The names of Helena Ivanovna and Nicholas Konstantinovich Roerich are now known to very many people in our country. He is the largest artist, thinker, archaeologist, traveler, public figure. She is a spiritual leader, ascetic, philosopher. Her main feat in life is that she conveyed to mankind the secret teachings of the Himalayan Mahatmas.
14 books of Living Ethics or Agni Yoga forever included her name in the treasury of the planetary spiritual culture, immortalized it. Books of Living Ethics were published in 20-30 years. in Riga and Western Europe in Russian. Now it is the most popular series among people striving for spiritual perfection. They have been translated into many languages. All over the world there are societies of followers of Living Ethics.
Elena Ivanovna Shaposhnikova /Roerich/ was born on February 12, 1879. Petersburg, in a noble family. Mikhail Illarionovich Kutuzov and composer Modest Petrovich Mussorgsky belonged to her family. From birth, she was gifted with many abilities, including supernatural powers - clairvoyance and clairaudience. Elena Ivanovna brilliantly graduated from the Mariinsky Women's Gymnasium, then entered the St. Petersburg Music School, because. She had excellent musical abilities. After graduating from college, she was going to enter the St. Petersburg Conservatory.
The last two decades of the 19th century were a period of maturation of self-awareness of the Russian intelligentsia. A period that prompted the intelligentsia to carry out a reassessment of values. Faith and hope in the coming changes was accompanied by fear of the collapse of established forms of being.
At this time, Elena Ivanovna, a recognized secular beauty, had great success in society and attracted everyone's attention. Here is how one of her contemporary, a witness of those years, recalls her: “She had some kind of charm, charm and unusual femininity of her whole appearance. She loved outfits, always dressed in the latest fashion, very elegant. She had a developed sense of beauty. " She paid some external tribute to secular life, attended balls, as was customary in her circle, but she was a romantic nature with high spiritual aspirations, secular life did not captivate her. She decided to marry a highly talented person in order to inspire him to high deeds, to serve and help him. Her dream of meeting a soul mate came true. There was a feeling of inner kinship and community of views, goals, aspirations. Mutual love of rare purity was born, which passed many years of testing and only increased in adulthood. In 1901 they got married in St. Petersburg, and since that time their lives have merged into one, and further we can only talk about the Roerichs - Elena Ivanovna and Nikolai Konstantinovich. In 1902 son Yuri was born - the future famous orientalist, and in 1904. - the second son, Svyatoslav - an artist, like his father.
In 1903-1904. the spouses make a trip to Russian cities: Nikolai Konstantinovich sought to reveal the origins of national history and culture. They traveled to about 40 cities in 2 years. At this time, their hobby is collecting works of art and antiques. Gradually, a magnificent family collection was formed, over 300 works, which they transferred to the Hermitage after the revolution.
Somewhat later, Elena Ivanovna's passion for the East begins. She reads about India, studies the works of Ramakrishna, Vivekananda, Ramacharaka. Subsequently, Elena Ivanovna recalls these sources of knowledge with gratitude, calling them "my first teachers." By this time, Nikolai Konstantinovich grew into a major artist and public figure. In their family, thoughts about the universal, worldwide ways of developing culture, about the approaching general crisis, about the fate of mankind, about new ways of its development, come to the fore.
The Russian intelligentsia was divided into two camps: one supported the ideas of the revolution, the other preached death, decadent aestheticism, hopelessness. The Roerichs see the reason for the coming destruction in the impoverishment of the spirit. Together with the best representatives of the intelligentsia, they were looking for a way out of the impasse. Gradually confidence came: knowledge of the East is the spiritual light that can lead peoples out of the impasse of development. At the same time, there was a premonition of the mission of Russia, which is a bridge between the West and the East. This view was not too original and alien in the public life of Russia. The idea of the middle position of Russia was first expressed by Karamzin. The fateful role of Asia in the spiritual and historical development of Russia was seen by Dostoevsky and Tolstoy. A special place in the formation of Helena Roerich's worldview is occupied by the works of Helena Petrovna Blavatskaya.
From 1907 to 1909 The Roerichs are increasingly immersed in the study of India and Tibet. If Nikolai Konstantinovich sought to comprehend Asia through the study of archeology, ethnography, folk customs, then Elena Ivanovna seeks to study Eastern philosophy, mythology, and religion. She was especially interested in the legend of Shambhala. In it, Elena Ivanovna saw the spiritual stronghold of Asia, where esoteric knowledge about man and the Universe is collected. Her thoughts and feelings gradually rush to the Himalayan Teachers. The premonition of a meeting with the Great Teacher does not leave her. The Roerich family met the revolution in Karelia, where they lived for 2 years until 1918.
The long gravitation towards the East results in the decision to make a big trip to India, Tibet and Mongolia in order to study Indian culture and get closer to the Himalayan ashrams. Such a difficult expedition required serious preparation. In 1919 The Roerich family moves to England. In England, the first meeting of the Roerichs with representatives of the Hierarchy and the Great Teachers of the East takes place. Here they meet Rabindranath Tagore and Herbert Wells, who is keen on Eastern metaphysics.
At this time, Nikolai Konstantinovich received an invitation to take part in a tour of the United States with an exhibition of his paintings. America, where they hoped to secure a costly expedition by selling paintings, becomes the next stop on their way to India. They stayed in America for 3 years.
Exhibitions of paintings by Nikolai Konstantinovich were held with triumphant success, but a new enterprise was conceived - the Peace Pact - an interstate convention designed to preserve the cultural values of peoples during wars. Elena Ivanovna continues to work on the book "The Call" started in England. The book represents the Teacher's call to his disciples to carry the Knowledge of the East.
In America, the Roerichs create several cultural organizations: the International Society of Artists "Flaming Heart", the Institute of United Arts and the Art Center "Crown of the World".
In 1923 Elena Ivanovna and Nikolai Konstantinovich set off on an expedition equipped with funds from US public organizations under the American flag. In India, the Roerichs study ancient monuments of art and culture, visit monasteries, follow the route that Buddha walked while preaching. The expedition lasted 5 years. Together with the members of the expedition, Elena Ivanovna overcame dangerous passes, climbed high mountain ranges, defended herself from the attack of bandits, traveled more than 25 thousand kilometers.
At the beginning of the expedition there was a meeting with the Teacher, which left the deepest impressions on Elena Ivanovna and Nikolai Konstantinovich. They receive one more task - to transfer to the Soviet government a casket with sacred Himalayan soil on the grave of Lenin, whose name was highly honored in the East, and a message to the leaders of the USSR, where help was offered based on knowledge accumulated over millennia.
In 1926 The Roerichs arrive in Moscow, where, fulfilling the will of the Teachers, they convey the message of the Mahatmas to the Soviet government. Help was not rejected, but it was not accepted either. It was postponed "until better times." The way back to India lay through Altai, Siberia, Mongolia. After long wanderings in Asia, in 1928, the Roerichs again arrived in the north of India and acquired a house in the Kullu valley. The task of scientific processing of the received materials arose. During the expedition, rare books, manuscripts, manuscripts, collections of archaeological finds, objects of religious cults were collected. To this end, the Roerichs create an institution called "Urusvati", which means "Light of the dawn." Elena Ivanovna becomes the honorary president - the founder of the Institute and its soul. His collaborators were such scientists as Albert Einstein, Nikolai Vavilov and others.
A period of hard work has begun. The daily routine was scheduled by the minute. We got up at sunrise, at 5 am, and worked until late in the evening, with short breaks to listen to records of classical music. Everyone went to their rooms and worked hard. Letters came from all over the world, and not a single one remained unanswered. Scholars from different countries came to Kullu, invited to work at the Urusvati Institute, as well as representatives of international Roerich societies. The reverence that surrounded the family in India was enormous. Their names were surrounded by legends.
All the books of the Agni Yoga series were written here: "Signs of Agni Yoga" /1929/, "Infinity" /1930/, "Hierarchy" /1931/, "Heart" /1932/, "Fiery World" /1935. /, "AUM" /1936/, "Brotherhood" /1937/. Part II of the book "Brotherhood" and the last in the series "Elevated" remained unfinished.
Promulgation of the Living Ethics is the main feat of life of Helena Roerich. Her mission was carried out so brilliantly that the Mahatmas called her the "Mother of Agni Yoga".
This is a new moral and spiritual Teaching that combines the ancient wisdom of the East with the philosophical and scientific achievements of the West, providing the ethical foundations of behavior and means of in-depth self-knowledge. This is a whole encyclopedia of spiritual improvement and transformation. This is a teaching about hidden resources and human capabilities, about creative energies that reside in the depths of consciousness. This is a cosmic teaching about the multidimensionality of being, about the immortality of the soul, about the integrity of the universe.
Speaking on almost every page about the revelation of a person's enormous psycho-energetic potential, Agni Yoga criticizes the fascination with magic and all purely mechanical methods of awakening hidden forces. A person becomes a slave to artificially caused, incomprehensible forces for him and runs the risk of becoming a medium. According to living ethics, a person must carry out all work on the internal transformation of consciousness in ordinary conditions of life, without interrupting ordinary activities.
The Teaching of Agni Yoga is universal, it was given to the whole world, but in this teaching there was a certainty that it would be perceived, first of all, in Russia. "To the new Russia is my first message" / "The Call" /.
World War II was brewing - the biggest battle in world history. Elena Ivanovna proposes to establish an interstate public organization - the League of Culture. The creation of such a league was conceived as a unity of all the forces of light against the onslaught of darkness. The organization was created and existed for some time. Since the beginning of the Second World War, the connection of the Roerichs with societies and circles was interrupted. Scientists from other countries stopped coming. The Roerichs experienced the threat hanging over the Motherland. Throughout the five years of the war, they never once doubted the final victory. We wanted to help you achieve it. They transferred money to the Red Cross fund and the fund for helping the Soviet Union, gave lectures and radio broadcasts. Several times Yuri Nikolayevich and Svyatoslav Nikolayevich applied to the Soviet embassy to enlist them in the ranks of the Red Army. The patriotic actions of the Roerichs made them many enemies.
After the war, the whole family was going to return to their homeland. Suitcases were packed, boxes with paintings were sent to the port, but Nikolai Konstantinovich suddenly died. In 1948 Elena Ivanovna, together with Yuri Nikolayevich, makes another attempt to return to her homeland. But the visa was not received. Only in 1958. Khrushchev, during his stay in India, gave permission to return to Yuri Nikolayevich.
Elena Ivanovna continues active correspondence, leads the Roerich societies scattered all over the world. In her latest letters, she increasingly refers to the Russian mission. "The best country will become the cosmic basis of balance in the world."
Two concepts - "Russia" and "humanity" - are merged into one for Elena Ivanovna and Nicholas Roerich. In the article “The Testament”, which was the testament of the great artist and great thinker, it is written: “This is what I bequeath to all of you: love the Motherland, love the Russian people, love all peoples throughout our vast Motherland. Let this love teach you to love all of humanity. in the separation, but only in the unification of people, there is that huge force that will help not only Russians to survive, but will help create a new state unprecedented on earth, which will be the spiritual reservoir from which, as from the source, all mankind will take life-giving forces. "
Introduction Hierarchy
Jiddu Krishnamurti
Annie Besant
Ramakrishna
Alice Bailey
Vivekananda
Rudolf Steiner
Sri Aurobindo
All Teachings, all philosophies were given for life. There is no such lofty Teaching that would not be practical in the highest sense of the word. We can solve the innumerable problems of modern turmoil only by realizing the Beautiful and the Highest. Only a beautiful Bridge will be strong enough to pass from the shore of darkness to the side of Light.
So much has been written about Nicholas Roerich that it would be strange to try to say something new. But, on the other hand, it is necessary to write about outstanding people so that their example is constantly before our eyes. This year, our great compatriot was supposed to turn 130 years old, and it would be unfair to miss this date.
Who is he?
Let this question not seem strange, because most of us know very little about Roerich. Usually the name of Nicholas Konstantinovich is associated with his artistic heritage, and few people know that Roerich was not only an artist. We know Roerich much worse as a writer, philosopher, traveler, public figure. Even less do we know him as a Disciple who was honored in the 20th century to have direct contact with the Great Teachers and who tried to put a particle of the Wisdom received from them into each of his works. The Roerich Pact, rightly called the "Red Cross of Culture", the famous trans-Himalayan expedition, which passed along the path of the innermost wanderings of the Buddha, the Urusvati Institute with the task of synthesizing science and religion - all this is also directly related to the name of Roerich. Let's try to fit into the brief framework of the article the main milestones in the life path of a person, about whom they say in the east that he honored the Earth with his presence.
Childhood and youth
Nicholas Roerich was born on October 9 (September 27, old style) 1874 in St. Petersburg in the family of a successful notary, Konstantin Fedorovich Roerich. The surname Roerich itself is of Scandinavian origin and means "rich in fame."
Already in childhood, the versatility of Roerich's hobbies and his craving for the East manifested itself. In Izvara, a country estate not far from the capital, having barely learned to read, he re-read everything that concerned the history of Russia and, especially, its heroic epic. A little later, he became interested in archeology and even received permission to conduct excavations in the vicinity of Izvara. “My first finds from burial grounds correlated not only with my favorite lessons of history, but also with geography, as well as with Gogol’s bizarre historical fiction,” wrote Nikolai Konstantinovich later, whose ability to synthesize various types of creativity in search of common spiritual foundations became his own creative credo .
His musical and artistic taste since childhood gravitated towards the East. To a large extent, this was facilitated by the stories of oriental scholars who came to visit the Roerich family, but, obviously, the reasons for such aspirations are much deeper. It is noteworthy that the childish imagination of the boy was struck by the majesty of the mountain depicted in the painting located in Izvara. Subsequently, Roerich learned that it was Kanchenjunga - one of the most beautiful and mysterious peaks of the Himalayas.
Konstantin Fedorovich, Nikolai's father, did not resist the variety of his son's hobbies, setting a legal career as the only condition for him. Nikolai himself, already in the gymnasium, showed outstanding artistic abilities and dreamed of entering the Academy of Arts. As a result, in 1893 he received permission to visit her, becoming a law student at the Imperial University.
The beginning of creative activity
In the development of Roerich as an artist, his training in the workshop of Arkhip Ivanovich Kuindzhi, an outstanding Russian artist-itinerant, played a huge role. “There must be spirituality in painting,” Kuindzhi taught. “Composition and technique must obey her.” “Arkhip Ivanovich became a teacher not only of painting, but of all life,” Roerich himself summed up this period. In the thesis - the painting "Messenger. Rise against race" - he summarized his understanding of Russian history, the first philosophical reflections on the mission of Russia and opened to her a whole series of canvases dedicated to Russian history and mythology. "Messenger" was highly appreciated by L. N. Tolstoy himself.
Being confident that Russian art has its roots in history long before the Christianization of Russia, Roerich boldly used folk motifs in his work, which earned him both sharp criticism and high recognition from his contemporaries. In 1900, he went to Paris, where he continued his studies at the studio of Fernand Cormon, who, like Roerich, appreciated the legendary past.
In the fact that the path to the future lies through an understanding of the past, Roerich was supported by Maria Klavdievna Tenisheva, whom he met in 1903. The young artist was enthusiastically involved in the reconstruction of the Talashkino estate, in which, according to Tenisheva's plan, a community for artists was to emerge. Roerich's brush belongs to a unique fresco in the Temple of the Spirit in Talashkino, depicting the Queen of Heaven, the Mother of the World, to the theme of which he later repeatedly returned.
Lada
In 1900, while traveling to Bologoy on the estate of Prince Putyatin, Nikolai Konstantinovich met Elena Ivanovna Shaposhnikova, who became Helena Roerich on October 28, 1901. Who could have foreseen then the amazing future of this union? "Lada" Nicholas Roerich called his "friend and inspirer" and dedicated several of his works to her. One of them, “The Host,” conveys in allegorical form the subtle and deep relationships that bound the Roerichs for life. “Truth, justice, the constant search for truth and love for creative work transform all life around a young, strong spirit. And the whole house and the whole family - everything is built according to the same fertile principles, ”Nikolai Konstantinovich wrote about his wife.
Many paintings, creative and social undertakings of Roerich were the result of the work of two. The works of Ramakrishna and his disciple Vivekananda had a great influence on the young Roerichs. Especially close to them was the idea that serving God should be accompanied by conscious work for the common good, serving other people. At the beginning of the 20th century, the Roerichs became acquainted with theosophy, with the works of Blavatsky. Subsequently, it was Helena Roerich who translated The Secret Doctrine into Russian. The ideas and images of the Living Ethics, Agni Yoga, written down through the mediation of Elena Ivanovna, found their embodiment in the work of Nikolai Konstantinovich.
Departure from Russia
In 1916, due to complications from pneumonia suffered a year earlier and at the insistence of doctors, the Roerich family moved to Finland, where they met the revolution and were cut off from Russia. Nikolai Konstantinovich did not have an unambiguous attitude towards the events of 1917 in Russia, but he had a very clearly formulated position regarding the preservation of cultural values from destruction. Until the border between Russia and Finland was finally closed in 1918, he continued to come to Petrograd and work in the Commission for the Protection of Monuments of Culture and Art. In 1919, the Roerichs moved to London, and in 1920 - at the invitation of the Art Institute of Chicago - to America.
In October 1921, in New York, Nikolai Konstantinovich founded the School of United Arts, thereby realizing his long-standing dream of uniting various types of art under one roof. Roerich's main idea was through art to pave the way for higher knowledge into the hearts of people: "Art will unite humanity. Art is indivisible. Art has many facets, but, nevertheless, is one. Art is a phenomenon of the coming synthesis. Art is for everyone. Gates" sacred source" should be wide open to everyone, and the light of art will kindle many hearts with new love. At first it will be an unconscious feeling, but gradually it will clear people's consciousness. How many young hearts are looking for something real and beautiful! So let's give it to them. Bring art to people "It belongs to them. Then not only will we have museums, theatres, universities, public libraries, railway stations and hospitals, but the prisons will be fine. Then there will be no need for prisons."
In parallel, exhibitions of the artist were held in America with unprecedented success, and in 1924 the world's first museum dedicated to the work of one artist, N. K. Roerich, was even opened. Since its inception, the Roerich Museum has acquired almost all of the artist's paintings and is still the largest collection of them.
Trans-Himalayan expedition
In 1925-28, a grandiose trans-Himalayan expedition took place, which passed along the route Kashmir - Ladakh - Chinese Turkestan - Altai - Mongolia - Gobi Desert - Tibet - Himalayas - India. Officially, the expedition had scientific goals and collected the richest ethnographic material. Collections of minerals were collected, rare photographs of ancient images were taken. On its way, Roerich's expedition overcame unprecedented physical and political obstacles. Suffice it to say that the expeditionary caravan had to go through passes in the Himalayas at an altitude of about 5000 meters, stay at an altitude of more than 3000 meters for a long time - and at the same time continue to work. For five months in winter, in summer tents at arctic temperatures, the expedition was under arrest in Tibet, as the Tibetan authorities suspected Roerich as a spy and prevented him from entering Tibet.
But Roerich's trans-Himalayan expedition had not only scientific, but also other goals, far beyond the "scientific" understanding. Suffice it to say that with her route she repeated the path of the innermost wanderings of the Buddha, and that during the expedition the Roerichs were in close contact with the Mahatmas - the Great Teachers of mankind - and worked under their guidance. It is known that long before the expedition, in Paris, they received an unusual parcel by mail containing a box with the Chintamani Stone, the legendary treasure of the East, and that this Stone accompanied them on the expedition. However, the Roerichs never tried to advertise the true goals of the expedition, knowing full well that they cannot be widely understood and, most likely, will be distorted. But with unprecedented perseverance and, at times, a real risk to their lives, they did not retreat from the goal and completed the expedition.
"Peace through Culture"
In 1928, after returning from the expedition, Roerich came to grips with the task for which he had worked for a long time before. We are talking about the famous Roerich Pact, which called at the international level for the protection of cultural property from destruction during hostilities. The text of the Covenant states, in particular, that "educational, artistic and scientific institutions, artistic and scientific missions, their personnel, property and property ... are considered neutral and are subject to protection and protection by the belligerents. The protection and protection of the above organizations and missions throughout territory belongs to the sovereignty of the heads of the contracting parties (heads of state of the world), without any discrimination on the part of the state with respect to any special institution or mission ... Monuments, organizations, collections and missions so registered may fly a distinctive flag ... which will notify of their special protection and protection by the belligerents, governments and peoples of all the heads of the contracting parties.
As a "distinctive flag", Roerich proposed an image called the "Banner of Peace": three red spheres on a white background, inscribed in a red circle. This image was not new, it was found in many ancient sources and symbolized, according to Roerich's plan, religion, science and art in the circle of culture. Another reading is past, present and future in the circle of eternity. The task of the Banner of Peace was to protect works of art in the same way that the Red Cross protects human lives. On April 15, 1935, in the presence of President Roosevelt, the Peace Pact was signed in the White House, to which more than 20 countries joined.
"Urusvati"
After returning from the Central Asian expedition, the Roerichs settled in India, in the Kullu valley. Nikolai Konstantinovich founded the Himalayan Institute of Scientific Research "Urusvati", which in Sanskrit means "Light of the morning star". Under the guidance of Yuri Roerich, the son of Nicholas Konstantinovich, ancient manuscripts were collected and translated, half-forgotten dialects were studied. The Institute carried out extensive activities in the study and collection of medicinal plants; The world's first atlas of Tibetan medicinal herbs was compiled. Many travelers and scientists collaborated with the Urusvati Institute, among them, for example, Sven Hedin and Albert Einstein.
Nikolai Konstantinovich himself, during his work in Kullu, created some of his most profound and philosophical canvases. In them, he tried to convey the images of ascetics, Teachers at different times and in different countries, who tried to convey to people the sparks of timeless wisdom and kindle the fire of the Spirit in them. Having laid at the foundation of Urusvati the principle of unceasing labor that transforms man and the world around him, Nikolai Konstantinovich himself relentlessly followed this principle. Despite being diagnosed with a serious heart disease, he continued his daily work. His heart stopped on December 13, 1947, when he was working on a new version of the painting "Master's Order".
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Nicholas Roerich studied at the Karl May Gymnasium from 1883 to 1893. Already on the day he entered the preparatory class of the gymnasium, the son of a famous St. Petersburg notary showed such a level of knowledge and intellect that he attracted the attention of Karl Ivanovich, who called him a future professor. Home education, the nature of the Izvara estate belonging to the Roerichs, participation in excavations of local mounds - all this was fertile ground for the disclosure and development of natural abilities, which was greatly facilitated by school classes, especially geography and history lessons.
Episodes of the school time are sometimes found in the memories of him. So, the American employee Roerich Z.G. Fosdick (1889–1983), in a diary entry dated July 21, 1922, noted:
"N.<иколай>To<онстантинович>told a funny fact. The directors of the gymnasium, where he once studied, were congratulated on Easter: “Christ is Risen, congratulations, Karl Ivanovich!”. And he usually answered: “So do I.”
The visual-historical teaching method, combined with thematic school performances and educational excursions, aroused the interest of the high school student in a deeper study of the events of distant antiquity. School performances, both geographical, where, for example, he played the role of the Volga River, and dramatic, more often based on the works of N.V. Gogol, whom he loved for his high spirituality and subtle otherworldliness, was allowed to show success in drawing, as he was offered to participate in the design of scenery and programs.
Studying at the gymnasium took place with varying success; From year to year, knowledge of history was assessed with the highest score, it turned out to be more difficult to comprehend natural objects. In addition to drawing and archeology, Nikolai also showed himself in the literary field. The literary abilities of Nicholas Roerich manifested themselves during the years of study at school; the first publication dates back to 1891, when his stories were published in the Hunting Newspaper. Since that year, essays (some of them published under the pseudonym Izgoy) and drawings can be found on the pages of such magazines as Zvezda, Russian Hunter, etc. Classes at school were repeatedly complicated by the unsatisfactory state of his health, for which the damp Petersburg climate was unfavorable. So, in the spring of 1888, from March until the end of the academic year, including the examination period, Nicholas Roerich was absent from classes, which led to the repeated passage of the fourth grade course. Four years later, in the spring of 1892, the situation repeated itself. This time he had to study hard in the summer in order to pass the missed exams before the start of the last year of study.
Almost from the first lessons of history, the then young teacher of this subject earned respect in the eyes of the gymnasium Roerich, as evidenced by the inscription on the photograph taken at that time: “To dear Alexander Lavrentievich Lipovsky in good memory from Nicholas Roerich. SPb. 25.X.92.
Nicholas Roerich graduated from the eight-year gymnasium course in the spring of 1893 fourth in terms of academic performance with an average score of 3.73. Among the nine other graduates of this class were the future major hydro-builder Ivan Vasilyevich Petrashen (1875–1937) and the future major modernist architect Friedrich-August Friedrichovich Postels (1873–1960). In the certificate received, it was indicated that “his behavior was generally excellent, serviceability in attending and preparing lessons, as well as in the performance of written work, was exemplary, exemplary diligence and curiosity in all subjects in general are very lively.” Evidence of the latter character trait is provided by the "List of Primary Manuals for Self-Education", apparently written in the early 1890s. It was carefully kept for many years by Lyudmila Stepanovna Mitusova. It contains 12 sections - mathematics; mechanics; astronomy; physics; chemistry; physical geography, geology, meteorology; physiology (biology); logic and psychology; sociology; philosophy (subtitled "systematization of the sciences and the question of the meaning of life"); studying Russia; fiction - which characterizes a wide range of interests of the young man.
Subsequently, Nicholas Roerich, already a student at the Academy of Arts, based on this program created a self-education circle, which, however, did not last long.
N.K. Roerich entered two higher educational institutions at the same time - the University, the Faculty of Law, according to the wishes of his father, and the Academy of Arts, in accordance with his clearly discovered abilities and his own attraction. Upon learning of this, V.A. Krakau, as N.K. Roerich, "said that, apart from the rest, I already have a great advantage over many artists - this is education and knowledge of many things that others do not know." The author of the diary commented on this opinion with his characteristic modesty: “Lord, help me to justify his words. In the depths of my soul I realize that I did not deserve such a review, except, perhaps, for Russian history.
With his work and unsurpassed achievements, N.K. Roerich not only justified these words of V.A. Krakau and the prophecy of K.I. May, but also became one of the greatest humanist thinkers of the twentieth century, the author of thousands of wonderful paintings. In 1897 N.K. Roerich successfully graduated from the Academy of Arts, having received the title of artist for the painting “Messenger. Rise generation to generation”, immediately acquired by P.M. Tretyakov from an exhibition at the Academy of Arts. The following year, his university education was completed with the defense of the diploma "Legal Status of the Artists of Ancient Russia". His entire further life path, more or less studied and covered in numerous literature, was devoted to creativity, which every year found more and more recognition. Already in 1901, he was elected secretary of the Imperial Society for the Encouragement of Arts, in 1906 he became the director of the School of this society, and in 1909 the Academy of Arts elected N.K. Roerich as a full member. The range of his creative directions is very wide - there is a huge number of canvases on mythologized historical themes, scenery for performances, and monumental painting, and landscapes, and sketches created during various scientific expeditions, serious archaeological research and, of course, compositions. If we add to this numerous exhibitions in various countries of the world, organizational activities in various societies and care for the family that arose in 1901, in which two sons grew up, one can only be amazed at how, with all this, he managed to always remain the way he was beautifully described younger son Svyatoslav. According to his memoirs, he was “a man with a clear and thoughtful face. He always had a calm voice, he never raised it, and the whole expression of his face reflected that amazing restraint and self-control, which were the basis of his character. It was the calmness of an outstanding person, serious and friendly, thoughtful, with a remarkably sharp sense of humor. There was a balanced harmony in all his movements. He was never in a hurry, and yet his productivity was amazing. He wrote in a large and clear hand, never correcting or changing his sentences and words, least of all his thoughts. Under all circumstances, in the most difficult situations, he remained calm and self-possessed and never wavered in his decisions.
Nicholas Roerich tried to keep in touch with his native school. When the gymnasium moved to a new building, the venerable artist, who by that time headed the World of Art association, responded to this event with a congratulatory telegram with the following content: “I welcome the consecration of the new building of the Gymnasium, I sincerely wish brilliant success to the magnificent work, I regret that I cannot be personally. Nicholas Roerich. Oct 31 1910". He expressed his attitude to the appearance of a new house at the alma mater not only in short lines of telegraph text, but also - four years later - in an article in which he described in detail the historical office of the school, naturally, the closest to him in terms of interests. Exhibits from the first barrow excavations of Roerich, which he later recalled, were also stored in this office: “From my school years in May's gymnasium, several of my memos remained. There were items from the first barrow excavations near our estate Izvara, Tsarskoye Selo district. The content of the above article, the thoughts expressed by the author, their relevance, give grounds for reproducing most of it in the context of this article.
Achievements
... The middle school, from the lower levels, thought about what until recently remained thrown back, remained ridiculous. Created for the meaning of life, for beauty, enters the horizons of younger students. This is already a victory! Charm comes to life. I am very happy. I look at the book. We have not seen such books. She could only show up now. “Educational and auxiliary institutions of the gymnasium and the real school of K.I. May, edited by director A.L. Lipovsky. I. Historical cabinet”. I have long known the bright work of Alexander Lavrentievich Lipovsky and am glad that it is he who leads the new achievements of the secondary school in the field of history and art. Look through the booklet. See what the gymnasium equips its pupils with from the first steps of their conscious horizons. All the best editions are available. All auxiliary tables. Reproductions of paintings by the best artists. Living unity of antiquity with modern art. Personal works of students are carefully poured into the artistic environment. Modeling. Drawings. I can imagine how much joy the kids have to apply their skills to such construction. In addition to publications, paintings and models, the cabinet has its own museum of authentic items. This side of the cabinet can be developed even more extensively. If each student brings at least one object of art and antiquity - how many hundreds of things will be added at once! And the students will. It is interesting for everyone to leave at least one thing for the common benefit and joy. They will bring it. They themselves will learn to vividly and accurately describe the thing and protect it firmly. Live business. We were not allowed to go to him. New paths for young people. In these ways all life will be renewed, and we must do our best to help the secondary school by the best measures to expand the tasks that will lead to beautiful conquests. I also rejoice in the movement of the secondary school because, descending to the small, capturing a wide circle, the study of art and antiquity will go beyond something special, beyond the limits of patriotism and nationalism, and will pass, like ordinary literacy, into a wide area of feelings and knowledge of all mankind. It will move on to a wise, calm assessment and joy. As long as the significance of art is strengthened, if someone says that in the name of art they reproach him and slander him, we say: Can the warring ones prevent you from rejoicing, working, creating? No one can interfere with knowing and creating.”
The final words sound like an optimistic motto that defines the basic meaning of life at all times and for all peoples. The director of the school, who was at that time on vacation in Pyatigorsk, immediately responded to the publication with a letter of thanks to Smolensk, where N.K. Roerich then worked at the estate of Princess M.K. Tenisheva (1858 - 1928):
“Dear Nikolai Konstantinovich! I read your note in the Russian Word, with a feeling of deep appreciation<ельности>for your kindness<о мне и>for the flattering review of our<каби>no, and in general for sympathy<вие>modest aspirations<едней>schools to the highest "achievements". Yours sincerely, A. Lipovsky.
Shortly before this, on December 5, 1913, the school sent a letter to the Committee of the Society for the Encouragement of Arts asking for a donation of art publications for the history office, the description of which was attached. N.K. Roerich immediately made the appropriate order, as a result of which a letter was sent to the Society headed by him with the following content: “The Pedagogical Council of the gymnasium and the real school of K. May brings to the Committee of the Imperial Society for the Encouragement of the Arts its sincere gratitude for the donations of the publications of the society: “Treasures of Russia”, “ Russian ornament” and “Russian folk ornament”. Director A. Lipovsky April 16, 1914 "
The venerable artist, wherever he was, always willingly maintained relations with the teachers of the school. “... He kindly spoke with Sakovsky and Solntsev - after all, May’s teachers ...”, he wrote to his wife from Kislovodsk on June 19, 1913. When Nikolai Konstantinovich found out that A.L. Lipovsky, he did not fail to send a big, full of kind words congratulations. In turn, the school, which always rejoiced at the success of the pupils, did not forget to celebrate a similar anniversary of N.K. Roerich, sending him a short but capacious congratulation:
“Dear Nikolai Konstantinovich! The Pedagogical Council of the K. May Gymnasium, which had the good fortune to cherish your adolescence and youth, welcomes YOU, THE PRIDE OF RUSSIAN ART, on the occasion of the 25th anniversary of your glorious artistic activity and wishes you many years. Director A. Lipovsky Secretary F. Nechaev December 11, 1915.
In the post-revolutionary years, when N.K. Roerich flowed abroad, it was no longer possible to maintain direct contact with the school, however, in the dated 1935, 1937 and 1947. "Sheets of the diary" he placed a lot of kind words related to his school years. But the defining chapter in this book of biographical, deeply philosophical essays is the one that has the title "Signs of Life." The lines written in it show the great depth of N.K. Roerich of earthly life; sometimes it seems that this man alone was able to formulate the concepts of human existence and the essence of his noble aspirations. And the fact that the outstanding artist and philosopher was once an ordinary student of the K. May gymnasium is a special symbol of the uninterrupted connection of times, the unity of the simple and the great. “If someone said that he had no time to think about the past,” wrote N.K. Roerich, - for all his consciousness is directed only to the future, then one could regret his limitations, but still understand this peculiar aspiration. But when people, out of laziness and lack of curiosity, even forget about the immediate past, and at the same time, out of squalor and inertia, do not even allow themselves to think about the future, then some kind of inanimate state of the organism results, for an organism of only digestive functions cannot be a human being. , which, of course, is unacceptable for any person, regardless of his level of development.
The information page is completely based on the materials of N.V. Blagovo.
Literature:
Blagovo N.V. School on Vasilyevsky Island. SPb., "Nauka", 2005. Part 1.
Blagovo N.V. The Roerich family in the gymnasium of K.I.May. St. Petersburg, "Nauka", 2006
V.V. Frolov
Nicholas Roerich -
once in Finland I was sitting on the shore of Lake Ladoga with
peasant boy. A middle-aged man walked past us, and my little companion stood up and removed his hat with great reverence. I asked him afterwards: "Who was this man?" And with particular seriousness the boy answered: "This is the teacher." I asked again, "Is he your teacher?" "No," the boy replied, "he's a teacher from a nearby school." - "Do you know him personally?" I insisted. "No," replied
he was surprised... Then why did you greet him so reverently?" Even more seriously, my little companion replied: "Because he is a teacher." N.K. Roerich to the Teachers, who played a huge role in his life.
A document has been preserved certifying that Nicholas Roerich was born in St. Petersburg in 1874 on October 9 (September 27, O.S.) in the family of the notary Konstantin Fedorovich Roerich and his wife Maria Vasilievna. Roerich was lucky with teachers. He studied at one of the best educational institutions of the then St. Petersburg - the K. May gymnasium. His first mentors, who gave their students all the heat of their hearts, were an example of a highly moral attitude to work. By their example, they helped Roerich form those highest qualities to which the Master was faithful all his life - a deep consciousness of personal responsibility for everything that he had to do, and the personal duty that life placed on him.
Nicholas Roerich writes about his teachers with warmth and sincerity. “We ourselves, recalling our school and university years, turn especially affably to those teachers who taught clearly and simply. It makes no difference from the subject itself, whether it will be the highest mate-
1 Roerich. M.: Shalva Amonashvili Publishing House, 2004. S. 5-29. (Anthology of humane pedagogy.)
2 Roerich N.K. Guru-Teacher // Roerich N.K. Fenugreek. M.: MCR, 1994. S. 187.
1. The first teachers
Mathematics or philosophy, or history, or geography - absolutely everything could find clear forms in gifted teachers.
After graduating from high school, he simultaneously studied at the law department of St. Petersburg University and at the Imperial Academy of Arts. As a student, Roerich communicated with famous cultural figures - V.V. Stasov, I.E. Repin, N.A. Rimsky-Korsakov, D.V. Grigorovich, S.P. Diaghilev, A.N. Benois, A.A. .Blok... During this period, he was engaged in archaeological excavations, wrote the first literary works, created paintings. In 1897, P.M. Tretyakov bought the diploma work of N.K. Roerich “Messenger” for his gallery.
A.I. Kuindzhi, with whom he studied at the Academy of Arts, had a huge influence on the moral and creative development of the young Roerich. “I remember,” Nicholas Roerich wrote, “in the most exalted words about my teacher, Professor Kuindzhi, the famous Russian artist. His life story could fill the most inspirational biography pages for the younger generation. He was a simple shepherd in the Crimea. Only by a consistent, passionate pursuit of art was he able to overcome all obstacles and, finally, become not only a respected artist and a man of great opportunities, but also a real Guru2 for his students in his high Hindu concept. This feature of Arkhip Ivanovich Kuindzhi, in addition to rare diligence and determination, sincerity and love for his students, inspired Roerich to the sublime veneration of his teacher. Roerich was selflessly devoted to him. Kuindzhi was a Teacher in the highest sense of the word. He was Guru.
Once, Nikolai Konstantinovich recalls, the students rebelled against the vice-president of the Council of the Academy of Arts. And no one could calm them down. The situation became very serious. Then Kuindzhi came to the meeting and said, turning to the students, that they had come to the Academy to become artists, and therefore he asked them to start working. The rally was immediately stopped. Such was the authority of this man.
“Kuindzhi was a great teacher,” writes Helena Ivanovna Roerich, “but only his student N.K. became great. The same disciples, who were not averse to belittling him and even calling him simply “Arkhip” behind his back, gradually completely deterioriated4 and came to naught”5.
1 Roerich N.K. Diary sheets. M.: MCR, 1995. T. 1. S. 84.
2 Guru (Skt.) - this is how the Spiritual Teacher is called in the East.
3 Roerich N.K. Shambhala. S. 188.
4 From deterioration (English) - deteriorate, deteriorate.
5 Roerich E.I. Letters. M.: MCR, 1999. T. 1. S. 132-133.
Gratitude and devotion to the Teachers N.K. Roerich carried through his whole life. I can't resist citing Roerich's recollection of the Indian Gurus, in which he reveals the essence of teaching and his attitude to this phenomenon.
“Many years later,” Roerich wrote, “in India I saw such Gurus and saw devoted disciples who, without any servility, enthusiastically revered their Gurus, with that sensitivity that is so characteristic of India.
I heard a delightful story about a little Indian who found his teacher. He was asked: "Can the sun darken for you if you see it without a Teacher?"
The boy smiled: "The sun must remain the sun, but in the presence of the Master, twelve suns will shine for me."
Roerich's first teachers helped him find himself in a space of true culture and beauty. His wife, Elena Ivanovna, nee Shaposhnikova, had no less influence on him. They met in 1899 and married in 1901. The Roerichs will spend their whole lives together, spiritually and creatively complementing and enriching each other. Helena Roerich, who announced to the world about a new, cosmic worldview in the books of Living Ethics, will become the spiritual leader of all creative undertakings of Nicholas Roerich, and Nikolai Konstantinovich will sensitively listen to her advice.
Nikolai Konstantinovich treated Elena Ivanovna with unusual reverence, love and respect. He published many of his books with a dedication: "To Elena, my wife, friend, companion, inspirer." Elena Ivanovna was the bright genius of the Roerich family, who inspired all its members to spiritual and creative achievements. N.K. Roerich implemented in his artistic work the inspired ideas and images that arose from Elena Ivanovna. Their sons Yuri and Svyatoslav took part in the cultural activities of the Roerichs. The family was a single whole and lived with a constant and unshakable aspiration for culture, knowledge and creativity in the name of the Common Good.
The creative heritage of N.K. Roerich, inseparable from the cultural heritage of the whole family, is so multifaceted that everyone who embarks on the path of spiritual perfection will find priceless treasures of the spirit in it, without mastering which true human development is impossible. Roerich's books cannot be simply read, as one reads a historical narrative or a literary essay, for each of his works opens a window into a completely amazing world - Roerich's State. This is a world of unique discoveries and the deepest insights of a thinker-artist, helping to feel the enchanting beauty
1 Roerich N.K. Shambhala. pp. 189-190.
that of the Universe. In the State of Roerich, the synthesis of religion, art and science is embodied, fusing together the spiritual accumulations of mankind. Entering this power, we cleanse our souls from cowardice, weak will, and from many other things, unworthy of the title of man. The borders of the state are guarded by selfless people, devoted to a common cause, with an unshakable will and a pure heart, always ready for a feat.
N.K. Roerich was constantly improving in scientific, artistic creativity and cultural projects. For him, it was a way of being. He did this solely for the sake of the Common Good and serving Culture, to which Roerich devoted many works: “Culture is the veneration of Light”, “Culture is the winner”, “The value of beauty” and others. People who serve Culture are truly happy. Happiness is not in gold, Roerich notes, but in beauty, which is personified in nature, human relationships and works of art. Those who reach for Culture, making it the basis of their lives, endure and win in the most difficult life situations, because Culture gives a person self-confidence. Although the victory may be invisible, because it is accomplished, ultimately, in the spiritual world of man. That is why Culture is the basis of the Teaching, the sphere of activity of which is the spiritual improvement of man.
In his artistic work, Roerich revealed the originality of Russian culture, rooted in ancient Slavic traditions. His paintings depicting the life of the Slavs were exhibited at the largest exhibitions in St. Petersburg and Moscow. At the same time, he saw in Russian culture such facets that connected it with the culture of the East and West. Studying the culture of past eras and defending it from destruction and oblivion, Roerich saw in it the grain of the imperishable, eternal, without which there can be no future. He considered the future as a slice of history, rooted in the past and having no development prospects without the past.
In the future, bright and beautiful, N.K. Roerich was directed all his life. “The future,” Nicholas Roerich wrote, “is sometimes thought about, but very often it is not included in everyday discussions. Of course, it is not in human power to completely determine the future, but one should strive for it with all one's consciousness. And one must strive not for a vague future, but precisely for a better future. In this striving, there will already be a guarantee of good luck. Nikolai Konstantinovich did not think of a better future outside of Culture and Beauty. He was convinced that only they would help a person overcome many negative qualities and imperfections and reach a higher stage of evolution.
1 Roerich N.K. Diary sheets. T. 1. S. 244.
N.K. Roerich not only comprehended the possible ways of shaping the future, he built it with his whole life. It came to life under the pen of the thinker with the deepest ideas and under the brush of the artist - beautiful images of nature and the inhabitants of the countries he visited. The future belongs to the ascetic cultural projects of the thinker, numerous cultural organizations created on his initiative, and much more, into which the titanic energy of the Master poured. N.K. Roerich was a kind of pioneer, paving the way to the future for his contemporaries and those who would come to replace them. For him, the past, present and future were united in a holistic flow of history, thanks to enduring cultural values.
Beauty plays the most important evolutionary role in the life of the Cosmos, humanity and man. She, according to Roerich, is a multifaceted energy phenomenon and acts as the basis for the spiritual improvement of man. The energy of Beauty, contained in the works of spiritual ascetics, such as, for example, V.S. Solovyov, A.N. Skryabin, M.K. It helps to overcome life's difficulties and become better. Therefore, a person, if he wants to improve his essence, cannot but aspire to Beauty. N.K. Roerich, as if developing the idea of F.M. Dostoevsky - "Beauty will save the world", said: "The awareness of Beauty will save the world." It is the awareness and daily creation of Beauty by a person that will transform him and the world in which he lives. The clearest example of this is the work of N.K. Roerich, who created Beauty as an artist, philosopher and cultural figure. In this he saw the meaning of not only his life, but also the objective meaning of the life of every person: “After all, everything strives for beauty in its own way”1.
His life, flowing under the sensitive guidance of the Teachers, is not perceived otherwise than as a feat. The difficulties that accompanied Roerich were comparable to the planetary scale of his personality, the enormous power of the spirit. Together with his family, he honorably overcame all seemingly insurmountable obstacles and hardships, purposefully and unwaveringly fulfilling his mission. Both by nature and under the influence of his Teachers, Roerich was a builder, creator of Culture. “The whole active life of Roerich,” writes Vsevolod Ivanov, “grown out of the Russian land, is a constant and useful, persistent and benevolent construction. It is not for nothing that he often repeats in his writings the French proverb: “When construction is going on, everything is going on”2.
1 Roerich N.K. Diary sheets. T. 1. S. 144.
2 State Roerich. M.: Visual arts. 1994, p. 252.
“Benevolent construction...” These words, perhaps, express the pathos of the entire life path of the Master. This path was marked by cultural discoveries, which were influenced by the spiritual traditions of Russia, dating back to the distant past. In the past, when Saint Sergius of Radonezh performed asceticism. Six centuries have passed since then. But St. Sergius, as before, “still shines, teaches and leads”1. For the entire Russian people, he remains a spiritual Mentor and Teacher. Nicholas Roerich could not but accept his ideas. And in this he was, as always, unanimous with Elena Ivanovna. E.I. Roerich, who wrote an excellent work about Sergius, emphasized the great importance of the asceticism of the Reverend for the construction of the Russian Land. “... The memory of Sergius,” wrote Elena Ivanovna, “will never die, for the magnet of the spirit that he placed in the soul of the Russian people is great. The history of the development of spirituality in the Russian soul and the beginning of the gathering and construction of the Russian Land are inextricably linked with this great Ascetic. Roerich, painting churches and creating canvases based on Russian history, developed the cultural and moral traditions of St. Sergius. Working in churches, visiting ancient Russian cities, Nikolai Konstantinovich felt the currents of history that converged in the space of cultural construction, the unification of the Russian Land. Also, Sergius laid down the traditions of construction, creation, showed an example of communal life, which was based on the high moral authority of the Saint himself. He brought up in his spiritual children the spirit of selflessness and asceticism primarily by personal example. Later, the ideas of Sergius were embodied in the art of icon painting by the great painter Andrei Rublev, who created the world-famous Trinity. This icon expresses the idea of peace, harmony and unity. The result of the ascetic activity of Sergius was the unification of Russian forces, which made possible the victory of the Russian army in 1380 over the Mamayev hordes.
N.K. Roerich is separated from St. Sergius by centuries. At the same time, the asceticism of Sergius and the work of Roerich in some deep moments are in contact. The deeds of Sergius and all the undertakings of Roerich are united by building motives - both of them were committed to the idea of \u200b\u200bcreation for the Common Good. Both the monk and the artist showed with all their deeds that cultural, moral construction lies at the basis of such creation. Nicholas Konstantinovich and Helena Ivanovna Roerich deeply revered the moral precepts of the Radonezh Wonderworker. This showed their cordial and reverent attitude.
1 Banner of St. Sergius of Radonezh. M. 1991. S. 104.
2 Letters from Helena Roerich. Minsk, 1992. T. 2. S. 167.
to Orthodox shrines and, in general, to true Orthodoxy, which was for the Roerichs one of the sources of creative inspiration in their work on paintings and philosophical works.
The time will come, images of St. Sergius will appear on the icons. "Church icon painters will paint it<...>, - notes L.V. Shaposhnikova, - with an unearthly, holy detachment in her eyes. However, history will bring us another Sergius of Radonezh. Philosopher and thinker, warrior and politician. Man - the builder of Russian culture and Russian statehood. Earthly tireless ascetic and worker. Sharp features, visionary eyes and strong hands, accustomed to hard physical labor. This is how we see Sergius on the canvases of Nicholas Konstantinovich Roerich. It can be assumed that it was these qualities of Sergius that inspired N.K. Roerich when he portrayed the Reverend in the paintings. The image of Sergius was collective for Roerich, absorbing the best qualities of the Russian people. “Sergius,” wrote H.I. He is, of course, our intercessor. Five hundred years later, looking at his image, you feel: yes, Russia is great! Yes, the holy power is given to her. Yes, next to the true power we can live. Roerich, of course, felt the influence of the ideas of St. Sergius on Russian culture. And this could not but affect his work. In addition, the life of the great Russian Ascetic for Roerich was the highest moral example of service to the Common Cause. Therefore, Sergius can no doubt be considered a spiritual Mentor, the Teacher of Roerich. With St. Sergius, Roerich associated all the best that was in Russia. Contact with the spiritual feat of Sergius, which influenced him through the thickness of centuries, work on his image gave Nikolai Konstantinovich a lot to determine the main milestones of his future life.
2. Roerich - Teacher
N.K. Roerich not only constantly improved himself, studied with his Teachers, but also, being an excellent teacher, educator, helped others to learn. Together with H.I.
1 Shaposhnikova L.V. Great trip. M.: MCR, 1998. Book. 1. Master. S. 85.
2 Banner of St. Sergius of Radonezh. S. 104.
their people of high culture. It is very important. But no less important is the fact that the sons of the Roerichs possessed the highest human qualities. And this is also the greatest merit of parents.
In addition to the sphere of family education, the gift of a teacher manifested itself in N.K. Roerich in the public arena. He took the most lively and interested part in the education of young people, whose problems he devoted several works. One of these problems was the relationship between generations. The elders, Roerich said, complain a lot and attack the youth for preferring dancing, avoiding lectures, and not wanting to read. There are other accusations against the youth. But if, Roerich believed, to think about the reasons for all this, then the older generation should take a significant share of the responsibility for the moral state of the youth. Roerich always believed in the youth and tried to encourage and support them. In youth, he saw, first of all, aspiration to lofty human tasks. Despite the enormous difficulties that many young people face, they find the strength to set good milestones. Is it not the wonderful sprouts of the new, which Nikolai Konstantinovich noticed with a keen eye, being in the thick of life and communicating with young people. Roerich especially valued in young people the aspiration for a high quality of labor, which, according to Roerich, is more often found among working youth than among the rich and well-to-do. Roerich advocated a serious attitude towards young people, for trusting them and involving them in responsible matters. He assigned a special role to the teacher in his work with youth. “...Educate a people's teacher,” Nikolai Konstantinovich wrote. - Give him a tolerable existence. Call the youth co-workers in all matters. Show young people the beauty of creativity.
N.K. Roerich knew firsthand the life and work of a teacher, since for more than ten years he worked as the director of the Drawing School of the Imperial Society for the Encouragement of Arts in St. Petersburg, and also taught at other educational institutions. Colleagues and students have always respected and loved Nikolai Konstantinovich. So it was in the Drawing School. Roerich was able to direct her work in such a way that she began to enjoy great prestige both among young people striving to receive an art education, and among the artistic intelligentsia of St. Petersburg, whose best representatives worked there. N.K. Roerich had his own pedagogical principles, which he firmly and persistently adhered to in his work with novice artists. He considered the main thing to be the education of creative thinking and responsibility for the quality of work. Roerich was a very demanding teacher. And he had the moral right to do so, since he showed
1 Roerich N.K Sheets of the diary. M.: MCR, 1995. T. 2. S. 377.
high demands on yourself. These qualities, along with devotion, gratitude and love for the Teachers, allowed him to steadily ascend along the path of ascetic construction.
Wherever he collaborated, Roerich became a special spiritual magnet that attracted interesting, talented people. He possessed an amazing gift - to unite like-minded people for the Common Good. In unity, he saw the key to successful creative activity of employees, whom he approached with a very high moral standard. This is heartfelt trust, and broad good work, and selfless love for culture, and devotion to it, and much more that a person needs to improve. When people striving to live up to this ideal find each other, a commonwealth arises, which Roerich calls the center of good creation. “Commonwealth - what a sweet and cordial word,” writes Nikolai Konstantinovich. - In it there is both from mutual understanding, and from mutual respect, and from cooperation. So, it is in it, in the word - commonwealth - that the most necessary is contained. A commonwealth cannot live if the people who have come together in it do not know what mutual assistance is, do not understand what self-improvement is.
These beautiful words fit so well on the heart, because indeed in the community a person can find the most necessary. And the reason is that the community is based on the internal spiritual discipline of employees. They support each other not only in the midst of difficulties, but also in joy. At the same time, they completely lack the envy and evil whispering that are so common in formal societies. Commonwealths can form a stronghold of true statehood, for fellows accept the natural hierarchy that underlies true state power. The energy of the communities is directed towards creation, they have nothing from destruction. The Commonwealth should not be abstract, it always has specific goals and acts in accordance with them. Relations between its members should be free, benevolent and based on cordial trust. In serving humanity, according to Roerich, is the duty of companions. It is all the more joyful that it is carried out for the benefit of one's neighbor. Only then will the unity of people be vital. This is how Nicholas Roerich imagined the Commonwealth. It was for him the ideal of future human relations, for the implementation of which he called on his closest collaborators.
To a certain extent, this ideal was realized and continues to be realized in Russia in the pedagogy of cooperation, the ideas of which are based on
1 Roerich N.K. Diary sheets. T. 1. S. 542.
throughout the history of mankind were developed by spiritual ascetics, outstanding educators and educators. In Russian pedagogy, these ideas were actively implemented in the 20s and subsequent years of the twentieth century (A.S. Makarenko, V.A. Sukhomlinsky and others), finding further development today in the work of such famous teachers as Sh .A.Amonashvili, V.F.Shatalov, S.N.Lysenkova and others.
3. The Great Law of Teaching
Much has already been done by Roerich in Russia. But even more he had to do outside the homeland, which Nikolai Konstantinovich had to leave shortly before the revolution. On the recommendation of doctors in 1916, Roerich and his family left for Finland and settled in the quiet town of Serdobol, on the shores of Lake Ladoga. The climate of Finland was beneficial for Roerich. It was assumed that after recovery, Nikolai Konstantinovich would return to St. Petersburg. But this did not happen, since in 1918 Finland separated from Russia and after a while the border was closed. Thus began a new and very important period in the life of Roerich.
The life of the Roerichs on the shore of the lake outwardly proceeded quietly and measuredly. “Ladoga,” writes L.V. Shaposhnikova, “revealed before them in all its amazing and unique beauty. There was softness and severity in it, it exuded deep antiquity and the purity that the eternal combination of water, rocks and pine forests gives. Purple-orange sunrises rose and scarlet sunsets blazed over a huge, sea-like lake. The water absorbed the generous blueness of the sky and was saturated with it. The wind drove the clouds across the sky, bizarrely changing their shapes, and it seemed that these were not clouds, but visions floating over the lake and the earth. Visions that contain something special, as if they carried a message from somewhere far away and tried to convey it in unexpected symbols and figures.
At the same time, despite outward calmness, the Roerichs' minds more and more entered into a premonition of some significant changes, in anticipation of which every day flowed. But the artist did not just wait, he worked hard. In the paintings painted during that period, Nikolai Konstantinovich expressed his inner state - the expectation of something new and significant: “Waiting”, “Waiting”, “Eternal expectation”, “Waiting on the pier”. The vagueness of important upcoming events was painful and almost unbearable, also because he
1 Shaposhnikova L.V. Great trip. Book. 1. S. 141.
more clearly felt the signs of future changes. The experiences and reflections of N.K. Roerich are reflected in his poems contained in three cycles: “Signs”, “Messenger”, “To the Boy”. At first glance, the poems seem somehow strange, expressing, perhaps, the fabulous world of northern nature and the very difficult state of mind of the author. But, reading carefully, you begin to understand that in these poetic cycles Roerich comprehended the deepest philosophical problems that were relevant primarily for himself. In view of the brevity of the article, I will try to give only a general description of the poetic work of the Master. Roerich's poetry, in essence, contains all of his worldview, but taken not as a ready-made set or system of provisions, but as a process of spiritual formation and development of the thinker.
The poetic cycles were created by Roerich in the period from 1911 to 1921, which largely coincided with the stage in the life of Nicholas Konstantinovich, when his spiritual essence as a thinker, artist and cultural figure was formed and determined. P.F. Belikov gives a very capacious description of this facet of the spiritual evolution of N.K. Roerich: “Answering some questions about the book “Flowers of Moria”, S.N. (Svyatoslav Nikolaevich Roerich. - Auth.) wrote: "N.K.'s poems from the very beginning contained an inner key to his subsequent aspirations (letter dated April 11, 1963). In this light, one should approach the disclosure of the true meaning of poetic creativity N.K., in which, behind poetic images and allegories, autobiographical moments are hidden, connected with the experience of realizing the priority tasks of the era and one's role in their implementation"»1.
These tasks concern the transition of mankind to a higher level of development. And in their implementation, the Roerichs were assigned the mission of pioneers, paving the way for humanity to hitherto inaccessible heights of the spirit. This mission, very responsible and difficult, was entrusted to the Roerichs by the Teachers of mankind, whose role in the evolution of mankind requires explanation.
According to N.K. Roerich's worldview, the Universe is a majestic spiritualized system in which there is a constant energy exchange between its structures. The vital activity of the Universe, the Cosmos is supported by this energy exchange. Therefore, cosmic evolution is an energy process. Man, being a part of the Cosmos, is also included in this energy exchange. In the process of energy exchange, energy is accumulated, which increases the energy of a person, peoples, countries, the Earth and prepares the prerequisites for their further advancement along the spiral of cosmic evolution.
1 Belikov P.F. Roerich (experience of spiritual biography). Novosibirsk, 1994, p. 100.
The evolution of the Universe and man is accompanied by its inalienable opposite - involution. Nowadays, people who are interested in the ideas of cosmism pay more attention to evolution. While there is less interest in involution, and quite often it is understood as a fall, the descent to a level lower than already reached. Meanwhile, “in order for any evolution to begin,” writes L.V. Shaposhnikova, “the fiery spark of the spirit must enter or descend into inert matter. For spirit it is involution, for matter it is the beginning of evolution. Having descended into matter, the spark of spirit with its energy creates a difference in the potentials of spirit and matter, and thereby forms the energy for ascent. As a rule, the High Essence acts as such a spark of the spirit. This Essence, “having completed the cycle of its earthly incarnations,” L.V. Shaposhnikova writes further, “can continue its ascent in the Higher Worlds. But some of them, owning the energy mechanisms of evolution, voluntarily return to Earth again in order to start a new stage, or a new round, of the cosmic evolution of mankind with a spark of their spirit. In India, such High Beings are respectfully called Mahatmas, or Great Souls. These are the Great Teachers of mankind, with whom N.K. Roerich and H.I. Roerich were lucky enough to meet more than once.
Myths, legends and tales of all peoples of the world tell about the Teacher - a sage, enlightener, mentor. The image of the Teacher, which has its roots in ancient times, is revered in all cultures. It occupies a special place in the culture of India, where Teachers - Gurus, who help people to break through to spirituality and Beauty, are still revered. It was with such Teachers that N.K. Roerich communicated in India and wrote a wonderful essay about them “Guru-Teacher”. The image of the Teacher runs through the entire Indian history in a continuous line, as if refracting in specific milestones of Culture the “Great Law of the Hierarchy of the Animated Cosmos”3, in the space of which, thanks to the Teacher, the spiritual perfection of man and mankind takes place and the connection with cosmic evolution is realized.
Therefore, it is no coincidence that the theme of the Teacher became the leading theme of Roerich's poetic work, for Nikolai Konstantinovich reflected in his verses his feelings and impressions caused by communication with the Teacher -
1 Shaposhnikova L.V. Fiery creativity of cosmic evolution // Roerich E. At the threshold of the New World. M.: MCR, 2000. S. 13-14.
2 Ibid. S. 14.
3 Shaposhnikova L.V. Teachers. Morning Star // Scientific and artistic illustrated almanac. M.: MCR, 1993. No. 1. S. 10.
mi. The first appearances of the Teacher by Roerich were perceived in a dream. Here is how Nikolai Konstantinovich writes about this in the poem “In the Morning”:
You, who comes in silence, silently tell me what I wanted in life and what I have achieved? Lay your hand on me, I will again be able and desire, and the desired will be remembered at night
In the poems, Roerich reveals his perception of the Teacher as the personification of something very perfect and beautiful, which manifests itself through the beautiful appearance of the Teacher both in his shining light and in his grace, which, like precious moisture, pours onto the earth. This is narrated, in particular, in the poem "Light":
How to see Your Face? All-pervading Face, deeper than feelings and mind. Intangible, inaudible, invisible. I call: heart, wisdom and work. Who has known that which knows no form, no sound, no taste, no end and no beginning? In the dark, when everything stops, the thirst for the desert and the salt of the ocean! I will wait for your radiance. The sun does not shine before Your Face. The moon does not shine. No stars, no flames, no lightning. The rainbow does not shine, the radiance of the north does not play. Your face shines there. Everything shines with its light. Grains of Your radiance sparkle in the darkness. And in my closed eyes your wonderful light shines.
1 Roerich N. Flowers of Moria. Ways of Blessing. Heart of Asia. Riga: Vieda, 1992, p. 21.
2 Ibid. S. 23.
In the poem "Drops" Roerich writes:
Your grace fills my hands. It flows in abundance through my fingers. I can't keep everything. I do not have time to distinguish the shining streams of wealth. Your good wave pours through your hands to the ground. I don’t see who will pick up the precious moisture? Small splashes on whom will fall? I won't be able to get home. Of all the grace in the hands of tightly clenched, I will only convey
The image of the Teacher gradually fills the whole being of Nicholas Roerich and awakens in him the highest feelings - devotion and love. These qualities of a student, namely, Roerich was such in relation to the Teacher, opened up the possibilities of true discipleship, in which the Teacher became the Driver and Mentor in all endeavors. N.K. Roerich describes this facet of his apprenticeship in the poem “Pearl”, feeling both the trust of the Teacher and the responsibility for the work that He entrusts to him:
Another messenger. Again your order! And a gift from you! Lord, You sent me Your pearl and commanded me to include it in my necklace.
In another poem - "I did not leave", Roerich writes:
You left me the work you started. You wanted me to continue it. I feel your trust in me. I will treat my work carefully and strictly. After all, you did this work yourself3 ...
Poetic creativity not only enabled Roerich to comprehend the spiritual depths of apprenticeship and teaching, but also in full
1 Roerich N. Flowers of Moria. Ways of Blessing. Heart of Asia. S. 19.
2 Ibid. S. 30.
3 Ibid. S. 28.
to some extent realize the responsibility to the Teacher and internally prepare for the fulfillment of a very difficult mission.
Roerich's period of forced life in Ladoga was coming to an end. New opportunities opened up ahead, the implementation of which Nikolai Konstantinovich would devote his whole life to. “The wait was coming to an end, and he clearly felt it,” writes L.V. Shaposhnikova, describing one of the most crucial moments in Roerich's life. - Deadlines are approaching. Everything about him was exacerbated to the extreme. He understood quite clearly that, having taken the step he had been waiting for and wishing for so long, he would not return to Petrograd. He left the Motherland, with which he had so much to do with. He left her for her. Knowing this didn't make the parting any easier. He wanted to delay, stretch out the last moment.
I'm going. I'm in a hurry. But one time, one more time, the last time I'll go around everything I left behind.
"But one time, one more time" sounded like a plea.
The predestined time came, and in 1919 the Roerichs left Finland. On their way there were new countries and cities where they had to work hard. But they had to do even more for the Common Good in India, which the Roerichs had long expected.
N.K. Roerich, leaving Finland for a great journey through Central Asia, made his choice very responsibly. He understood that no one would make this journey except them, and therefore he considered the fulfillment of duty to be indispensable. The desire to fulfill one's mission is reflected in poetic creativity. In the suite "To the Boy" Nicholas Roerich turns to himself, as if testing his strength, readiness for action to achieve the goals set by the Teacher. This suite begins with the poem "Eternity":
Boy, you say you'll be on your way in the evening. My dear boy, do not delay. We'll go out with you in the morning. We entered the fragrant forest among the silent trees. In the icy brilliance of dew, under a bright and wonderful cloud,
1 Shaposhnikova L.V. Great trip. Book. 1. S. 157.
we will go on the road with you. If you hesitate to go, it means that you still do not know what is the beginning and joy, the beginning and
eternity1.
After leaving Finland, the Roerichs did not immediately reach India. To get there, they had to overcome many of the most difficult obstacles that arose in their way in Europe and America until 1923 - that cherished year when the Roerichs arrived at the port of Bombay. And before that there were Sweden, England, America, France. Exhibitions were organized in these countries, hard work was going on, important meetings were held. Among them are those that determined the entire future life of the Roerichs - these were meetings with the Teachers of mankind.
The phenomena of the Teachers were realized by Elena Ivanovna in her childhood and accompanied her all her life. H.I. Roerich describes their phenomena in the third person. “Very early, the girl began to have significant dreams and even visions. For six years now, the girl had had an extraordinary experience, which was imprinted in her heart for the rest of her life, almost without losing its original freshness and strength of feeling. It happened in late spring. Her parents moved to a dacha in Pavlovsk, and on the very first morning the girl, getting up earlier than usual, ran to the park, to a small pond where goldfish lived. The morning turned out to be wonderful, the air seemed to tremble and sparkle in the rays of the sun, and nature itself seemed to be dressed in festive attire, and the blue of the sky was especially deep. The girl, standing on the pier, absorbed the beauty and joy of life with all the fibers of her being. Her gaze rested on a blossoming apple tree standing on the opposite shore, and against its background the girl saw a tall male figure in a white robe, and in her mind the memory instantly arose that the Teacher of Light lives somewhere far away. The girl's heart fluttered, and her joy turned into delight, her whole being was drawn to this distant, beloved and Beautiful Image.
What is written here about the connection with the Teachers of H.I. Roerich, in the context of the theme of N.K. Thoughts of Nikolai Konstantinovich about the Teacher, awareness of His role in the life of an artist, the first appearances of the Teacher He.I. Roerich were reflected in his artistic work. "Shadow of the Teacher", "Fiat Rex", "Burning of Darkness", "Treasure of the Mountains" - these and
1 Roerich N. Flowers of Moria. Ways of Blessing. Heart of Asia. S. 32.
2 Roerich E. At the Threshold of the New World. S. 45.
other paintings are dedicated to the Teachers. They depict extraordinarily beautiful figures from which streams of light emanate.
H.I. Roerich met the Teacher for the first time in 1920 in London, where an exhibition of Nicholas Konstantinovich was held. In this city, at the gates of Hyde Park, Elena Ivanovna received advice on the future trip of the Roerichs to India. Later meetings with the Masters took place in New York, Chicago, Paris, Darjeeling and other places. The Roerichs throughout their lives repeatedly communicated with the Teachers and felt Their support. N.K. Roerich described meetings with the Teachers and many things connected with Them. But he did it very carefully, realizing that his words could be misinterpreted. In this regard, the essay "Milestones" is very indicative, in which Nikolai Konstantinovich compares meetings with the Teachers and Their help with milestones in life. Describing these cases in an allegorical form, on behalf of his friend, he means a lot that was connected with the Teachers in the life of his family. At the same time, in this essay, Roerich advises others to be careful, because ignorance and self-conceit often obscure people from the “milestones” that speak of many things that can be useful on the path of life.
In India, Roerich was often, in detail and authentically told about the Teachers, or Mahatmas. Therefore, the story of Nikolai Konstantinovich about the Teachers is very convincing. “At a time when people in Europe are arguing about the existence of the Mahatmas,” he wrote, “when the Indians are penetratingly silent about them, how many people in Asia not only know the Mahatmas, have not only seen them, but also know many real cases of their deeds and appearances. . Always expected, unexpectedly, the Mahatmas created a great, special life in the expanses of Asia. When needed, they showed up. If necessary, they passed unnoticed, like ordinary travelers. They do not write their names on the rocks, but the hearts of those who know keep these names stronger than rocks. Why suspect a fairy tale, imagination, fiction, when information about the Mahatmas is imprinted in real forms<...>Not divorced from life, not leading away, but creating - such is the teaching of the Mahatmas. They talk about the scientific foundations of existence. They direct to the mastery of energies.
During their stay in India, the Roerichs met with the Teacher in Darjeeling, in a small roadside temple. This meeting influenced their entire subsequent life, since the Roerichs received advice from the Teacher regarding the Central Asian expedition, which they were to carry out in the near future. And in this journey, they repeatedly met with the High Beings.
Studying the cultural traditions of the East, N.K. Roerich became convinced that the theme of the Teacher and Teaching is present in many myths and legends.
1 Cited. according to the book: Shaposhnikova L.V. Great trip. Book. 1. S. 206.
Roerich collected them during the Central Asian expedition and published them in the diaries “Altai-Himalayas” and “Heart of Asia”, as well as in the essay “Shambhala1 Shining”.
“Another lama of the red sect,” Roerich wrote, “told us about the wonderful azars of the Hindu type, long-haired, in white clothes, sometimes appearing in the Himalayas.
These wise people know how to control the inner forces and how to unite them with the cosmic currents. The head of the medical school in Lhasa, an old learned lama, personally knew such Azars and maintained direct relations with them.
Historical evidence of the existence of the Great Teachers of mankind, and personal meetings with them allowed Roerich to realize that the Teachership lies at the basis of the evolution of man and mankind.
So, with the birth of a child, he immediately becomes a student of his parents, who help him to get on his feet both physically and spiritually; they instill in him the foundations of morality, including him in social relations. Parents become teachers of the child. Later, children meet with school teachers, who sometimes determine the direction of their whole life. And if these are teachers who love children, who are creative in their work, then the school years will remain in the memory of students as one of the brightest memories. A vivid example of such teaching is the life and work of the famous teacher Sh.A. Amonashvili, the author of the book “School of Life”, who develops the ideas of humane-personal pedagogy. These ideas generalize both the works of outstanding teachers-thinkers who lived in different eras in different countries, and the pedagogical experience of Shalva Aleksandrovich himself. Today, humane-personal pedagogy attracts many children, teachers and parents, primarily because it is saturated with cordiality and kindness. The main characters of the School of Life are the student and the teacher, whose cooperation gives rise to a relationship of true Teachership. Much in these relations depends on the teacher, about whom Sh.A. Amonashvili writes: himself to the finest work of education.
1 Shambhala is a region in the Himalayas where energy exchange takes place between the Earth and the worlds of other states of matter, the main residence of the Teachers.
2 Roerich N. Flowers of Moria. Ways of Blessing. Heart of Asia. S. 219.
3 Amonashvili Sh.A. School of Life. M.: Sh. Amonashvili Publishing House, 2000. P. 81.
The example of school teaching is the most obvious. But the relationship "Teacher - student" or "student - Teacher" also permeates other aspects of people's lives. Moreover, this relation, which is of a natural nature, is inherent in the entire Universe. “If the Teacher and the student,” writes L.V. Shaposhnikova, “follow the Great laws of the Cosmos, if both of them are harmoniously, as required by the laws, inscribed in an infinite series of Infinity, then each link or element of this series carries two functions<....>Each Teacher, having a Teacher, is a student. Each student in relation to those who are below him on the hierarchical ladder, is a Teacher. The cosmic manifestation of Teaching carries in itself complementary functions: The teacher is the student. Any kind of deviation in this cosmic series is a violation of the Great Cosmic Laws. Any disrespect for the Teacher is a deviation from the path of evolution and development. True Teaching is that “silver thread” that connects if not every person, then humanity as a whole with the Great Teachers.
The Great Teachers have been fulfilling their planetary-cosmic mission for many millennia, helping humanity to ascend the spiral of cosmic evolution, the meaning of which is manifested most fully in the Teaching. First of all, through the Magisterium, evolution draws into its upward movement those who aspire to it. This happens if the student is grateful and devoted to the Teacher throughout the life path. It is very important that the student voluntarily accept the apprenticeship and entrust himself to the Master. “Teaching,” we read in the essay “Shining Shambhala,” “is the highest connection that can only be achieved in our earthly vestments. We are guided by the Masters, and we strive for perfection in our reverence for the Master.”2
N.K. Roerich, like no one else, understood the evolutionary significance of the Teaching, for he was connected with the Teachers - the Mahatmas - and carried out all his ascetic deeds under their guidance. The forms of Teaching are as diverse as life itself is diverse. But regardless of this, the essence of Teaching is always the same - the Teacher transfers his knowledge and experience to the student, helps to improve spiritually. Thus, He promotes his ascent along the steps of cosmic evolution. The teacher has the moral right to teach only if he himself was and remains a real student. A vivid confirmation of this is the life of N.K. Roerich. In his youth, as throughout his life, he was a devoted student. It is enough to remember the tremulous
1 Shaposhnikova L.V. Teachers: Morning Star // Scientific and artistic illustrated almanac. No. 1. S. 21-24.
2 Roerich N.K. Fenugreek. S. 36.
attitude towards school teachers, later - to AI Kuindzhi, not to mention his apprenticeship under the guidance of the Great Teachers. At the same time, Nikolai Konstantinovich was a true Teacher. He fulfilled this lofty mission with honor. He was very loved in India and was considered the Mahatma. The heroic life of Roerich, filled with examples of indomitable will and selflessness in the performance of duty, teaches to overcome the difficulties of many, and the paintings and philosophical works of Nicholas Konstantinovich contain invaluable knowledge, so necessary for everyone who embarks on the path of spiritual perfection.
4. Leadership of the Teachers and the Central Asian Expedition
In the 20th century, humanity faced tasks related to the transition to a higher level of evolution. The solution of these problems was vital. Then people appeared who, according to their spiritual accumulations, were ready for their realization. These were the Roerichs. They came into the world as ordinary people, although with special spiritual qualities. And only meetings with the Teachers helped them to realize and fulfill the evolutionary mission entrusted to them. The Roerichs with their ascetic life and spiritual discoveries showed mankind the ways of spiritual transformation.
The example of the Roerich family inspires many people to search for the truth, helps to be persistent and unshakable in moving towards this lofty goal. L.V. Shaposhnikova chose as the epigraph for the book about N.K. These words in many respects reveal the significance of the great spiritual feat of the Roerichs, the peak of which is the unique Central Asian expedition. It is rightly considered the main work of the life of N.K. Roerich. His associates were Elena Ivanovna and Yuri Nikolaevich. Its goals were determined at the meetings of the Roerichs with the Teachers. N.K. Roerich hardly touches the content of conversations with Them in his works. At the same time, from some of the works of Nikolai Konstantinovich and, most importantly, from the actions of the Roerichs following the meetings with the Teachers, one can understand that the Teachers gave instructions on the Central Asian expedition and provided assistance along its entire route.
The objectives of the expedition were varied. “Of course, my main aspiration as an artist,” Nikolai Konstantinovich wrote, “was in artistic work. It is hard to imagine when I will be able to embody all the artistic notes and impressions - these are so generous
gifts of Asia"1. The route passed through the lands of the most ancient cultures of Asia, and each of these cultures was a huge field for the researcher. Roerich was looking for common points that united different cultures, he was interested in the problems of cultural interaction between peoples. At the same time, the expedition faced another, very important task, unusual for other expeditions. It had a planetary-cosmic, evolutionary character. “The expedition,” writes L.V. Shaposhnikova, “had to perform a historical action called “laying magnets””2.
A magnet, according to the Roerichs' worldview, is an energy that attracts other energy. Thus, conditions are created for energy exchange, thanks to which the Universe lives and develops. Magnets differ in shape, structure, and also in their energies. So, the magnet is the energy of the spirit. It interacts with matter and organizes it. The energy of the spirit manifests itself in the structure of different levels. One of them is the Cosmic Magnet3 - a very complex phenomenon and not yet studied by man. The action of the Cosmic Magnet is universal, for it manifests itself at all levels and in all forms of the existence of the Cosmos. An important condition for the spiritual development of a person is his awareness of the universal nature of the manifestation of this Magnet and in interaction with its energy. A person's connection with the Cosmic Magnet is possible only through a spiritual Teacher - earthly or heavenly. “The Cosmic Magnet,” writes H.I. Roerich, “is the Cosmic Heart or the consciousness of the Crown of the Cosmic Reason of the Hierarchy of Light”4. That Hierarchy of Light, the infinite links of which go to Eternity and Infinity. In the Cosmic Magnet, the energy of the consciousness of the Mind of the Cosmic Hierarchs is accumulated. The manifestation of the Cosmic Mind can be explained to some extent by analogy with the human mind. But such an analogy must be approached very carefully. For, in comparison with the human mind, the energy of the Cosmic Mind is a phenomenon of a different order, since it also exists in the worlds of other states of matter. The Cosmic Magnet has a very high energy compared to the energy of our planet and influences its energy. This process is complex, multifaceted and still waiting to be explored. But there is some information about it. And the Roerichs had the most direct relation to them.
1 Roerich N.K. Favorites / Comp. V.M. Sidorov; Artistic I.A. Guseva. M.: Sov. Russia, 1979. S. 100.
2 Shaposhnikova L.V. Commands of the Cosmos. M.: MCR, 1996. S. 94.
3 The information about the Cosmic Magnet, Stone and Shambhala is presented on the basis of the book by L.V. Shaposhnikova “Decrees of the Cosmos”. M.: MCR, 1995. S. 81-101.
4 Roerich E.I. Letters. M.: MCR, 2000. T. 2. S. 492.
In 1923, a parcel arrived in a Paris bank addressed to the Roerichs. When they opened the plywood box, they found in it an old box covered with leather. “Nikolai Konstantinovich opened the box and saw in it a Stone, a piece of a dark meteorite. He immediately felt a slight tingling in his fingers, his centers responded to the energy of the Stone. But it was only a fragment, the main meteorite was in the Reserved Land, where the Teachers lived and where they conducted their evolutionary research. From this meteorite thousands of years ago the earthly refuge of the Cosmic Hierarchs began. The legend told that the meteorite came to Earth from the distant constellation Orion.
The stone, located in Shambhala and energetically connected with the worlds of other states of matter, contributes to the formation of a higher energy of the Earth. In this process, the Teachers play an important role, who, with the help of the Stone, during their “night vigil” saturate the space with high energy. After the story about the Stone, the image of the legendary Shambhala takes on a somewhat greater relief. For Shambhala is not only the main residence of the Teachers. In Shambhala, there is an energy exchange between our planet and the worlds of other states of matter, the energy necessary to move the planet and earthly humanity along the spiral of cosmic evolution is formed. It was with the help of a particle of such a Stone obtained in Paris, and thanks to the high energy of Helena Ivanovna Roerichs, that they “lay magnets” on the route of the Central Asian expedition. Thus, they completed the main task of the expedition, the route of which passed through India, China, Siberia, Altai, Mongolia, Tibet. In these areas, the Roerichs formed an energy field, in the space of which a number of highly developed cultures and countries will arise in the future.
The unique route of the expedition ran through the most beautiful and historically significant places. The Roerichs discovered dozens of unknown peaks and passes, archaeological sites, and found the rarest Tibetan manuscripts. N.K. Roerich summarized his impressions of the expedition in his diaries, created about five hundred paintings, collected together with H.I. Roerich and Yu.N. Roerich a huge scientific material. The Roerichs studied this material following the universal philosophical concept, according to which the past, present and future constitute a single historical process, within which the future determines not only milestones in the study of the cultures of various peoples, but also the main directions of their development. This is the scientific significance of the expedition.
1 Shaposhnikova L.V. Commands of the Cosmos. S. 91.
After returning from the expedition in 1928, the Roerichs settled in the Kullu Valley (India), where the last period of the life of Nikolai Konstantinovich passed and the Urusvati Himalayan Research Institute (translated from Sanskrit as “Light of the Morning Star”) was founded. This institute was a logical continuation of the Central Asian expedition and was a scientific center of a completely new type. His work combined both traditional methods that were used in ancient Asia, and those that were yet to be formed. The work of the institute was distinguished by constant mobility. The explorers who lived in Kullu constantly went on expeditions. There were many such scientists who collaborated with the Institute while in other countries. Therefore, the center was international. It studied the culture of the peoples of Asia, conducted comprehensive studies of human qualities.
The Central Asian expedition, the most significant work of the life of Nicholas Roerich and "those like him", was successfully completed. This expedition, as well as other undertakings, Nikolai Konstantinovich was able to carry out thanks to the guidance of the Teachers, whose most devoted student he was all his life. At the same time, his apprenticeship with the Great Teachers helped Roerich develop the highest spiritual guidelines and become a real Teacher - Guru. These landmarks were not abstract concepts, on their basis the whole life of Nikolai Konstantinovich was built, who was an extremely purposeful person, possessing extraordinary spiritual strength, as well as amazing tolerance for the views of other people. All his spiritual finds - paintings, philosophical works, cultural undertakings - are permeated with Beauty and continue to serve people, helping them to join Beauty. More than a hundred institutes, academies, cultural institutions around the world elected Nicholas Roerich an honorary and full member.
During his travels to different continents and his stay in India, he never left the thought of returning to his homeland. As soon as the war ended, he immediately began to fuss about moving to the Soviet Union. “... As long as there is strength,” Nicholas Roerich wrote, “I would like to apply it for the benefit of my native land”1. But the dream was not destined to come true. Permission to enter the homeland did not come, and on December 13, 1947, he passed away. “Nikolai Konstantinovich always thought,” wrote Svyatoslav Roerich, “that in the end the main task of life is self-improvement. Art or any other creative achievements can be very great, but the focus of everything is the life of the person himself, his personality. He believed that his creative life, his art are only accomplices of self-improvement.
1 Roerich N.K Sheets of the diary. M.: MCR, 2002. T. 3. S. 101.
vanity. He always worked on himself first of all. He wanted to rise above who he was and end his life as a more perfect person. And in this he succeeded. He became an absolutely exceptional person, a wise man, of remarkable personal qualities. I met a lot of people all over the world, but I didn’t have to meet another person like Nikolai Konstantinovich”1.
These words express the main quality of Nicholas Roerich, inseparable from his whole life - constant self-improvement. Thanks to this quality, Nikolai Konstantinovich was able to remain a devoted student of his Teachers all his life. And at the same time, Roerich, constantly working on himself, became a true Teacher, who was awarded the most honorary title in the East - Guru.
World outlook and ascetic life of N.K. Roerich is attracting more and more attention of the cultural community of Russia and the whole world. The attraction of Roerich's feat in life is that it reveals the unshakable faith of the Master in a better future and serves as an excellent, inspiring example for all people striving to build their lives on the basis of Knowledge and Beauty. Outstanding achievements of N.K. Roerich in the field of culture are recognized all over the world. In 1935, in Washington, twenty-one countries of the American continent signed the Pact on the International Protection of Cultural Monuments in Time of War, known as the Roerich Pact. On its basis, the 1954 Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict was adopted. Along with the Pact, Roerich proposed a distinctive symbol to designate cultural institutions. It was later named the Banner of Peace. This Banner - a white banner with three red circles enclosed in a red circle - has been adopted by many cultural and educational institutions around the world. Museums of many countries exhibit paintings by Nicholas Roerich and S. N. Roerich. Since 1990, the International Center-Museum named after Nicholas Roerich has been operating in Moscow, formed on the basis of the cultural heritage of the Roerich family, which was donated in 1990 to Russia by S.N. Roerich.
N.K. Roerich's works contain, along with the author's pedagogical views, the deepest philosophical ideas that reveal his worldview, without mastering which true Teaching is impossible. Therefore, the works of our great artist will be of invaluable help to all who, perhaps, are already moving forward along the beautiful, albeit difficult, path of teaching, or are just preparing to set foot on it.
1 Shaposhnikova L.V. Great trip. Book. 1. S. 585-586.
FIRST TEACHER
“Once in Finland I was sitting on the shore of Lake Ladoga with a peasant boy. A middle-aged man walked past us, and my little companion stood up and removed his hat with great reverence. I asked him afterwards, "Who was this man?" And with particular seriousness the boy replied: "This is the teacher." I asked again, "Is he your teacher?" “No,” the boy replied, “he is a teacher from a nearby school.” "Do you know him personally?" I insisted. "No," he replied in surprise... "Then why did you greet him so respectfully?" Even more seriously, my little companion replied: “Because he is a teacher.” . This small story from N.K. Roerich's essay "Guru - Teacher" perhaps most accurately expresses his attitude towards the Teachers, who played a huge role in the life of the Master.
A document has been preserved certifying that Nicholas Roerich was born in St. Petersburg in 1874 on October 9 (September 27, O.S.) in the family of the notary Konstantin Fedorovich Roerich and his wife Maria Vasilievna. Roerich was lucky with teachers. He studied at one of the best educational institutions of the then St. Petersburg - the K. May gymnasium. His first mentors, who gave their students all the heat of their hearts, showed an example of a highly moral attitude to their work. By their example, they helped Roerich form his highest qualities, to which the Master was faithful all his life - a deep awareness of personal responsibility for everything that he had to do, and the personal duty that life placed on him.
N.K. Roerich writes about his teachers with amazing warmth and cordiality. “We ourselves, recalling our school and university years, turn especially affably to those teachers who taught clearly and simply. It doesn’t matter from the subject itself, whether it will be higher mathematics or philosophy, or history, or geography - absolutely everything could find clear forms from gifted teachers ” .
After graduating from high school, he simultaneously studied at the law department of St. Petersburg University and at the Imperial Academy of Arts. Already a student, Roerich communicated with famous cultural figures - V.V. Stasov, I.E. Repin, N.A. Rimsky-Korsakov, D.V. Grigorovich, S.P. Diaghilev, A.N. .A. Blok and others. During this period, N.K. Roerich was engaged in archaeological excavations, wrote the first literary works, and created paintings. In 1897, Tretyakov bought the diploma work of N.K. Roerich "Messenger" for his gallery.
A. I. Kuindzhi, with whom he studied at the Academy of Arts, had a huge influence on the moral and generally creative development of the young Roerich. “I remember,” Nicholas Roerich wrote, “in the most exalted words about my teacher, Professor Kuindzhi, the famous Russian artist. His life story could fill the most inspirational biography pages for the younger generation. He was a simple shepherd in the Crimea. Only by a consistent, passionate pursuit of art was he able to overcome all obstacles and, finally, become not only a respected artist and a man of great opportunities, but also a real Guru. for his disciples in his high Hindu concept" . What, besides rare diligence and determination, sincerity and love for his students in the guise of Kuindzhi, inspired Roerich to the sublime veneration of his teacher? Kuindzhi was a Teacher in the highest sense of the word. He was Guru. Once, Roerich recalls, students of the Academy of Arts raised a revolt against the vice-president of the Council, Tolstoy. And no one could calm them down. The situation became very serious. Then Kuindzhi came to the meeting and said, turning to the students, that they had come to the Academy to become artists, and therefore he asked them to start working. The rally was immediately stopped. Such was the authority of Kuindzhi.
Nikolai Konstantinovich was selflessly devoted to his teacher. His wife, Helena Roerich, wrote about this quality of Roerich: “Kuindzhi was a great teacher,” Elena Ivanovna recalled. – But only the student N.K. he became great. The same students, who were not averse to belittling him and even calling him simply “Arkhip” behind his back, gradually completely deterioriated and fade away" . The exalted veneration of the Teachers, gratitude and devotion to the Teachers, N.K. Roerich carried through his whole life. I can't resist citing Roerich's recollection of the Indian Gurus, in which he reveals the essence of teaching and his attitude towards teaching.
“Many years later,” Roerich wrote, “in India I saw such Gurus and saw devoted disciples who, without any servility, enthusiastically revered their Gurus, with that sensitivity that is so characteristic of India.
I heard a delightful story about a little Indian who found his teacher. He was asked: "Can the sun darken for you if you see it without a Teacher?"
The boy smiled, "The sun must remain the sun, but in the presence of the Master, twelve suns will shine for me." .
Roerich's first teachers helped him find himself in a space of true culture and beauty. His wife E.I. Roerich, nee Shaposhnikova, had no less influence on Roerich. Roerich met her in 1899, and in 1901 Elena Ivanovna became his wife. The Roerichs will spend their whole lives together, spiritually and creatively complementing and enriching each other. H.I. Roerich, who announced to the world about a new, cosmic worldview in the books of the Living Ethics, will become the spiritual leader of all creative undertakings of N.K. and literary creativity.
N.K. Roerich highly appreciated He.I. Roerich. He published many of his books with a dedication: "To Elena, my wife, friend, companion, inspirer." Elena Ivanovna was the bright genius of the Roerich family, who inspired all its members to spiritual and creative achievements. N.K. Roerich implemented in his artistic work the inspired ideas and images that arose from Elena Ivanovna. Their sons, Yuri and Svyatoslav, took part in the cultural activities of the Roerichs. The Roerich family was a single whole and lived with a constant and unshakable aspiration for culture, knowledge and creativity in the name of the Common Good.
The creative heritage of N.K. Roerich, inseparable from the cultural heritage of his family, is so multifaceted that everyone who embarks on the path of spiritual improvement will find priceless spiritual treasures in Roerich's heritage, without mastering which true human development is impossible. Roerich's books cannot simply be read, as one reads a historical narrative or a literary essay, for each of his works, as it were, opens a window into a completely amazing world - Roerich's power. This is a world of unique discoveries and the deepest insights of a thinker-artist, helping to feel the enchanting beauty of the Universe. Roerich's realm embodies the synthesis of religion, art and science, fusing all the spiritual accumulations of mankind into a single whole. Cowardice, weak will, betrayal and much more, from which a person needs to be freed, are not welcomed at all. The borders of this power are guarded by selfless people, devoted to a common cause, withunshakable will and pure heart, always ready for a feat.
N.K. Roerich in scientific, artistic creativity and cultural projects never stood still, he was constantly improving. For him, it was a way of being. He did this solely for the sake of the Common Good and serving Culture, to which Roerich devoted many works - "Culture - the veneration of Light." "Culture is the winner", "The value of beauty" and others. People who serve Culture are truly happy. Happiness is not in gold, Roerich notes, but in beauty, which is personified in nature, human relationships and works of art. Those who are drawn to Culture, making it the basis of their lives, endure and win in the most difficult life situations, because Culture gives a person confidence in his strength. Although the victory may be invisible, because its space, in the final analysis, is the spiritual world of man. That is why Culture is the basis of Teaching, the scope of which is the spiritual improvement of man.
In his artistic work, Roerich revealed the originality of Russian culture, rooted in ancient Slavic traditions. His paintings, depicting the life and culture of the Slavs, were exhibited at the largest exhibitions in St. Petersburg and Moscow. At the same time, he saw in Russian culture such facets that connected it with the culture of the East and West. Studying the culture of past eras and defending it from destruction and oblivion, Roerich saw in it grains of the imperishable, eternal, which germinated as fresh, green shoots into the future. He considered the future as such a slice of history, which is rooted in the past and without the past has no prospects for development.
In the future, bright and beautiful, N.K. Roerich was directed all his life. It was for the sake of a better future that he carried out unique expeditions and wrote philosophical works, created paintings and cultural organizations, taking the most active part in their work. “The future,” Nicholas Roerich wrote in his essay “A Better Future,” is sometimes thought about, but very often it is not included in everyday discussions. Of course, it is not in human power to completely determine the future, but one should strive for it with all one's consciousness. And one must strive not for a vague future, but precisely for a better future. In this endeavor, there will already be a guarantee of success. ” . Nikolai Konstantinovich did not think of a better future outside of Culture and Beauty. Roerich was convinced that only Culture and Beauty would help a person overcome many negative qualities and imperfections and reach a higher stage of evolution.
N.K. Roerich not only comprehended the possible ways of shaping the future, he built it with his whole life. Itcame to life under the pen of a thinker with the deepest ideas and under the brush of an artist - beautiful images of nature and inhabitants of the countries that Roerich visited. The future was born in the ascetic cultural projects of the thinker, in numerous cultural organizations created on his initiative, and in many other ways, into which the titanic energy of the Master poured. N.K. Roerich was a kind of pioneer who paved the way to the future for his contemporaries and those who came to replace them. For him, the past, present and future were united in a holistic flow of history, thanks to enduring cultural values.
Beauty plays the most important evolutionary role in the life of the Cosmos, humanity and man. She, according to Roerich, is a multifaceted energy phenomenon and acts as the basis for the spiritual improvement of man. The energy of Beauty, contained in the fruits of creativity of spiritual ascetics, such as, for example, V.S. Solovyov, A.N. Skryabin, M.K. It helps people overcome life's difficulties and become better. Therefore, a person, if he wants to improve his life, cannot but aspire to Beauty. N.K. Roerich, as if developing the idea of F.M. Dostoevsky: "Beauty will save the world", said: "The awareness of Beauty will save the world." It is the awareness and creation of Beauty by a person in the life of every day that will transform the person himself and the world in which he lives. The clearest example of this is the work of N.K. Roerich, who created Beauty as an artist, philosopher and cultural figure. In this, Nicholas Roerich saw the meaning of not only his life, but also the objective meaning of the life of every person. “After all, everything strives for beauty in its own way” , - wrote N.K. Roerich.
In comprehending the beauty of being, in affirming high ideals, Nikolai Konstantinovich had someone to take an example from. One of the mentors deeply revered by Roerich was the priest Father John of Kronstadt, who played a very important role in the spiritual development of Nicholas Roerich and in general in the life of his parents and brother Yuri Nikolayevich. The life of N.K. The difficulties that accompanied Roerich were comparable to the planetary scale of his personality, the enormous power of his spirit. Roerich, together with his family, with honor overcame all seemingly insurmountable obstacles and hardships, purposefully and unwaveringly fulfilling his mission. By nature, Roerich was a builder, creator of Culture. “The whole active life of Roerich,” writes V. Ivanov, “grown out of the Russian land, is a constant and useful, persistent and benevolent construction. No wonder he often repeats in his writings the French proverb: “When the construction goes on, everything goes on” .
"Friendly construction...". These words, perhaps, express the pathos of Roerich's entire life path. This path was marked by the cultural finds of the Master, the formation of which was influenced by the spiritual traditions of Russia, dating back to the distant past. In the past, when Saint Sergius performed his asceticism. Five centuries have passed since then. But the appearance of Sergius is still "the same shines, teaches and leads." For the entire Russian people, Sergius remains a spiritual Mentor and Teacher. Nicholas Roerich could not but accept his ideas. In this he was not alone. E.I. Roerich, who wrote an excellent work about Sergius, emphasized the great importance of the asceticism of St. Sergius for the construction of the Russian Land. “... The memory of Sergius,” wrote H.I. The history of the development of spirituality in the Russian soul and the beginning of the gathering and construction of the Russian Land are inextricably linked with this great Ascetic" . Roerich, painting church churches and creating canvases based on Russian history, as if continued the cultural and moral traditions formed by St. Sergius. Working in churches, visiting ancient Russian cities, Nikolai Konstantinovich felt the currents of history that converged in the space of cultural construction, the unification of the Russian Land. Sergius also laid down the traditions of construction, creation, showing an example of communal life, which was based on the high moral authority of Sergius himself. The monk instilled in the community members the spirit of self-sacrifice and asceticism, primarily by personal example. Later, the ideas of Sergius were embodied in the art of icon painting by the great painter Andrei Rublev, who created the world-famous Trinity. Its plot was based on Sergius's views on peace and harmony. The result of the ascetic activity of Sergius was the unification of the Russian lands, which made possible the victory of the Russian army in 1380 over the Mamayev hordes.
Nicholas Roerich appeared in Russia much later than Sergius. At the same time, the asceticism of Sergius and the work of Roerich in some of their deepest moments were in contact. The deeds of Sergius and all the undertakings of Roerich united the motives of creation for the Common Good. Both the monk and the artist showed by all their deeds that cultural, moral construction lies at the basis of such creation. Nicholas Konstantinovich and Helena Ivanovna Roerich deeply revered the moral precepts of St. Sergius. This, as it were, manifested their cordial and reverent attitude towards Orthodox shrines and, in general, towards true Orthodoxy, which was for the Roerichs one of the sources of creative inspiration in their work on paintings and philosophical works.
Many years later, images of St. Sergius will appear on the icons. “Church icon painters,” notes L.V. Shaposhnikova, “carefully and prudently will paint it with an unearthly, holy detachment in their eyes. However, history will bring us another Sergius of Radonezh. Philosopher and thinker, warrior and politician. Man-builder of Russian culture and Russian statehood. Earthly tireless ascetic and worker. Sharp features, visionary eyes and strong hands, accustomed to hard physical labor. This is how we see Sergius on the canvases of Nicholas Roerich. It can be assumed that it was these qualities of Sergius that inspired N.K. Roerich when he portrayed the Reverend in his paintings. The image of Sergius for Roerich was collective, absorbing the best qualities of the Russian people. “Sergius,” wrote H.I. Roerich, “is just an example, beloved by the people themselves, of clarity, transparent and even light. He is, of course, our intercessor. Five hundred years later, peering into his image, you feel: yes, Russia is great! Yes, the holy power is given to her. Yes, next to the power, true, we can live" Roerich, of course, felt the influence of the ideas of St. Sergius on Russian culture. And this could not but affect his work. In addition, the life of the great Russian Ascetic for Roerich was the highest moral example of service to the Common Cause. Therefore, Sergius can no doubt be considered as a spiritual Mentor, Roerich's Teacher. With St. Sergius, Roerich associated all the best that was in Russia. Contact with the spiritual feat of Sergius, which influenced him through the thickness of centuries, work on the image of a monk gave Nikolai Konstantinovich a lot to determine the main milestones of his future life.
ROERICH - TEACHER
N.K. Roerich not only constantly improved himself, studied with his teachers, but also, being an excellent teacher, educator, helped others to learn. Together with Helena Roerich, he raised his sons, Yuri and Svyatoslav, whose scientific and artistic achievements entered the golden fund of world culture, primarily due to the fact that Nikolai Konstantinovich managed to instill in his sons a sense of reverence for Beauty, to educate them as people of high culture. It is very important. But no less important is the fact that the sons of Nicholas Roerich possessed the highest human qualities. And this was largely the merit of Roerich - father and teacher.
In addition to the sphere of family education, the gift of a teacher manifested itself in N.K. Roerich in the public arena. He took an active part in the education of young people, whose problems he devoted a number of his works. One of these problems was the relationship between generations. The elders, Roerich said, complain a lot and attack the youth for preferring dancing, avoiding lectures, and not wanting to read. There are other accusations against the youth. But if, Roerich believed, to think about the reasons for all this, then the older generation should take a significant share of the responsibility for the moral state of the youth. Roerich always believed in the youth and tried to encourage and support them. In youth, he saw, first of all, aspiration to lofty human tasks. Despite the enormous difficulties that many young people face, they find the strength to set good milestones. Is it not the wonderful sprouts of the new, which Nikolai Konstantinovich noticed with his keen eyes, being in the thick of life and communicating with young people. Roerich especially valued in young people the aspiration to high quality of work, which, according to Roerich, is more often found among working youth, who met his family more than wealthy and wealthy youth. Therefore, Roerich advocated a serious attitude towards young people, for trusting them and involving them in responsible matters. Roerich assigned a special role to the teacher in his work with youth. “...Educate a people's teacher,” Nikolai Konstantinovich wrote, “Give him a tolerable existence. Call the youth co-workers in all matters. Show young people the beauty of creativity .
N.K. Roerich knew firsthand the life and work of a teacher, since for more than ten years he worked as the director of the Drawing School of the Imperial Society for the Encouragement of Arts in St. Petersburg, and also taught at other educational institutions. Colleagues and students have always respected and loved Nikolai Konstantinovich. So it was in the Drawing School. Roerich was able to direct its work in such a way that the School began to enjoy great prestige both among young people striving to receive an art education, and among the artistic intelligentsia of St. Petersburg, the best representatives of which worked at the School. N.K. Roerich had his own pedagogical principles, which he firmly and persistently pursued in his work with novice artists. He considered the main thing to be the education of their creative thinking and responsibility for the quality of work. Roerich was a very demanding teacher. And he had a moral right to this, as he showed high demands, first of all, on himself. These qualities of Roerich, along with devotion, gratitude and love for the Teachers, allowed him to steadily ascend along the path of ascetic construction.
Wherever Roerich collaborated, he became a special spiritual magnet that attracted interesting, talented people. N.K. Roerich possessed an amazing gift - to unite like-minded people for the Common Good. In unity, he saw the key to the successful creative activity of his employees, whom he approached with a very high moral standard. This is heartfelt trust, and broad good work, and selfless love for culture, and devotion to it, and much more that a person needs for his improvement. When people striving to live up to this ideal find each other, a commonwealth arises, which Roerich calls the center of good creation. “Commonwealth – what a sweet and cordial word,” writes Nikolai Konstantinovich. It has both from mutual understanding, and from mutual respect, and from cooperation. This means that it is precisely in it, in the word - commonwealth - that the most necessary is contained. A commonwealth cannot live if the people who have come together in it do not know what mutual assistance is, do not understand what self-improvement is. .
These beautiful words fit so well on the heart, because indeed in the community a person can find the most necessary. And the reason is that the community is based on the internal spiritual discipline of employees. They support each other not only in the midst of difficulties, but also in joy. At the same time, they completely lack the envy and evil whispering that are so common in formal societies. Commonwealths can form a stronghold of true statehood, for fellows accept the natural hierarchy that underlies true state power. The energy of the communities is directed towards creation, they have nothing from destruction. The Commonwealth should not be abstract, it always has specific goals and acts in accordance with them. Relationships between associates should be free, benevolent, and based on cordial trust. In serving humanity, according to Roerich, is the duty of "friends". It is all the more joyful that it is carried out for the benefit of one's neighbor. Only then will the community be viable. This is how Nicholas Roerich imagined the Commonwealth. It was for him the ideal of future human relations, for the implementation of which he called on his closest collaborators.
To a certain extent, this ideal has been realized and continues to be realized in Russia in the pedagogy of cooperation, the ideas of which throughout the history of mankind have been developed by spiritual ascetics, outstanding educators and educators. In Russian pedagogy, these ideas were actively implemented in the 1930s. of the twentieth century, finding further development already today in the work of such famous teachers as E.N. Ilyin, V.F. Shatalov, S.N. Lysenkova, Sh.A. Amonashvili and others.
V.V. Frolov
Doctor of Philosophy, Professor,
http://www.pedagogika-cultura.narod.ru/
