Nicholas Roerich

Nicholas K. Roerich's body of work sought to inquire into the common roots of the Russian peoples' Slavic heritage, their pre-Christian, that is, Celtic, Viking and Mongol traditions, and blood ties; his theatrical phase (especially in the 1920s) is seen in his oversized murals and decorative panels [...]
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Nicholas K. Roerich's body of work sought to inquire into the common roots of the Russian peoples' Slavic heritage, their pre-Christian, that is, Celtic, Viking and Mongol traditions, and blood ties; his theatrical phase (especially in the 1920s) is seen in his oversized murals and decorative panels which express a continuum of inquiry into Russia's past, its animistic beliefs, its close unity with natural materials, implements and other objects. Roerich's arrival in Bombay, India with his family on 30 November 1923, was followed by his daring mountainous expeditions, making up his 'mountain' phase. The culmination of this was expressed in his transcendental paintings of the Himalayas, peopled with figures of enlightened saints, prophets, hierarchs and keepers of the spiritual path. Nicholas Roerich continues to arouse the interest of extensive scholarship: what is the draw and pull of a man who was, in his final avatar, a painter of mountains? This anthology of essays on the artist seeks to answer just this.The contributors -scholars, aficionados, practitioners of Agni Yoga from all parts of the world-have looked at Roerich's life from varying perspectives to explain his multi-faceted personality. Through these writings, one hopes to come to a holistic understanding of the man and his times.