SRAS - Nicholas Roerich's 'Sancta' Series - Revision history

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	[[Category:Text Library]] [[Category:Nicholas Roerich]]		[[Category:Text Library]] [[Category:Nicholas Roerich]]
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	==Note==		==Note==
	* Renee (Stillings) Huhs. "The School of Russian and Asian Studies Changes Name, Launches Fully Updated Website". January 10, 2019. ''SRAS Website''. [http://web.archive.org/web/20200918200757/https://sras.org/sras_name_change/ Archive]. [accessed July 9, 2021]		* Renee (Stillings) Huhs. "The School of Russian and Asian Studies Changes Name, Launches Fully Updated Website". January 10, 2019. ''SRAS Website''. [http://web.archive.org/web/20200918200757/https://sras.org/sras_name_change/ Archive]. [accessed July 9, 2021]
	[[Category:Text Library]]		[[Category:Text Library]] [[Category:Nicholas Roerich]]
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AccountManager: /* Painting "And We Open the Gates" */ Add link Sergius of Radonezh

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Painting "And We Open the Gates": Add link Sergius of Radonezh

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	===Painting "And We Open the Gates"===		===Painting "And We Open the Gates"===
	[[File:And-we-are-opening-the-gates-1922-Wiki-Art.jpg\|thumb]]		[[File:And-we-are-opening-the-gates-1922-Wiki-Art.jpg\|thumb]]
	::This theme of universal spirituality is demonstrated in a number of aspects of the series "Sancta." For example, in "And We Open the Gates" we see Roerich's expression of the theme of 'openness' that Saint Sergius demonstrated with his life. The gates divide the painting into two compositional and conceptual plans. Embodying the border between the earthly (the foreground of the monastery that is still covered in darkness) and heavenly (the background on the other side of the gates that is illuminated by the rising sun) worlds, this division allows the viewer to feel the exact moment of passing through the 'holy gates' into the world of the spirit. At the same time, the painting seems to remind us of the need to keep ourselves open to the world 'out there.' This can be seen as a reaction to the growing isolationist movement in American culture at the time.		::This theme of universal spirituality is demonstrated in a number of aspects of the series "Sancta." For example, in "And We Open the Gates" we see Roerich's expression of the theme of 'openness' that [[Sergius of Radonezh \| Saint Sergius]] demonstrated with his life. The gates divide the painting into two compositional and conceptual plans. Embodying the border between the earthly (the foreground of the monastery that is still covered in darkness) and heavenly (the background on the other side of the gates that is illuminated by the rising sun) worlds, this division allows the viewer to feel the exact moment of passing through the 'holy gates' into the world of the spirit. At the same time, the painting seems to remind us of the need to keep ourselves open to the world 'out there.' This can be seen as a reaction to the growing isolationist movement in American culture at the time.

	===Painting "And We Continue to Fish"===		===Painting "And We Continue to Fish"===

AccountManager: /* Conclusion */ Add link Sergius of Radonezh

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Conclusion: Add link Sergius of Radonezh

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	==Conclusion==		==Conclusion==

	:V. M. Sidorov once said of Roerich: "His great service is that he gave Americans eyes to a new understanding of the culture of the Russian people. The paintings themselves, composed on the subjects of ancient Russian history and folklore, full of symbolism and philosophical depth, were unique messengers of Russia."<ref>Сидоров, Валентин Митрофанович. «Музей Рериха». Держава Рериха, 346</ref> While undoubtedly correct, we must not forget that Roerich painted "Sancta" for an American audience that was not familiar with Russian history and folklore and certainly would not have known about the life and teachings of the Reverend Sergius Radonezhsky. However, he painted this series believing that the spiritual teaching of a 14th century Russian saint could have an effect on a materialistic American public of the 1920s because of their universality. Out of this duality between Russian and American, past and present, and heavenly and earthly, Roerich was able to create something new – the series "Sancta" – which was meant to serve as a Hegelian 'synthesis' for the extreme social, political, and cultural conflicts of his audience.		:V. M. Sidorov once said of Roerich: "His great service is that he gave Americans eyes to a new understanding of the culture of the Russian people. The paintings themselves, composed on the subjects of ancient Russian history and folklore, full of symbolism and philosophical depth, were unique messengers of Russia."<ref>Сидоров, Валентин Митрофанович. «Музей Рериха». Держава Рериха, 346</ref> While undoubtedly correct, we must not forget that Roerich painted "Sancta" for an American audience that was not familiar with Russian history and folklore and certainly would not have known about the life and teachings of the Reverend [[Sergius of Radonezh \| Sergius Radonezhsky]]. However, he painted this series believing that the spiritual teaching of a 14th century Russian saint could have an effect on a materialistic American public of the 1920s because of their universality. Out of this duality between Russian and American, past and present, and heavenly and earthly, Roerich was able to create something new – the series "Sancta" – which was meant to serve as a Hegelian 'synthesis' for the extreme social, political, and cultural conflicts of his audience.

AccountManager: /* Painting "And We See" */ Add links Sergius of Radonezh

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Painting "And We See": Add links Sergius of Radonezh

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	===Painting "And We See"===		===Painting "And We See"===
	[[File:And-we-see-1922.jpg\|thumb]]		[[File:And-we-see-1922.jpg\|thumb]]
	::Finally, in "And We See," the artist places before his viewer the symbolic culmination of the spiritual journey undertaken by all who adhere to the universal truths laid forth in Saint Sergius's teaching. He does so by depicting a heavenly vision – an obvious reference to the many heavenly visitations that Saint Sergius, according to his biographer, received throughout his life. The focal point of this painting is the depiction of the countenance of The Uncreated Savior. It is completed in traditional iconographic manner on a mantle that is revealed by an angel. The most amazing part of the countenance of The Savior is the gaze of his all-seeing eyes – kind, humble, but at the same time strict and deeply penetrating into the soul of the onlooker. Similar to the monk who is stunned by the heavenly vision in the left part of the painting, the viewer finds it difficult to withdraw his eyes from the image of The Savior. It is as if all the hopes and dreams of a person searching for spiritual transformation are concentrated in that image.		::Finally, in "And We See," the artist places before his viewer the symbolic culmination of the spiritual journey undertaken by all who adhere to the universal truths laid forth in [[Sergius of Radonezh \| Saint Sergius]]'s teaching. He does so by depicting a heavenly vision – an obvious reference to the many heavenly visitations that [[Sergius of Radonezh \| Saint Sergius]], according to his biographer, received throughout his life. The focal point of this painting is the depiction of the countenance of The Uncreated Savior. It is completed in traditional iconographic manner on a mantle that is revealed by an angel. The most amazing part of the countenance of The Savior is the gaze of his all-seeing eyes – kind, humble, but at the same time strict and deeply penetrating into the soul of the onlooker. Similar to the monk who is stunned by the heavenly vision in the left part of the painting, the viewer finds it difficult to withdraw his eyes from the image of The Savior. It is as if all the hopes and dreams of a person searching for spiritual transformation are concentrated in that image.


	::For the monk, having seen the face of The Savior, this moment becomes the testament to the completion of his spiritual journey. Due to diligence, patience, and love for the Higher Being, this journey becomes real in the end. In addition to this, those precepts connected with the Higher Being acquire clarity and validity. The heavenly appearance helps the monk to understand that all the trials and tribulations he has endured were not in vain. Each one of his actions now gain meaning and power. Just as in "And We Labor," the evenly distributed golden color of the painting conveys a feeling of sanctity and spiritual fulfillment. Although obviously Christian in premise, the theme of 'attainment' – i.e., the completion of a search – is in fact universal. With this painting, Roerich reminds the American people, many of whom had thrown morality and spirituality out the window, that there is a 'meaning' to life – a spiritual raison d'être – and it is achieved and understood through the ideals encapsulated in the teachings of Saint Sergius and visually expressed in this series.		::For the monk, having seen the face of The Savior, this moment becomes the testament to the completion of his spiritual journey. Due to diligence, patience, and love for the Higher Being, this journey becomes real in the end. In addition to this, those precepts connected with the Higher Being acquire clarity and validity. The heavenly appearance helps the monk to understand that all the trials and tribulations he has endured were not in vain. Each one of his actions now gain meaning and power. Just as in "And We Labor," the evenly distributed golden color of the painting conveys a feeling of sanctity and spiritual fulfillment. Although obviously Christian in premise, the theme of 'attainment' – i.e., the completion of a search – is in fact universal. With this painting, Roerich reminds the American people, many of whom had thrown morality and spirituality out the window, that there is a 'meaning' to life – a spiritual raison d'être – and it is achieved and understood through the ideals encapsulated in the teachings of [[ Sergius of Radonezh \| Saint Sergius]] and visually expressed in this series.

	==Conclusion==		==Conclusion==

AccountManager: /* Painting "And We Labor" */ Add link Sergius of Radonezh

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Painting "And We Labor": Add link Sergius of Radonezh

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	===Painting "And We Labor"===		===Painting "And We Labor"===
	[[File:N. Roerich - And We are Trying2. From the «Sancta» Series - Google Art Project.jpg\|thumb]]		[[File:N. Roerich - And We are Trying2. From the «Sancta» Series - Google Art Project.jpg\|thumb]]
	::In "And We Labor," Roerich expresses Reverend Sergius's teaching that simple physical labor is the basis of a person's spiritual and moral perfection. Furthermore, he seems to challenge the American pragmatic concept that the goal of labor is materialistic gain instead of the attainment of spiritual satisfaction. In this scene, the monks leave the monastery that sits high on a hill with shoulder-yokes and buckets early in the morning when the sky is filled with the golden light of the sun. Bent under the weight of the yokes, they fulfill their responsibility to bring water to the monastery by slowly and calmly going down to the river. However, even though their labor is difficult, they toil without complaint knowing that their work, while seemingly inconsequential, is actually vital to the common good.		::In "And We Labor," Roerich expresses Reverend [[ Sergius of Radonezh \| Sergius]]'s teaching that simple physical labor is the basis of a person's spiritual and moral perfection. Furthermore, he seems to challenge the American pragmatic concept that the goal of labor is materialistic gain instead of the attainment of spiritual satisfaction. In this scene, the monks leave the monastery that sits high on a hill with shoulder-yokes and buckets early in the morning when the sky is filled with the golden light of the sun. Bent under the weight of the yokes, they fulfill their responsibility to bring water to the monastery by slowly and calmly going down to the river. However, even though their labor is difficult, they toil without complaint knowing that their work, while seemingly inconsequential, is actually vital to the common good.

AccountManager: /* Painting "And We Are Not Afraid" */

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Painting "And We Are Not Afraid"

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	===Painting "And We Are Not Afraid"===		===Painting "And We Are Not Afraid"===
	[[File:And-we-not-afraid-1922.jpg\|thumb]]		[[File:And-we-not-afraid-1922.jpg\|thumb]]
	::For example, in "And We Are Not Afraid" Roerich seems to encourage his viewers to be courageous and to have faith in the face of uncertainty and chaos, again following the teachings of St. Sergius, who told those wishing to enter the hermitage: "The Lord will not give you over to be tempted more than you can bear. Today we are filled with sorrow, but tomorrow our sorrow will turn to joy, and no one will be able to take the joy away. Be bold, be bold, people of God!"<ref>Яровская Н. «Преподобный Сергий Радонежский». Знамя Преподобного Сергия Радонежского, 40</ref>		::For example, in "And We Are Not Afraid" Roerich seems to encourage his viewers to be courageous and to have faith in the face of uncertainty and chaos, again following the teachings of [[Sergius of Radonezh \| St. Sergius]], who told those wishing to enter the hermitage: "The Lord will not give you over to be tempted more than you can bear. Today we are filled with sorrow, but tomorrow our sorrow will turn to joy, and no one will be able to take the joy away. Be bold, be bold, people of God!"<ref>Яровская Н. «Преподобный Сергий Радонежский». Знамя Преподобного Сергия Радонежского, 40</ref>

	::In this painting, an elder-monk and a young monk face each other against the background of a Russian winter landscape at sunset. The soft halftones of the pink and light blue shades of the snow give the onlooker a sense of calm and harmony that corresponds with the inner world of the monks. However, this is only a first impression. The painting gradually reveals an intense struggle and a resulting spiritual equilibrium. The bright pink reflection of the sunset shades the slopes of the snow-covered mountain in the background with a disturbing lilac color, while the dark violet shadows that creep across the mountainside intensify the sense of alarm. The broken rhythm of the shadows and the indefinite shapes they form remind us about the presence of chaotic forces.		::In this painting, an elder-monk and a young monk face each other against the background of a Russian winter landscape at sunset. The soft halftones of the pink and light blue shades of the snow give the onlooker a sense of calm and harmony that corresponds with the inner world of the monks. However, this is only a first impression. The painting gradually reveals an intense struggle and a resulting spiritual equilibrium. The bright pink reflection of the sunset shades the slopes of the snow-covered mountain in the background with a disturbing lilac color, while the dark violet shadows that creep across the mountainside intensify the sense of alarm. The broken rhythm of the shadows and the indefinite shapes they form remind us about the presence of chaotic forces.

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America in the 1920s

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	:These foundations were Roerich's answer to the American cultural and spiritual needs for a social figure who was also concerned with spirituality at the same time that the creation of the series "Sancta," as well as individual paintings such as "Bridge of Glory" and "Meditation," were his answer to the same needs as an artist. According to one scholar, Roerich's paintings from the early 1920s are "brighter, clearer, and more ethereal."<ref>Иванов, Всеволод Никанорович. Огни в тумане. Рерих художник-мыслитель. Москва: Сов. Писатель, 1991. 348</ref> In creating the series "Sancta", Roerich returned to the moral roots of his own culture – i.e., to the teachings of Saint Sergius Radonezhsky – in order to promote the revival of moral values in America and stimulate spiritual and cultural development.		:These foundations were Roerich's answer to the American cultural and spiritual needs for a social figure who was also concerned with spirituality at the same time that the creation of the series "Sancta," as well as individual paintings such as "Bridge of Glory" and "Meditation," were his answer to the same needs as an artist. According to one scholar, Roerich's paintings from the early 1920s are "brighter, clearer, and more ethereal."<ref>Иванов, Всеволод Никанорович. Огни в тумане. Рерих художник-мыслитель. Москва: Сов. Писатель, 1991. 348</ref> In creating the series "Sancta", Roerich returned to the moral roots of his own culture – i.e., to the teachings of [[Sergius of Radonezh \| Saint Sergius Radonezhsky]] – in order to promote the revival of moral values in America and stimulate spiritual and cultural development.

AccountManager: /* Introduction: */

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Introduction:

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	==Introduction:==		==Introduction:==

	: In 1922, while in Chicago as a guest of the director of the local opera company, Nicholas Roerich created a series entitled "Sancta" consisting of six paintings: "And We Are Not Afraid," "And We Labor," "And We Continue to Fish," "And We Open the Gates," "And We Bring Light," and "And We See." It has been argued previously<ref>Сергеева, Н. В. Древнерусская традиция в символизме Н. К. Рериха. Москва, Международный Центр Рерихов, 2003, 39</ref> that these works are closely connected thematically to the spiritual teaching of the great Russian ascetic, the Reverend Sergius Radonezhsky, for whom Roerich created a number of other paintings during his life<ref> "Sergius the Builder" (1924), "Sergius the Builder" (1940), "Saint Sergius Radonezhsky" (1932), "Sergius' Church" (1933), "Sergius' Church" (1936), "Fellow Laborers" (1922), and "Fellow Laborers" (1940)</ref>. However, taking into account that this series was painted by Roerich during America's economically prosperous but socio-politically and socio-culturally conflicted post-WWI era, it is necessary to not only consider the influence that Saint Sergius's teachings had on Roerich, but also to take into account the cultural milieu of the United States that shaped Roerich's creativity at the time and ultimately led him to paint this series.		: In 1922, while in Chicago as a guest of the director of the local opera company, Nicholas Roerich created a series entitled "Sancta" consisting of six paintings: "And We Are Not Afraid," "And We Labor," "And We Continue to Fish," "And We Open the Gates," "And We Bring Light," and "And We See." It has been argued previously<ref>Сергеева, Н. В. Древнерусская традиция в символизме Н. К. Рериха. Москва, Международный Центр Рерихов, 2003, 39</ref> that these works are closely connected thematically to the spiritual teaching of the great Russian ascetic, the Reverend [[Sergius of Radonezh \| Sergius Radonezhsky]], for whom Roerich created a number of other paintings during his life<ref> "Sergius the Builder" (1924), "Sergius the Builder" (1940), "Saint Sergius Radonezhsky" (1932), "Sergius' Church" (1933), "Sergius' Church" (1936), "Fellow Laborers" (1922), and "Fellow Laborers" (1940)</ref>. However, taking into account that this series was painted by Roerich during America's economically prosperous but socio-politically and socio-culturally conflicted post-WWI era, it is necessary to not only consider the influence that [[ Sergius of Radonezh \|Saint Sergius]]'s teachings had on Roerich, but also to take into account the cultural milieu of the United States that shaped Roerich's creativity at the time and ultimately led him to paint this series.