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Nicholas Roerich
This article studies, and comments on the ideology and art of Nicholas Roerich (1874-1947). Through this
paper, we aim to understand Roerich’s process of creation and its relevance in today’s society.
Nicholas Roerich was a trained painter and lawyer, also archaeologist, ethnographer, geographer, poet,
historian, philosopher, scientist, traveller, fighter for peace, and defender of cultural values of all nations.
Roerich, throughout his life, devoted himself to the ideal of the common good of mankind. He made India
his home in the latter part of his life, and is today counted amongst the great Indian masters such as
Rabindranath Tagore, Nandalal Bose and Jamini Roy.
Roerich’s outlook of the world was unique, based upon the knowledge of the fundamental laws of Existence.
He was convinced that by increasing the level of masses’ spiritual culture, one could transform life on earth
and defeat ignorance, vulgarity, exploitation and wars. In his own words “Where there is culture, there is
peace”.
The legacy of Nicholas Roerich is a joint Russian-Indian cultural heritage.
For this study, the team has visited the Roerich Estate in Naggar (Kullu), and sought information from the
Roerich Museum, New York, and the International Roerich Centre, Moscow. The team acknowledges with
gratitude the support of these institutions.
Art Appreciation Project
~ Nishant Singh (16M103) | Rohan Sablay (16M134) | Rudraneel Chattopadhyay (16M137)
~ Young India Fellowship (Class of 2016)
~ Ashoka University
N I C H O L A S R O E R I C H
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Contents
Introduction ........................................................................................................................................................................... 3
The person ............................................................................................................................................................................ 5
Early life ......................................................................................................................................................................................................... 5
Varied interests, stupendous proficiency ............................................................................................................................................. 6
Preservation of art in a career spanning wars .................................................................................................................................... 8
Creations through journey & times ................................................................................................................................... 9
War and „the prophet‟ ............................................................................................................................................................................... 9
Poignant longing ...................................................................................................................................................................................... 10
Poetry and reflections .............................................................................................................................................................................. 11
India ...................................................................................................................................................................................... 13
Himalayan expeditions ............................................................................................................................................................................ 13
Woman: a personification of nature ................................................................................................................................................... 15
Kullu Valley ................................................................................................................................................................................................. 16
Roerich and preservation of art ....................................................................................................................................... 17
Roerich Pact and the Banner of Peace ............................................................................................................................................... 17
Relevance in the 21st century ................................................................................................................................................................. 18
Existence through spirit ..................................................................................................................................................... 21
N I C H O L A S R O E R I C H
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References ........................................................................................................................................................................... 22
Books ............................................................................................................................................................................................................ 22
Academic papers ...................................................................................................................................................................................... 22
Online resources ....................................................................................................................................................................................... 23
N I C H O L A S R O E R I C H
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Introduction
In a large part of the global
mindset, Russian culture
only really existed in the
nineteenth century. Before
Vladimir Putin‟s kleptocracy
and before the horrific
purges of the Soviets,
Russia was, we are led to
believe, a somewhat
backward land that
nevertheless managed to
produce great works of art.
Undoubtedly, Russia in the nineteenth century did churn out spectacular talents, from the
poetry of the great Alexander Pushkin to the novels of Fyodor Dostoevsky and the music of
Pyotr Ilyich Tchaikovsky.
While tremendous time and effort have been justly used in the study of Russia‟s “Golden
Era”, too little time has been spent on its virtuosos of its twentieth century. However, when it
comes to the finer things in life, none has gotten the dust-off more than Russian painting,
especially the pre- and post-Soviet masters who failed to tow the avant-garde and social
realist lines.
Chief among these nonconformists is Nicholas Roerich, a man ostensibly of the esoteric
school of modernism. Born Nicholas Konstantinovich Roerich in Saint Petersburg to a well-
to-do family, Roerich remains a man out of time. Although Roerich met and was influenced
by the many great artists of the day (Roerich knew personally Vladimir Strasov and the
N I C H O L A S R O E R I C H
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musicians Modest Mussorgsky, Igor Stravinsky, and Nicolai Rimsky-Korsakov) and even
though Roerich matriculated at the prestigious Imperial Academy of Arts, he remains a
rather unorthodox traditionalist. Through his many interests, which included poetry,
philosophy, painting, archeology, and Eastern religions, Roerich created a deeply
imaginative world full of color, transcendence, and most importantly, history. In this way,
Roerich‟s spiritual antecedent is the great Russian master Viktor Vasnetsov.
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The person
Nicholas Roerich, born in St. Petersburg in
1874, figured prominently in the Silver Age
of Russian art at the turn of the century. By
the time he left Russia, around 1917, he had
painted several hundred canvases and had
achieved an international reputation. He
continued to paint prolifically in Western
Europe, America, Central Asia, and India
until his death at Naggar in the Himalayas
in 1947.
Early life
Roerich was the eldest son of Konstantin
Roerich - a St. Petersburg lawyer of
Scandinavian descent - and his wife, Maria
Kalashnikova, who came from an old
Russian family in Pskov. Initially, he was educated at the May Gymnasium in St. Petersburg
(1883-93). Later, Roerich graduated from the Faculty of Law at the University of St.
Petersburg (1896) and the Academy of Fine Arts (1897). He read law only at his father's
insistence and never went into practice. His own preference had been archaeology and
history; consequently, he spent much of his time at university attending lectures on these
subjects, and he became a member of the Institute of Archaeology while still a student.
Picture 1: Portrait of Nicholas Roerich in a Tibetan Robe (1933) - Svetoslav Roerich
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Roerich drew upon this expertise
in his painting, gaining
considerable notice as a historical
painter early in his career. The
eminent collector Pavel Tretyakov
launched him professionally
when he purchased for his
Moscow gallery, Roerich's
graduation painting, The Messenger (1897), which he had seen at the Academy's exhibition.
The fascination Roerich found in the early history of his country gave rise to many paintings
on such topics as the Stone Age, the ancient Slavs, the Vikings, the beginnings of Rus, and
the architecture of medieval Russia.
Varied interests,
stupendous proficiency
Roerich's paintings continue to
be well known in the Soviet
Union and India, as do his
writings and his activities in the
fields of archaeology, education
in the arts, Eastern philosophy
and world peace. In the West,
though, he is best known as a theatrical designer, a reputation due especially to his sets and
costumes for Serge Diaghilev's productions of the Polovtsian Dances from Prince Igor in
1909 and Le Sacre du Printemps in 1913. Both ballets were acclaimed at the time of their
Parisian premieres and became classics of stage decor.
Picture 2: The Messenger (1897)
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Roerich's designs for the theater were just one aspect - albeit an important one - of a full
and varied career. Speaking of the range and content of his father's activities, Dr. Svetoslav
Roerich, the younger of the painter's two sons, commented that "his success as a theatrical
designer would have been
sufficient to satisfy many an
ambitious man!" In addition
to his work for the theater,
Roerich painted several
thousand canvases, together
with a good number of
murals and designs for
mosaics. He was the author
of over a dozen published
volumes, mainly dealing with
cultural and philosophical
subjects. He lectured on archaeology and conducted excavations in Russia and India. His
interest in Eastern philosophy, which he shared with his wife, Helena, led to their promotion
of Buddhism and a system of ethics known as Agni Yoga. Their names were also associated,
to a lesser extent, with the teachings of Sri Ramakrishna and Swami Vivekananda and the
writings of Helena Blavatsky. As an educator in the field of the arts, he was active with art
schools and cultural institutions in St. Petersburg and New York. He was also involved with a
number of social causes. In Russia, for instance, he helped with fund raising for the Red
Cross, establishing architectural courses for women, rehabilitating war invalids, and
preserving ancient buildings and monuments. In the West, he led an international campaign
for peace and set up a laboratory for cancer research.
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Preservation of art in a career spanning wars
Roerich's career spanned
three continents and two
world wars. It was caught up
in a world of changing
frontiers and values. It started
in the imperial Russia of Tsar
Alexander III and in Paris -
and other continental cities -
as they were before and just
after the First World War. It
continued, after the Russian
Revolution, in the England,
America, and Asia of the post-war Twenties and the pre-war Thirties, and it finished in the
strife-torn India of the British Raj, Independence, and the Partition.
Roerich was a dedicated activist for the cause of preserving art and architecture during
times of war. The Roerich Pact (signed into law by the United States and most nations of the
Pan-American Union during April 1935) was amongst the first international treaties formed
to protect art and heritage during times of conflict.
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Creations through journey & times
Musical terms and analogies can appropriately be applied to Roerich‟s painting. He
frequently related music to the use of color and color harmonies, and applied this sense to
his designs for opera. The original force of Roerich‟s work consists in a masterly and marked
symmetry and a definite rhythm, like the melody of an epic song.1
War and „the prophet‟
In the years immediately preceding World War I, Roerich sensed an impending cataclysm,
and his paintings symbolically depicted the awful scale of the conflict he felt descending
upon the world. These works marked the birth of Roerich the “prophet”.
In “Battle in the Heavens” Roerich used the violent contrast of light and darkness to suggest
the terrible events that would soon overtake Russia and all Europe.
1 Nina Selivanova, The World of Roerich (1922)
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By this time, in his depiction of
both historical and natural
themes, symbolism and the use of
allegory had become essential
ingredients in his work. As one
critic wrote: “He populated his
world not with participants in
transitory dramas and comedies,
but with spokesmen for the most
steadfast ideas about the truth of
life, the millennial struggle of good
and evil, the triumphal procession of a bright future for all.”
Poignant longing
In 1915 Roerich became ill with
pneumonia, and was sent by his
doctor to recuperate with his
family in Sortavala, Finland. This
was a period of great unrest the
world over, and no less so in the
lives of the Roerich family. In
Roerich‟s paintings of the period,
such as “Karelia - Eternal
Expectation” and “The Waiting
Woman”, the cold, austere countryside of rocks and uninhabited shores of the north seems
to express a sense of poignant longing. In “The Waiting Woman”, her gaze is fixed on the
horizon as if she awaits some sign of the return of long-gone voyagers.
Picture 3: Battle in the Heavens (1912)
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By 1917 the revolution was raging in Russia and returning there would have been dangerous.
The family began making plans to visit India, whose magnetic appeal had been felt
increasingly during these years. This became a possibility in 1918 when Roerich was invited
by a Swedish entrepreneur to exhibit his paintings in Stockholm.
Poetry and reflections
Between 1916 and 1919
Roerich had written a
collection of sixty-four blank
verse poems that were
published in Berlin, in
Russian, under the title
Flowers of Morya, and
subsequently published in
English as Flame in Chalice.
In them we find Roerich‟s
inner journey charted and
his commitment to spiritual
search stated. These poems evoke some of the images that Roerich later used in his
paintings, and in a way help us to understand the symbols and meanings that lie behind
some of them.
“At the core of Roerich‟s belief system is the Hindu concept of a beginningless and endless
universe which manifests itself in recurring cycles of creation and dissolution of material
forms caused by the pulsation of divine energy. On the human plane, this means the rise
and fall of civilizations and, in terms of individual life, the reincarnation of a soul…”2 As
Roerich, the poet, writes, in the poem About the Eternal:
2 Irina Corten, Flowers of Morya: The Theme of Spiritual Pilgrimage in the Poetry of Nicholas Roerich (1986)
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Brother, let us abandon
all that rapidly changes.
Otherwise we will not have time
to turn our thoughts to that
which is changeless for all.
To the eternal.
In May, 1923, the Roerichs were at last on their way to India, where, in that ageless land,
amid the snows of the Himalayan range, they sought to turn their thoughts to the Eternal.
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India
The Roerichs landed in Bombay in December, 1923, and began a tour of cultural centers
and historic sites, meeting Indian scientists, scholars, artists, and writers along the way. By
the end of December 1923, they were already in Sikkim on the southern slopes of the
Himalayas, and it is clear by the speed with which they reached the mountains that the
Himalayas were where their interest lay.
Himalayan expeditions
They initiated a journey of exploration that would take them into Chinese Turkestan, Altai,
Mongolia and Tibet. It was an expedition into untracked regions where they planned to
study the religions, languages,
customs, and culture of the
inhabitants.
Roerich wrote about this first
Central Asiatic Expedition in his
book Heart of Asia, and he
creates for the reader a vivid
account of the wonder of the
land and its people. However,
the images are nowhere as vivid as in the five hundred or so paintings that resulted from the
trek. In Kanchenjunga, Sikkim Pass, His Country, The Great Spirit of the Himalayas, and the
Banners of the East series, we can see philosophical concepts and ideas giving birth to visual
images, and the splendor of Northern India providing the physical setting.
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In The Path, the figure of Christ leads the way along a tortuous path through crags and
peaks of the Himalayas, a metaphor for the hazardous obstacles confronting the spiritual
journeyer. Eastern religious figures and concepts appear in the paintings, important among
these being the images of the Lord Maitreya—the Buddhist Messiah, the Kalki-Avatar of the
Puranas, Rigden Jyepo of Mongolia, or the White Burkhan of Altai—all of whom are
described in legends that link them with the Ruler of Shambhala, who is “destined to appear
on earth for the final destruction of the wicked, the renovation of creation and the
restoration of purity.”3
The trek was at times arduous.
Roerich tells us that thirty-five
mountain passes from fourteen
to twenty-one thousand feet in
elevation were crossed. But
these were the challenges he
felt born for, believing that the
rigor of the mountains helped
a man to find courage and
develop strength of spirit. And
in spite of obstacles, wherever
they went the Roerichs‟ belief in the essential goodness of life and the spirituality of man was
reinforced. Roerich‟s Banners of the East series of nineteen paintings depicting the world‟s
religious teachers, Mohammed, Jesus, Moses, Confucius, and Buddha, and the Indian and
Christian saints and sages, was a testimonial to the unity of religious striving and the
common roots of man‟s faith.
3 Helena Blavatsky, The Theosophical Glossary (1892) in Nicholas Roerich, Heart of Asia: Memoirs from the Himalayas (Reprint 1990)
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Woman: a personification of nature
At counterpoint to these themes in Roerich‟s painting is the image of Woman and her
destined role in the coming era, and we can assume that what Helena Roerich wrote to a
friend in 1937 reflects Nicholas‟ own point of view: “…woman should realize that she herself
contains all forces, and the moment she shakes off the age-old hypnosis of her seemingly
lawful subjugation and mental inferiority and occupies herself with a manifold education, she
will create in collaboration with man a new and better world… Cosmos affirms the greatness
of woman‟s creative
principle. Woman is
a personification of
nature, and it is
nature that teaches
man, not man
nature. Therefore,
may all women
realize the grandeur
of their origin, and
may they strive for
knowledge.”4
Nicholas Roerich depicted the great female deities in such paintings as She Who Leads,
Madonna Laboris, and The Mother of the World. This latter conception, equivalent to the
Lakshmi and Kali of India, is one of Roerich‟s most inspiring images, rendered with majesty in
deep tones of blue and violet. Helena Roerich‟s contribution in the life and work of Nicholas
cannot be overestimated. Their union could be best described as a lifetime collaboration in
4 Letters of Helena Roerich 1935-1939, vol. II
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fields of mutual endeavor. Her philosophy, comprising a living ethic, was shared by Nicholas
and motivated him in his work and his life. At some time in their late years an anniversary
approached and he wrote in his diary: “Forty years—no less than forty. On such a long
voyage, meeting many storms and dangers from without, together we overcame all
obstacles. And obstacles turned into possibilities. I dedicated my books to Helena, my wife,
friend, traveling companion, inspirer! Each of these concepts was tested in the fire of life.
And in Petersburg, Scandinavia, England, America, and in all Asia we worked, we studied, we
broadened our consciousness. Together we created, and not without reason is it said that
the work should bear two names—a feminine and a masculine.”
Kullu Valley
At the end of their major expedition, in
1928, the family settled in the Kullu Valley
at an elevation of 6,500 feet in the
Himalayan foothills, with a magnificent
view of the valley and the surrounding
mountains. Here they established their
home and the headquarters of the Urusvati
Himalayan Research Institute, which was
organized to study the results of their
expedition, and of those explorations that
were yet to come. The Institute‟s activities
included botanical and ethnological-
linguistic studies, and the exploration of
archeological sites. Under the direction of
their father the two Roerich sons, George and Svetoslav, established a collection of
medicinal herbs, and made extensive studies in botany and ancient medical lore, as well as
in Tibetan and Chinese pharmacopoeia.
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Roerich and preservation of art
Roerich Pact and the Banner of Peace
In the following year, on a trip back to New York
for the opening of the Roerich Museum‟s new
premises, Roerich raised an issue that had been
close to his heart for many years. Using the Red
Cross as an example, he proposed a treaty for the
protection of cultural treasures during times of
both war and peace—a proposal he had
unsuccessfully tried to promote in 1914. In
consultation with lawyers versed in international
law, he drafted a Pact, and suggested that a flag
would be flown over all places under its
protection. This flag he called the Banner of Peace. The design of the Banner shows three
spheres surrounded by a circle, in magenta color on a white background. Of the many
national and individual interpretations of this symbol, the most usual are perhaps those of
Religion, Art and Science as aspects of Culture, which is the surrounding circle; or of past,
present, and future achievements of humanity guarded within the circle of Eternity. The
symbol can be seen in the seal of Tamerlane, in Tibetan, Caucasian, and Scandinavian
jewelry, and on Byzantine and Roman artifacts. The image of the Strasbourg Madonna is
adorned with it. It can be seen in many of Roerich‟s paintings, most notably Madonna
Oriflamma, in which Woman is depicted as the carrier and defender of the Banner.
In this sign and the motto, Pax Cultura, that accompanies it, is symbolized Roerich‟s vision
for humanity. As he wrote: “Let us be united—you will ask in what way? You will agree with
me: in the easiest way, to create a common and sincere language. Perhaps in Beauty and
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Knowledge.” Roerich‟s efforts to promulgate such a treaty resulted, finally, on April 15, 1935,
in the signing by the nations of the Americas—members of the Pan American Union—of
The Roerich Pact, in the White House in Washington. This is a treaty still in force. Many
individuals, groups, and associations around the world continue to promote awareness of
the Pact, the Banner, and their underlying principles.
Relevance in the 21st century
The Roerich Pact is not
only a relatively short
multilateral treaty: it is a
combination of legal ideas
about a new state order in
which the state and the
culture closely overlap. A
measure of this complexity
is the share of state budget
annually spent on culture,
art and education, which in
many countries exceeds
military expenses.
Important in the framework of ideas of the Roerich Pact is the recognition that the safety of
any foreign cultural object on the territory of a foreign state must be also respected and
treated as a factor much higher in significance than military willingness to bomb, destroy or
use it for military purposes.
Nicholas Roerich managed to continue and develop into a profound and feasible doctrine
the famous maxim proclaimed by Fyodor Dostoyevsky, “Beauty will save the World!” Hence
starts a very powerful Russian movement in the development of the concept of aesthetical
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statehood. The concept of the state as a work of art was first suggested in the 19th century
by Jacob Burckhardt, who was Swiss historian of art, specializing in Italian Renaissance, and
who gave this name to a chapter of one of his books. The concept itself had not been
formulated to a completion and was expressed in a general idea that period, as well as their
rulers, considered the achievements in culture and art as most important for securing the
prestige both of their states and their own, which finally resulted in the unique Italian
Renaissance art, literature, philosophy and science. Roerich produced ideas based on the
approaches used by Burkhardt and Dostoevsky.
Roerich considered the care for future generations to be a cornerstone of the existence of
the rule of law and the constitutional state. President of the USA, Franklin D. Roosevelt, in
the speech upon the signature of the „Roerich Pact‟ Treaty said: “In opening this Pact to the
adherence of the Nations of the world, we are endeavoring to make of universal application
one of the principles vital to the preservation of modern civilization. This Treaty possesses a
spiritual significance far deeper than the text of the instrument itself. It is important to realize
that the Roerich Pact was only the first step towards the future development of a new legal
culture. All written laws must conform to the universal unwritten principles of morality,
fairness, and justice, equality, autonomy, dignity, and respect that is known as a higher law
theory.
The concrete conceptual provisions of Roerich‟s philosophical and legal concept of the state
are based on the one of Rule According to Higher Law ideas that the primary duty of the
state is to sustain and develop the spiritual unity of its citizens, by carefully preserving the
best specimens of national cultural heritage, promoting universal culture and spiritual
growth of all people, especially the young ones. At that, the major share of profits received
by the state should be directed at the development of culture, which, as it was already
mentioned, would lead to a further growth of economic prosperity.
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According to Roerich's concept, the state, as an instrument for the preservation and
development of culture, the instrument defending both domestic and foreign cultural
treasures, the instrument maintaining peace and avoiding wars, the instrument building a
new civilization, based on the best cultural traditions of today and, therefore, spending the
utmost economically reasonable assets for these purposes, — all this can be explicitly and
exclusively based on constitutional foundation for using Roerich‟s words, “a State of the
future” and “a civilization of
the future.”
The Roerich Pact led way to
the 1954 Hague Convention,
1972 World Convention, 1999
Second Protocol to Hague
Convention, and 2003
Intangible Cultural Heritage
Convention. Ideas of the
Roerich Pact are still not fully
implemented in the
international law, and 21st
century may be a good time
to resurrect Roerich's concept
of beauty and culture as a
path to peace.
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Existence through spirit
It is in his Himalayan paintings that one most easily finds evidence of the loftiness of spirit
and sense of mission that led Roerich to attempt the tasks he set for himself. In them can be
seen the sense of drama, the urgency of a message to send or receive, a traveler to greet, a
mission to perform, a path to travel. The towering mountains stand for the spiritual goals
that humanity must set for itself. Roerich urges people on to their spiritual destiny and
reminds them of their duty to prepare for the New Era in which Rigden Jyepo will gather his
army and under the Banner of Light defeat the host of darkness. Roerich the warrior was
already armed and mounted; he sought to muster his army for the battle, and bid that their
breastplates bear the word “culture.”
The pursuit of refinement and beauty was sacred for Roerich. He believed that although
earthly temples and artifacts may perish, the thought that brings them into existence does
not die but is part of an eternal stream of consciousness—man‟s aspirations nourished by
his directed will and by the energy of thought. Finally, he believed that peace on Earth was a
prerequisite to planetary survival and the continuing process of spiritual evolution, and he
exhorted his fellow man to help achieve that peace by uniting in the common language of
Beauty and Knowledge.
Maharishi Nicholas Roerich died in
Kullu on December 13, 1947. His
body was cremated and its ashes
buried on a slope facing the
mountains he loved and
portrayed in many of his nearly
seven thousand works.
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References
Books
Helena Blavatsky, The Theosophical Glossary (1892)
Irina Corten, Flowers of Morya: The Theme of Spiritual Pilgrimage in the Poetry of Nicholas
Roerich (1986)
Letters of Helena Roerich 1935-1939, vol. II
Nicholas Roerich, Heart of Asia: Memoirs from the Himalayas (Reprint 1990)
Nina Selivanova, The World of Roerich (1922)
Academic papers
Nicholas K. Roerich, The American Magazine of Art, Vol. 12, No. 6 (June, 1921), pp. 198-200
Reviewed Work: Heart of Asia by Nicholas Roerich, The American Magazine of Art, Vol. 21,
No. 2 (February, 1930), pp. 119-120
Alfred C. Bossom, An Appreciation of Nicholas Roerich, The American Magazine of Art, Vol.
18, No. 4 (APRIL, 1927), pp. 198-201
Edgar Lansbury, The Art of Nicholas Roerich, Kailash (2010)
John McCannon, Passageways to Wisdom: Nicholas Roerich, the Dramas of Maurice
Maeterlinck, and Symbols of Spiritual Enlightenment, The Russian Review, Vol. 63, No. 3 (Jul.,
2004), pp. 449-478
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Kenneth Archer, Nicholas Roerich and His Theatrical Designs: A Research Survey, Dance
Research Journal, Vol. 18, No. 2, Russian Folklore Abroad (Winter, 1986-1987), pp. 3-6
Lynn Garafola, Reviewed Work: Nicholas Roerich: The Life and Art of a Russian Master by
Jacqueline Decter, The Nicholas Roerich Museum, Dance Chronicle, Vol. 13, No. 3 (1990 -
1991), pp. 401-412
Victoria Klimentieva, Nicholas Roerich: In search of Shambhala, The University of Texas at
Austin (2009)
Online resources
Center for Peace through Culture: http://www.centerforpeacethroughculture.org
Estonian Roerich Society: http://www.roerich.ee/index.php
International Centre of the Roerichs: http://en.icr.su
National Gallery of Modern Art, India: http://ngmaindia.gov.in/ce_nicholas-roerich.asp
Nicholas Roerich Museum, New York: http://www.roerich.org
Nicholas Roerich Virtual Museum: http://www.roerich.ru
Roerich Mongolia: http://www.roerichmongolia.org/
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