A qualified lawyer, trained painter, an explorer and archaeologist, a poet and historian, a scientist, philosopher and an advocate for peace, Nicholas Roerich was a man who donned many hats. Roerich was born in St Petersburg in 1874 to an affluent family. His father was a well established lawyer who insisted Roerich completed his law studies. However, his passion for exploration, led him to create a painting, ‘The Messenger’, which was purchased by the Moscow Museum.
This inspired him to train formally as an artist in the Capital of art and fashion, Paris. In 1910, he married Helena Ivanovna Shaposhnikof and they had two sons. After several explorations and travels across Europe, the United States and the United Kingdom, Roerich and his wife moved to India in 1920 where they remained for the entirety of his life. Perhaps the only country, besides Russia, where he felt deeply spiritually connected.
‘Art will unify all humanity. Art is one—indivisible. Art has its many branches, yet all are one. Art is the manifestation of the coming synthesis; art is for all. Everyone will enjoy true art. The gates of the ‘sacred source’ must be wide open for everybody and the light of art will influence numerous hearts with a new love. At first this feeling will be unconscious but after all it will purify human consciousness, and how many young hearts are searching for something real and beautiful! So give it to them. Bring art to the people—where it belongs. We should have not only museums, theatres, universities, public libraries, railway stations and hospitals but even prisons decorated and beautified. Then we shall have no more prisons.’[1]
Upon arriving in India, Roerich was immediately drawn to all that the region had to offer. He explored the depths of the mountainous regions and surveyed the Northern landscape. He was enchanted by the Himalayas and drew them with a level of mystique. Perhaps this was because of his interest in the concept of ‘Shambhala’, a utopian land of endless truth, knowledge and peace or connecting his art to a divine universe. His paintings, sketches and drawings of the Himalayas are unique in style, colour and composition. His focus is on the landscape, figures seldom seen and when visible, lost in the depth of the landscape. Be it a religious leader or an important historical figure. In doing so, he unites faith and tradition.
“India,” he wrote, “I shall always think of you with the same feeling of joy as of the first flower upon a spring meadow.” In the book ‘Altai-Himalaya’, he concluded: “We know thy fragrant essence, India! We know the depths and fineness of thy thoughts. We know the great ‘Aum’, which leads to the inexpressible heights. India, we know thy ancient wisdom.” [2]
There is a sense of innate primitiveness juxtaposed with layers of colour and light. Roerich brings to life his quest to see the unseen, understand the unfathomable, for a deeper meaning to life with his art. His ethereal paintings are an attempt at drawing and painting the Shangri-la he envisions. A sacred place where knowledge and truth is infinite. Unlike the Orientalists, who documented and surveyed the Indian landscape, Nicholas Roerich idealises the majestic Himalayas. His art transcends the physical and mortal, emanating divinity.
Nicholas Roerich, 'Ladak 1940', Pencil and colour pencil on paper
While seven thousand works of art can be credited to Roerich who despite Russian descent is an Indian National Treasure (his art cannot be exported), the zenith of his power as an artist is in the manner by which he romanticises the Himalayas. During his time in Ladakh, he was invited by Ladakh’s erstwhile royal family, the Namgyals. He stayed in the historic Stok Palace, exploring the mountains, monasteries and capturing them in his drawings and paintings. A myriad shades of blue, azure and magenta skies, golden sunsets, snow capped mountains, a beckoning light of hope and peace, Roerich takes you to the land unknown, to the Himalayas no man has been.
There is a deep sense of emotion while viewing Roerich’s art. For which, he won the admiration of writers, poets, literaries. Rabindranath Tagore, with whom the artist shared a relationship of mutual admiration writes, ‘Your pictures which I saw in your room and some reproductions of your pictures which appeared in some art journal profoundly moved me. They made me realise one thing which is obvious and yet which one needs to discover for oneself, over and over again ; it is that truth is infinite. When I tried to find words to describe to myself what were the ideas which your pictures suggested, I failed. It was because the language of words can only express a particular aspect of truth, and the language of pictures finds its domain in truth where words have no access. Each art achieves its perfection where it opens for our mind the special gate whose key is in its exclusive possession. When a picture is great we should not be able to say what it is, and yet we should see it and know. It is the same with music. When one art can fully be expressed by another, then it is a failure. Your pictures are distinct and yet are not definable by words—your art is jealous of its independence because it is great.’ [3]
It is this journey of uniting humanity and nature, which Roerich seamlessly does with his depiction of the Himalayan landscape. A nominee for the Nobel Peace Prize for his work in safeguarding cultural heritage, his art is beautifully documented, his letters, multiple correspondences with those loved and respected by him, effortlessly preserved.
The Roerich Museum in New York, The Roerich Art Gallery in Naggar, where he passed away in 1947, serve as cultural landmarks. A pilgrimage for the art devotee.
This is an artist whose mark on art history and cultural heritage will forever be revered.
References
[1] Nicholas Roerich. Beautiful Unity. Nicholas Roerich Museum, 2019.
[2] Nicholas Roerich. Altai-Himalaya. Nicholas Roerich Museum, 2019.
[3] Rabindranath Tagore.Letters from Abroad. p 27. 1924.
