ.”
Signs of Christ, 1924
Museum named after N.K. Roerich, Moscow, Russia
J. Saint-Hilaire. "Cryptograms of the East"
Signs of Christ
The star of Alahabad showed the way. And so we visited Sarnath and Gaya. Everywhere they found defamation of religions. On the way back, during the full moon, Christ’s memorable saying occurred.
During the night transition, the Guide lost his way. After searching, I found Christ sitting on a sandy hill and looking at the moonlit sands.
I said: “We have lost our way, we must wait for the stellar position.” “Rassul M., what is the way for us when the whole earth is waiting for us!” Taking a bamboo cane, He drew a square around the imprint of His footprint, adding: “Truly I say, by the foot of a man.” Then, having imprinted his palm, he also enclosed it in a square. "Truly by human hand." Between the squares He drew the likeness of a column and covered it as if with a hemisphere.
He said: “Oh, how Aum penetrates human consciousness! So I made a pestle and an arc over it, and laid the foundation on four sides. When the temple is built by human feet and human hands, where the pestle I planted will flourish, let the builders walk My path. Why are we waiting for the path when it is in front of us? And, standing up, he mixed up what he had read with his cane.
“When the name of Christ is pronounced, then a mark will appear. Having remembered My constellation, the square and nine stars will shine over the Temple. The marks of the foot and the hand will be written upon the cornerstone.” This is what He Himself said on the eve of the new moon.
The heat of the desert was great.
M.1992, p. 28
Let's listen to how they talk about Christ in the Himalayas. In manuscripts dating back about 1,500 years, one can read: “Issa (Jesus) secretly left his parents and, together with merchants from Jerusalem, headed to the Indus to improve and study the laws of the Teacher.
He spent time in the ancient Indian cities of Jaggarnath, Rajagriha and Benares. Everyone loved him. Issa lived in peace with the Vaishyas and Shudras whom he taught.
But the Brahmins and Kshatriyas told him that Brahma had forbidden anyone to approach those created from his womb and feet, the Vaishyas could listen to the Vedas only on holidays, and the Shudras were forbidden not only to be present at the reading of the Vedas, but even to look at them. Shudras are obliged only to serve forever as slaves of Brahmins and Kshatriyas.
But Issa did not listen to the speeches of the Brahmins and went to the Shudras to preach against the Brahmins and Kshatriyas. He strongly rebelled against the fact that a person arrogates to himself the right to deprive his neighbors of human dignity.
Issa said that man filled the temples with abomination. To please stones and metals, a person sacrifices people in whom a particle of the Supreme Spirit dwells. A man humiliates workers by the sweat of his brow in order to gain the favor of a parasite sitting at a luxuriously decorated table. But those who deprive brothers of common bliss will be deprived of it themselves, and Brahmins and Kshatriyas will become Shudras of Shudras, with whom the Supreme Spirit will abide forever.
The Vaisyas and Shudras were amazed and asked what they should do. Issa said: “Do not worship idols. Do not always consider yourself first and do not humiliate your neighbor. Help the poor, support the weak, do no harm to anyone, do not covet what you do not have but what you see in others.”
Many, having learned about these words, decided to kill Issa. But Issa, warned, left these places at night...
Then Issa was in Nepal and the Himalayan mountains...
“Do a miracle,” the temple servants told him. Then Issa said: “Miracles began to appear from the first day the world was created. Whoever does not see them is deprived of one of the best gifts of life. But woe to you, opponents of men, woe to you if you expect Him to testify to His power with miracles.”
Issa taught not to try to see the Eternal Spirit with your own eyes, but to feel it with your heart and become a pure and worthy soul... “Not only do not perform human sacrifices, but also do not slaughter animals, for everything is given for the benefit of man. Do not steal what belongs to others, for this would be stealing from your neighbor. Do not deceive, so that you yourself are not deceived. Don’t worship the Sun, it is only part of the world.”
“As long as the peoples did not have priests, natural law governed them and they maintained the purity of their souls.”
“And I say: fear everything that seduces from the true path and fills people with superstitions and prejudices, blinds the sighted and preaches the worship of objects.”
Buddhists preserve this lofty and close image of Jesus in their mountain monasteries. And it’s not so surprising that the teachings of Christ and Buddha bring all nations into one family, but what’s amazing is that the bright idea of community is expressed so clearly. And who will be against this idea? Who will belittle the simplest and most beautiful decision of life? And the earthly community so easily and scientifically merges into the great Community of all worlds. The teachings of Jesus and Buddha are on the same shelf. Both the signs of ancient Sanskrit and Pali unite the quest.
…Jesus repeated: “I came to show human potential. All people can do what I create. And what I am, all people will be. These gifts belong to the peoples of all countries - this is the water and bread of life."
Jesus said about skilled singers: “Where do their talents and this strength come from? In one short life, of course, they could not accumulate both the quality of their voice and knowledge of the laws of consonance. Are these miracles? No, for all things come from natural laws. Many thousands of years ago, these people had already developed their harmony and qualities. And they come again to learn from all sorts of manifestations.”
Ignorance! Russian princes died in the khan's headquarters for their unwillingness to honor the image of Buddha; at the same time, the monasteries of Tibet already kept beautiful lines about Jesus.
N.K. Roerich “Altai-Himalayas”, M. 1999, pp. 110-115
15. "Lao Tzu".
Lao-Tse, 1925
USA, collection of D. Bolling (?)
559 ...It is said that Lao Tzu often talked with waterfalls; This is not a fairy tale, for he listened to the sound of nature and sharpened the sensitivity of his hearing to distinguish the qualities of vibrations.
The Teaching of Living Ethics. Fiery World, part 1
"Lao Tzu". Returns on a sacred bull from China to Tibet. Bamboo forest.
Z. Fosdick “My Teachers. Meetings with the Roerichs." M. 1998, p. 239
Natalia Spirina
Sage of the Mountain
/abbreviated/
One day, a saddled buffalo approached the hut in which Lao Tzu lived and stood at the threshold. Lao Tzu came out, sat on him, and the buffalo rushed him off to the Himalayan peaks.
What do we know about Lao?
Lao Tzu was born in 604 BC. Nothing is known for certain about his childhood or family. According to some sources, he was the keeper of the imperial archive or library, that is, he belonged to the highly educated people of his time.
The era in which Lao Tzu lived is known as the “Age of Wars.” It was a time of civil strife, when hostility and unrest, the desire for power, honor and wealth served as the main drivers of people's actions and thoughts.
“Seeing such a decline in morality and darkening of minds, so at odds with his Teaching, Lao Tzu, in the prime of fame and glory, left public service and retired into hermitage. He settles in the mountains and indulges in contemplation and reflection. It is believed that it was here that he thought about and wrote the famous “Book of the Path and Virtue” - “Tao Te Ching”
Nicholas Roerich says: “...All Teachings, all philosophies were given for life. There is no such high Teaching that would not be practical in the highest sense of the word. We can solve the countless problems of modern turmoil only by realizing the Beauty and the Supreme. Only a beautiful Bridge will be strong enough to cross from the shore of darkness to the side of Light.”
The Lights of the World, the great Teachers of humanity, show the way to this Bridge and offer to walk along it with Their help. Let us take a closer look at what the great philosopher and ascetic of ancient China, Lao Tzu, tells us about this.
Leo Tolstoy in his article “The Teaching of Lao-Tze” writes: “The basis of the teaching of Lao-Tze is the same, as is the basis of all great, true religious teachings. It is as follows: a person recognizes himself, first of all, as a bodily person, separated from everything else and desiring the good only for himself alone. But, in addition... each person also recognizes himself as a disembodied spirit, the same one that lives in every being and gives life and good to the whole world. (...) A person can live for the body or for the spirit. A person lives for the body, and life is a misfortune, because the body suffers, gets sick and dies. Live for the spirit, and life is good, because for the spirit there is no suffering, no illness, no death.
And therefore, in order for a person’s life to be not a sorrow, but a blessing, a person must learn to live not for the body, but for the spirit. ‘This is what Lao-Tse teaches. He teaches how to move from the life of the body to the life of the spirit. He calls his teaching the Way..."
According to Lao, all people are born virtuous, their earthly and heavenly natures are balanced. But earthly life affects a person, and above all, by the abundance of things in the world. Carried away by the desire to possess more and more things, to receive more and more benefits and pleasure from communicating with them, people upset the natural balance of soul and body: the mind rushes in pursuit of things, the heart - the ruler of life - cannot restrain passion and itself becomes agitated. As a result, the previously clean and smooth surface of the heart, likened to the surface of a mirror, becomes clouded and the world appears to consciousness in a distorted form. Only a sage who has comprehended Tao is able not to lose control over the earthly, carnal nature and not to cloud the heart with passions. Only he never loses sight of his guiding star...
Lao Tzu teaches to give “opportunities for the manifestation in the human soul of that power of Heaven [as he calls God], which lives in everything.”
According to his teaching, both the path of connection with Heaven and Heaven itself are Tao. This path includes “the concept of the highest virtue.” The teachings of the great Chinese sage seek to lead people to the awareness of this “Beautiful and Supreme” - Tao - and the path to It. It permeates the entire philosophy of Lao Tzu.
Tao is the infinite and purest spirit, the highest and absolute Being. According to Lao Tzu, “It is impossible even to imagine that there is anything higher than Him.”
Lao Tzu says: “There is an incomprehensible Being who existed before Heaven and Earth. Silent, supersensible, It alone remains and does not change. I don't know His Name. To designate Him, I call Him Tao”….
Lao Tzu teaches that every person has parts of this Highest, and shows the way to realize it in oneself.
Lao Tzu argues that the supreme Being, the Tao, should be the ideal of our moral life. Christ also called for this: “Be perfect, as your Heavenly Father is perfect.” This is the path of endless moral improvement, which begins with the awakening of a higher spiritual principle in a person. Lao Tzu gives the path of his development, as well as the path of overcoming the lower in himself, in his ethical instructions.
Attaching great importance to social and state ethics, he understands that it must begin with individual ethics. To do good or evil depends on the good will of everyone...
Lao Tzu points out a number of qualities necessary for good work. But he understands that human nature is corrupted and weak, and therefore he must conquer the lower in himself gradually, ascend to the top from the foot. “Start the difficult with the easy; start big things small. The hardest things in the world begin with the easy ones; The greatest things in the world start small. ...A huge tree emerges from a sprout, a tower rises from a handful of earth; a journey of a thousand miles begins with one step."
The first step on the path to morality will be abstinence from passions, which are the source of all evil. “There is no sin worse than passion,” says Lao Tzu. They darken the eyes of the mind. “There is no greater crime than to admit that lust is permitted.”
Among the vices, he considers pride to be the worst. ...To overcome this vice, Lao Tzu points out first of all not to expose oneself, recognizing the merits of others. “Whoever pretends to know a lot and is capable of everything knows nothing,” he writes. Lao Tzu also has a negative attitude towards honor and glory, believing that ignorance and obscurity are the true honor and glory of a person. “The desire for fame is a low desire; when you have acquired it, you worry about losing it, and when you lose it, you worry about acquiring it.”
Virtue can be real or imaginary. Lao Tzu says: “True virtue does not appear to be virtue, therefore it is virtue. Untrue virtue appears to be impeccable virtue, therefore it is not virtue.” ...And shame and insult, Lao Tzu believes, are not real shame and insult, and he treats them as something extremely illusory. “Honor and shame are equally alien to the sage.”
Lao Tzu rebels against wealth. “There is no greater vice than the desire to acquire.” He believes that money and jewelry deceive a person's heart and make him want to accumulate more and more of them, which leads to crimes. He says: “To prevent people from becoming thieves, one must not attach any importance to valuable things that are difficult to obtain.”
“When benefits are set aside, there will be no thieves.” “He who owns a lot will lose a lot”….
Lao Tzu preaches humanity and love for all things. “A saint takes care of himself after caring for others,” he says. Such philanthropy must be selfless and know no bounds. Its highest aspect is love for enemies. A true lover should not exclude from his love even those who hate him. “Reply to hostility with kindness,” says Lao Tzu. ...
“I have three treasures that I treasure,” says Lao Tzu. “The first is philanthropy, the second is frugality, and the third is that I do not dare to be ahead of others” (that is, to exalt myself). He considers simplicity of heart and humility as its natural consequence to be a high moral virtue. “Whoever wants to be great must be the lowest.” “Not to boast about what has been done, not to lord it over others is a heavenly virtue.” “The greatest of you shall be your servant. For whoever exalts himself will be humbled; but whoever humbles himself will be exalted,” says Christ. “Clothe yourself with humility,” writes the Apostle Peter, “for God resists the proud, but gives grace to the humble.”
Lao Tzu points out how important it is to be happy with your position and what you have. “There is no greater misfortune than not being able to be content.” “He who knows how to be content is rich.” “Let no one consider his home too cramped or his life too limited.” ...
Lao Tzu calls for victory over oneself. “He who overcomes others is strong. He who overcomes himself is powerful.”
Social ethics, according to Lao Tzu, undoubtedly contributes to individual ethics, and he paid serious attention to this problem. He believed that the social system is required by the natural order of the world and without management no society can exist. And as a political system, he recognized the monarchy, which, more than other forms of government, is capable of leading people to unity, that is, to world law. Lao Tzu believes that the king, being the ruler of the people, could morally influence his subjects; his words and deeds could be an example and model for everyone. Therefore, he invites the king to be especially attentive to himself and teaches a whole system about the morality of the king.
In social ethics, Lao Tzu pays special attention to the issue of war. He says war is illegal and killing people is an unforgivable crime. War is a cruel violation of the natural flow of nature created by Tao, and is contrary to the essence of Tao, that is, absolute good. He writes: “If war were good, then one would have to rejoice at it, but only those who want to kill people rejoice at it.” War is unnatural and criminal, it is the greatest injustice and misfortune. And yet, although he denies war, historical conditions force him to consider the question of which war is less lawless. He considers this a defensive war. He says: “When kings and princes take care of defense, then nature itself will become their helper.”
On the cardinal issues of life and death, Lao Tzu says: “To enter into life is to enter into death. Whoever, using true enlightenment, returns to his light, loses nothing when his body is destroyed. This means putting on eternity.”
16. “Tsongka-pa.”
Tsong ka-pa, 1925
USA (?)
Tsongkhapa. Meditating on Mount Mendang. Harsh rocks, as if a direct act of the spirit.
Z. Fosdick, “My Teachers. Meetings with the Roerichs" M. 1998, p. 239
TSONG-K'A-PA (Tibetan). (1357-c.1419 - approx.) It is also written Tsong-kapa. The famous Tibetan reformer of the fourteenth century who introduced refined Buddhism to his country. He was a great adept, who, being unable to bear any longer the desecration of Buddhist philosophy by the false priests who had turned it into a profitable enterprise, decisively put an end to it by a timely revolution and the expulsion of 40,000 false monks and lamas from the country. He is considered an avatar of the Buddha, and is the founder of the Gelugpa ("Yellow Caps") sect, and the mystical brotherhood associated with its leaders. ...
AMDO (Tib.). Sacred area, birthplace of Tsong-k'a-pa, the great Tibetan reformer and founder of the Gelug-pa ("yellow caps"); the supposed avatar of Amit-Buddha.
TASHILUMPA (Tibetan). A large center of monasteries and educational institutions three hours' walk from Shigatse; residence of the Tashi Lama, about whom see Panchen Rimpoche for more details. It was built in 1445 by order of Tsong-k'a-pa.
E.P. Blavatsky “Theosophical Dictionary” M. 2003
Of course, teacher Dzon-Khapa is even closer to us. He has advanced beyond magic. He forbade the monks to show magical powers. His teaching - the Yellow Lamas - seems less corrupted.
The Spitug monastery is powerful. The first is from the teachings of Dzon-Kapa. Not ruins, but a living and working community. The abbot of the monastery and his staff are knowledgeable and amazingly understanding. You haven’t finished your thought yet, and they are ready to continue it correctly. In Spituga there is an image of Maitreya and knowledge of prophecies. In the Spitug branch of La, in a special room there is a large image of Dukkar - the Mother of the World, with countless eyes of omniscience and with an arrow of justice. At her right hand is Maitreya the Coming. On the left hand is a multi-armed image of Avalokiteshvara, this collective of the Brotherhood of the Great Community. Remember this combination of these three symbols. This combination was not noted or explained.
N.K. Roerich “Altai-Himalayas”, M., 1999, p. 133
The clear and active Dzon-Kapa, so beloved by the whole north, the founder of the “yellow caps”. And many others, alone, who understood the predetermined evolution, cleared the dust of convention from the teachings of the Buddha.
N.K. Roerich “Altai-Himalayas”, M., 1999, p. 106
17. "Padmasambhava".
Padma Sambhava, 1925
USA, N. Roerich Museum, New York.
Padma Sambhava - “Arisen from the Lotus.” Spiritual Teacher who spread Buddhism in Tibet and founded the Red Hat sect. He was a great magician, and the mythological tradition tells of the struggle of Padma Sambhava with local deities and demons, whom the Teacher turned into the guardians of Buddhism.
L.V. Shaposhnikova “Master” M. 1998, p. 619
One thousand two hundred years after the Buddha, Teacher Padma Sambhava brought the teachings of the Blessed One closer to earthly paths. At the birth of Padma Sambhava, the whole sky glowed and the shepherds saw wonderful signs. The eight-year-old Teacher appeared to the world in a lotus flower. Padma Sambhava did not die, but left to teach new countries. Without his departure, the world would be in danger. In the Kandro Sampo cave, not far from Tashiding, near the hot springs, Padma Sambhava himself lived. A certain giant decided to build a passage to Tibet and tried to penetrate the Holy Land. Then the Good Teacher rose, rose in stature and struck down the daring attempter. Thus the giant was destroyed. And now in the cave there is an image of Padma Sambhava, and behind it there is a stone door. They know that the Teacher has hidden sacred secrets for the future behind the door, but the time has not yet come for them.
N.K. Roerich “Altai-Himalayas”, M., 1999, p. 83
I look at an old painting from Dalinga Monastery. Acts of Teacher Padma Sambhava. All his magical powers are depicted in action. Here the teacher in the form of a black-headed lama with the Star of Solomon on his headdress defeats the dragon. Here the teacher brings down rain; here he saves a drowning man; captivates small evil spirits; unarmedly conquers the animals and hits the tiger with a magical dagger, having previously covered its head with a sacred triangle. Here is a teacher disarming snakes; So he conjures a stormy stream and sends rain. Here he is fearlessly talking with a giant mountain spirit. Here the teacher flies above all the mountains. From the shelter of the cave he hurries to the aid of the world. And finally, in the circle of the poor family, he prays for the happy voyage of the absent householder. No matter how obscure his teaching may be now, its vitality is sufficiently depicted. Or another old painting - “Padma Sambhava’s Paradise”. The teacher sits in the temple, surrounded by the righteous. The temple stands on a mountain, separated from the earthly world by a blue river. White hadaks are stretched across the river, and along them selfless travelers make the transition to the temple. Again a clear picture of an illuminated ascent. Of course, interpreters have clogged up this phenomenon, just as all other religions are overloaded with false dogma.
N.K. Roerich “Altai-Himalayas”, M., 1999, p. 67
The general blissful impression is also supported by the monasteries of Sikkim. On every hillock, on every peak, as far as the eye can see, you notice white dots - these are all the strongholds of the teachings of Padma Sambhava, the official religion of Sikkim.
... Most of the monasteries in Sikkim are associated with one or another relics and ancient traditions. Padma Sambhava himself stayed here. There the teacher meditated on a rock, and if the rock gives new cracks, it means that the surrounding life is deviating from the righteous path.
N.K. Roerich “Heart of Asia” Riga, 1992, pp. 163-164
18. "Chalice".
Chalice of Christ, 1925
Museum named after N.K. Roerich, Moscow, Russia
Christ (Jesus Christ) (Greek - Christos - literally the anointed one), according to Christian doctrine, the founder of Christianity, the God-man, who, in atonement for human sins, accepted death on the cross, then resurrected and ascended to heaven.
That same night after supper, Jesus and his eleven disciples left Jerusalem and through the brook Kidron came to a village near Jerusalem called Gethsemane... Jesus said to the disciples: “My soul is grieved unto death; abide here and watch with Me.” Moving a little away from them, He fell to his knees and began to pray: “Father! Oh, that You would deign to carry this cup past me! However, not My will, but Yours be done.” An angel from heaven appeared to Him and strengthened Him.
Gospel of Matthew. 26:36-44
Drink the poison of the world to be reborn with all your might! This symbol comes from ancient legends. We see it in Egypt, in Greece; Shiva himself reminds of him; a whole series of Redeemers carry the cup of poison, transforming it into Amrita.
When we say: “Be special, and do not deprive yourself of the cup of achievement,” we indicate - do not darken your life and do not pour out the cup.
Teaching of Living Ethics Agni Yoga p. 304
The air of the pre-dawn hour trembles with joy, the hour when Buddha comprehended the greatness of the Cosmos and the Lord Christ prayed in the Garden of Gethsemane.
The Teaching of Living Ethics, Illumination, part 2 II, X, paragraph 3
Who will give himself to the feat of drinking the cup of poison? Who will take upon himself the Fiery Shield for the benefit of humanity?
Teaching of Living Ethics Fiery World, part 3, paragraph 25
49. The symbol of the Cup has been a statement of Service since ancient times. The gifts of the Higher Powers are collected in the Chalice. They give from the Chalice. The symbol of the Cup always meant self-sacrifice. Bearing the Cup is the Feat of Bearing. Each high deed can be symbolized by the symbol of the Chalice. Everything that is highest for the good of humanity needs this sign. The Chalice of the Grail and the Chalice of the Heart, which has given itself to the Great Service, is the very Cosmic Magnet. The Heart of the Cosmos is reflected in this great symbol. All images of heroes of the spirit can be depicted as carrying the Cup. The entire Universe is reflected in the Chalice of the fiery spirit. After all, the Chalice contains all the centuries-old accumulations that gather around the grain of the spirit. As a great symbol, one must accept the statement of the Cup in everyday life. Both children and young people need to be taught to think about the Chalice. It is necessary to understand all the diversity of images of the great symbol of the Chalice.
Teaching of Living Ethics Fiery World, part 3
19. “The Ancient Serpent.”
The ancient serpent, (Birth of the Mysteries), 1924
Museum named after N.K. Roerich, Moscow, Russia
L.V. Shaposhnikov “Commands of the Cosmos”
Nicholas Konstantinovich Roerich created about 20 paintings during his life dedicated to the “snake” theme. Among them there were two that attracted attention with their special mystery - “The Serpent” or “The Birth of Mysteries” and “Nagarjuna - the Conqueror of the Serpent.” ...
In one of her letters, Elena Ivanovna Roerich wrote: “...The serpent has always been a symbol of wisdom, and the ancient sages of India were called Nagas.” In other words, the mythological symbol of a snake or naga means not so much the wisdom of the snake or matter itself, but the wisdom of the one who overcame this matter, managed to spiritualize it and, because of this, gained access to the source of wisdom itself. For wisdom - the highest inner knowledge - arises only when the interaction of spirit and matter passes either into the harmony of these two opposite principles, or to a higher level - synthesis. And then the initiate or winner is marked with the symbol of the matter he has transformed - a snake. The Egyptian pharaohs, initially deified, for a long time wore the head of a cobra on their crowns as a sign of victory, which made one of their predecessors wise.
Myths about nagas and the cult of nagas themselves, which have deep philosophical significance, are the earthly trace of those unknown intelligent forces of the Universe about which K. E. Tsiolkovsky wrote, and that spiritual Hierarchy of light about which the books of Living Ethics narrate.
“History is composed of the Hierarchy of life. The best stages of humanity were built by the Hierarchy.” The Cosmic Hierarchs and Teachers had a decisive influence on both cosmic evolution and the historical process of earthly humanity.
Among the cosmic Hierarchs there is a group that, in an energy form acceptable to them, is on “evolution watch” of our planet. Their shelters are located in the depths of the Himalayan mountains, and therefore it is there, among the local population, that the cult of wise nagas, heroes, Teachers and gods is still preserved in all its freshness and purity. But there are Hierarchs who again take on the burden of earthly incarnation in order to help humanity, despite the fact that their earthly circle is already over. They bring knowledge to people and create the energy field necessary for their further advancement.
Sacrificing for some time their further ascent, the Hierarchs and Teachers enter into involution and, plunging into coarse earthly matter, lose their refined divine energy, cease to be gods in the sense that earthly humanity gives this concept. In the dense layers of the atmosphere, their white wings burn out, and they turn into mortal and sinful people, burdened by dark and inert matter or a serpent, which they again have to defeat once again. The gods die to be reborn again in those for whose sake they descended to the underworld. The endless creativity of evolution is reflected in mythology by the death and resurrection of the gods. “Refusal, or rather liberation,” wrote Elena Ivanovna Roerich, “is so joyful, but how hard is the reverse acceptance, even for the sake of the Common Good! The burden of the world, the cup of redemption and the drinking of the poison of the world, these are the orders of the Light.” It was she who was well acquainted with the full severity of involution. “When a chain of events destroys the old foundations, saturating the space with restless energies, of course, we need power that can direct all the energies towards new construction. Hierarchy is the affirmation of the cosmic dimension to the world.”
The Toltecs of Mexico had a myth about the creation of the 5th Sun and the 5th species of humanity. It begins with the words: “And the gods died there in Teotihuacan.” Mythical gods sacrificed themselves to move the Sun and create life and people. They died so that people could appear. The evolution of the 5th species of humanity, according to a wise myth, began with the involution of the gods, with their entry into matter.
The painting by N.K. Roerich “The Serpent” or “The Birth of Mysteries” depicts how a miracle emerges from the waves of a raging ocean - the golden-haired Aphrodite. And above this turbulent expanse of water, in the disturbed stormy sky, a huge dragon-like snake wriggles. The spirit of the goddess entered into involution and took the form of an earthly woman. This is the meaning of the picture, both mythological and philosophical and historical. The heavenly serpent, the eternal symbol of this most important evolutionary process, carries in its mythological image the same cosmic dialectic that raised the hoods of cobras over the heads of earthly sages.
M. 1995, pp. 66-69
In “The Serpent” there was a beginning, above which stood the red-yellow light of the dawning morning. The raging blue-green waves gave way to calming orange-red ones. Massive buildings rose on the tops of the mountains, and they were somehow similar and at the same time not similar to those that perished under the pressure of the water element. Four women in the foreground were performing some kind of sacrament. They were wearing ancient clothes. Dark hair curled like snakes over her shoulders and back. The women helped the fifth, which emerged from the waves and mountains, as if being born again from this strange union. She was different from the rest. She had light eyes and brown hair that flowed down her chest. And in the sky above everything that was happening, the ancient Serpent blazed fieryly. He looked like both a Chinese dragon and the feathered Quetzalcoatl of the American Aztecs. The legend of the cosmic evolution of humanity was written with the brush of a great artist. There were many mysterious, hidden moments in it.
L.V. Shaposhnikova “Master”, M. 1999 pp. 327-328
"The Birth of Mysteries". A combination of early Greek and eastern forms. The rhythm and unity of the ocean waves and heavenly clouds. The birth of a new cult. (The composition of the painting “The Birth of the Mysteries” includes a group of figures from the bas-relief of the famous ancient Greek throne of Ludovisi, depicting the culminating scene of the Mysteries of Aphrodite. – approx.)
Z. Fosdick “My Teachers. Meetings with the Roerichs" M. 1998, p. 239
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