Electronic library of the International Center of the Roerichs. Electronic library of the International Center of the Roerichs Peace Pact symbol color

Humanity strives towards Peace in a variety of ways. Everyone recognizes in their hearts that this creative action prophetically expresses the New Era. Inappropriate preference judgments are made known type bullets or conventions that determine what is closer to World Unity - one or two battleships with long-range guns. But let us imagine even such murderous reasoning as primitive steps towards the same great concept of the World, which will one day curb the warlike instincts of humanity with the spiritual joys of creation.

But the fact still remains that the guns of at least one of the chosen battleships can destroy the greatest treasure of art and science as well as an entire fleet. We mourned the library of Louvain and the irreplaceable beauties of the cathedrals of Reims and Ypres. We remember the many treasures of private collections that were lost during the world's turmoil, but we do not want to enter words of hostility. Let's just say - "Destroyed by human error and restored by human hope." But still, harmful misconceptions in one form or another can be repeated, and new sets of monuments of human exploits can again be destroyed.

We must take immediate action against these delusions of ignorance. Even at the beginning, these conservation measures will yield many useful consequences. No one will deny that the Red Cross flag has provided invaluable services and reminded the world of humanity and compassion. To this end, the draft of an International Peace Treaty protecting all treasures of Art and Science under an internationally recognized flag is presented by our Museum to foreign governments. According to this project, which was submitted to the State Department and the Committee of Foreign Relations, a repetition of the atrocities of the last war, when so many cathedrals, museums, book depositories and other treasuries of the creations of human genius were destroyed, should be prevented. This plan provides for a special flag that will be revered as an international neutral territory; this Banner should be raised above museums, cathedrals, libraries, universities and other cultural centers. My plan, presented by our Museum, was processed in accordance with the Code of International Law by the Doctor of International Law and Political Sciences of the University of Paris, lecturer at the Institute of International Sciences G. G. Shklyaver, in consultation with Professor Albert Joffre de la Pradelle, member of the Hague Peace Court, vice-president Institute of International Law and member of the Faculty of the Sorbonne. Both are honorary advisors to our Museum.

The first paragraph of the Covenant says: "Educational and artistic institutions, artistic and scientific Missions, their personnel, property and meetings must be recognized as neutral and as such must be protected and respected by the warring parties."

"The protection and respect of the said institutions and missions shall be under the sovereignty of the contracting Powers, without distinction as to the nationality of each said institution."

When the idea of an international Flag of Culture was first brought to my attention, we were not at all surprised that it was met with general interest and enthusiasm. Experienced statesmen were amazed that something similar had not been done before. When we asked our honorary advisors Dr. Shklyaver and Prof. Joffre de la Pradelle put this project into international formulas, we soon received a beautifully designed International Treaty, which was accompanied by ardent universal human sympathy.

This International Flag of Culture for the protection of Art and Science does not disparage anyone or violate anyone's peaceful interests. On the contrary, it raises the world's awareness of evolutionary treasures. It helps the values of future creativity and in its essence leads to the great concept of Progress and Peace. In this understanding, in a creative endeavor, the concept of Peace becomes more real. This Banner, as the Guardian of the World, will remind us of the need to catalog all the cultural treasures of the world. This is not at all difficult and in some countries has already been almost completed, but many gaps still remain and every conquest of world consciousness must be welcomed.

The Red Cross flag needs no explanation even to the most uncultured minds. Likewise, the New Banner, this Guardian of cultural treasures, speaks for itself. It is not difficult to explain even to a savage the importance of guarding the treasures of Art and Science. We often say that the cornerstone of the future Culture rests on Beauty and Knowledge. We have now lived to act in this blessed field and must act without delay. The League of Nations, which works for International Harmony, cannot rebel against this Banner, for it is one of the signs of peaceful unity.

It is no coincidence that this idea arose in America. Due to its geographical location, America is less likely than other countries in wartime to be in danger of such destruction. Because this proposal comes from a country whose treasures are less susceptible to the said danger, this further emphasizes that the proposed flag is a symbol of the entire World, not just one country, but the entire Civilized World.

The proposed Banner has three connected amaranth Spheres on a white background in a circle as a symbol of Eternity and Unity. Although we do not know exactly when this Banner will fly over all cultural monuments, there is no doubt that the seed has already grown. It has already attracted the attention of great minds and rushes from heart to heart, awakening once again among the human multitude the idea of Peace and Goodwill.

It is imperative that immediate measures be taken to secure from danger the noble heritage of the Past for a glorious Future. This will happen when all countries solemnly swear to protect the treasures of Culture, which in essence belong not to one people, but to the World. In this way we can create another approach to the flourishing of Culture and Peace.

NY.
March, 1930

From the collection Nicholas Roerich. Power of Light. ALATAS, 1931

BANNER OF PEACE

They ask to collect where there are signs of our Banner of Peace. The sign of the trinity turned out to be spread throughout the world. Now they explain it differently. Some say that this is the past, present and future, united by the ring of Eternity. For others, the explanation is closer that this is religion, knowledge and art in the ring of Culture. Probably, among the numerous similar images in ancient times, there were also all sorts of explanations, but with all this variety of interpretations, the sign as such was established throughout the world.

Chintamani - ancient performance India about the happiness of the world - contains this sign. In the Temple of Heaven in China you will find the same image. The Tibetan "Three Treasures" speak of the same thing. In the famous painting by Memling, the same sign is clearly visible on the chest of Christ. It is also present in the image of the Strasbourg Madonna. The same sign is on the shields of the Crusaders and on the coats of arms of the Templars. Gurda, the famous Caucasian blades, bear the same sign. Can't we distinguish it in philosophical symbols? He is also in the images of Geser Khan and Rigden-Dzhapo. It is also on the Tamga of Tamerlane. It was also on the Papal coat of arms. It can also be found in ancient Spanish paintings and in a painting by Titian. He is on the ancient icon of St. Nicholas in Bar. The same sign on the ancient image of St. Sergius. He is also in the images of the Holy Trinity. It is also on the coat of arms of Samarkand. Sign in both Ethiopia and Coptic antiquities. He is on the rocks of Mongolia. He is also on Tibetan rings. The Horse of Fortune on the Himalayan mountain passes carries the same sign, shining in the flame. He is also on the chest brooches of Lahaul, Ladakh and all the Himalayan highlands. It is also on Buddhist banners. Following into the depths of the Neolithic, we find the same sign in pottery ornaments.

That is why a sign was chosen for the All-Unifying Banner that has passed through many centuries - or rather, through millennia. Moreover, everywhere the sign was used not just as an ornamental decoration, but with a special meaning. If we collect together all the imprints of the same sign, then perhaps it will turn out to be the most widespread and oldest among human symbols. No one can claim that this sign belongs to only one belief or is based on one folklore. It can be especially valuable to look into the evolution of human consciousness in its most diverse manifestations.

Where all human treasures should be protected, there should be such an image that will open the hiding places of all human hearts. The prevalence of the sign of the Banner of Peace is so great and unexpected that people sincerely ask whether this sign was reliable or whether it was invented in later times. We had to see sincere amazement when we proved the prevalence of this sign since ancient times. Now humanity, in horror, is turning to troglodytic thinking and is planning to save its property in underground vaults and caves. But the Banner of Peace speaks precisely of the principle. It asserts that humanity must agree on the universality and nationality of the achievements of human genius. The banner says: “noli me tangere” - do not touch - do not offend the Treasure of the World with a destructive touch.

From the collection: Nicholas Roerich. Diary sheets. Volume 2 (1936 - 1941), M.: MCR.1995

BANNER OF PEACE

Conference in Belgium

At the end of Kali Yuga, severe and seemingly invincible difficulties burden humanity. Many seemingly insoluble problems suppress life and divide peoples, states, communities, families... The people hopelessly try to solve them with materialistic resourcefulness, but even the greatest colossi of mechanical civilization find themselves shocked. Every day brings new confusion, clashes, misunderstandings and misinterpretations. Life is filled with many little lies. Everything inspiring and calling upward becomes something shameful and inaccessible in the eyes of the ignorant. This is how the Vishnu Purana describes the end of Kali Yuga.

But the same Puranas also proclaim the blessed Satya Yuga. What a great concept, what Grace, first of all, will be at the basis of this purification and transformation of life. Of course, this will be the Grace that unites everything that contains, everything that is beautiful, everything that inspires and everything that uplifts. Truly, this will be the great concept that humanity understands under the word Culture. It is to this greatest concept that we will direct all our best thoughts and creativity. In this awareness, let us reveal the ancient wisdom for a valiant future. For the glory of this treasure, we realize our mutual high responsibility and will not interfere with each other in solemnly carrying this tabernacle of Light. Let us understand daily work not as disgusting shackles, but as Pranayama, which awakens and coordinates our highest energies. Let us not lose a day or a night for sowing the blessed seeds of refinement and elevation of the spirit and for bringing culture to the broad masses.

For this great Service, our peace treaty with the Banner of Peace was proposed to protect all the cultural treasures of humanity. Our great Rabindranath Tagore, who is one of the most enlightened patrons of culture, writes to us the following regarding the Peace Pact:

“I have vigilantly followed your remarkable achievements in the field of art and your great humanitarian work for the benefit of all peoples, for which your Pact of Peace, with its banner for the protection of all cultural treasures, will be an extremely effective symbol. I sincerely rejoice that this Pact has been accepted Museum Committee of the League of Nations, and I feel deeply that it will have enormous consequences for the cultural harmony of peoples."

We were not surprised to receive so many enthusiastic responses regarding our Banner of Peace. The past is filled with horrific and irreparable destruction. We see that not only during the war, but also during all other errors, the treasures of human genius were mercilessly destroyed. At the same time, the chosen ones of humanity understand that no evolution is possible without these accumulations of Culture. We understand how unspeakably difficult the paths of Culture are, but all the more carefully we must guard the accesses leading to it. Our urgent duty is to create cultural traditions for the younger generation. Where there is Culture, there is Peace. There is a feat, there is the correct solution to the most difficult social problems. Culture is the accumulation of the highest Grace, the highest Beauty, the highest Knowledge. Humanity cannot in any way be proud that it has done enough for the flourishing of Culture. After ignorance we reach civilization, then we get education, then comes intelligence, then refinement, and after that synthesis opens the gates of high culture. We must admit that our precious, exceptional treasures of art and science are not even fully cataloged. If the Banner of Peace gives impetus to at least this manifestation, then this alone will be a colossal achievement. How much useful and beautiful can be achieved by the simplest means. Let's imagine a World Day of Culture, when the true treasures of the nation and humanity will be announced simultaneously in all schools and educational institutions around the world. Among the many expressions of enthusiasm we must note the profound movement of American women. At the last meeting dedicated to the Banner of Peace, the representative of half a million women V.D. Sporborg vouched for their support of the Banner of Peace. The sympathy of three million women has now been received. There is a long list of organizations, societies, museums, libraries, schools, scientists and government officials who expressed to us their fervent hope that this project will come to life. Several institutions have already raised our Banner over their treasures. The Museum Committee of the League of Nations, chaired by J. Destray, the Belgian minister, unanimously adopted this project. And now, thanks to the initiative of Mr. K. Tulpink, under the patronage of the Marquis Adachi, President of the Permanent International Court of Justice in the old city of Bruges, a special Conference has been organized, for which a broad program has been developed. In connection with this conference, the proposed League of Cities, united by the same Banner of Peace, deserves great attention. K. Tulpinck and other enlightened figures warmly united on this idea. A letter from Paris informs us that our friend the poet Marc Chenault has been authorized to present ancient city Rouen. An important pamphlet by Dr. G. G. Shklyaver entitled “The Roerich Pact and the League of Nations,” originally published in the Review of International Law, has just been received. The author warmly recommends the Covenant from the point of view of international law. Truly, the protection of the treasures of Culture belongs to those all-unifying foundations on which we can unite in a friendly manner without any miserable feelings of envy and malice. We are tired of destruction and denial. Positive creativity is the main quality of the human spirit. In our life, everything that can uplift and ennoble our spirit should have a dominant place. Milestones of the glorious past from early childhood direct our spirit towards a wonderful future. Believe me, it is not a truism to talk about the urgency of striving for Culture. If some ignoramus finds that this idea is unnecessary and superfluous, tell him: “Poor ignoramus, stay outside of evolution, but remember that there is a whole army of us and we will not deviate from the idea of the Banner of Peace. If you create obstacles, we will turn your obstacles are opportunities.”

Remember how many useful initiatives can be put into practice so easily. I return to my long-standing idea about the World Day of Culture, when at the same time, under one banner, a bright word about the treasures of people’s, worldwide Culture will be heard throughout the world. Cenotaphs remind us only of the past, but everything connected with Culture, with countless glorious martyrdoms and gigantic deeds will direct our minds to the future. Just think with what small means mankind, in unity, can create a tradition of high value for younger generations!

Truly, I would like to welcome the Bruges Conference as the beginning of the League of Culture. I wanted all the members and friends of the Conference to joyfully agree on this all-containing, all-generalizing, all-ennobling thought. In such a movement, we could show a wonderful example to all those who, in ignorance, divide, dismember and destroy. Without a doubt, the inner significance of the Bruges Conference will be very remarkable and will open new gates for all future glorious developments in the field of culture. The Bruges Conference will not be the moth that burns its wings at the first flame. She forms that luminous legion, whose fiery wings will grow in harmony with the feat of great beauty and glorious necessity.

In the City Museum of Padua there is Guariento's painting "Angels of Peace". The council of angels gathered in a solemn circle. Each angel holds a sphere as an all-encompassing sign and branch of the world, which in the hand of an angel is as severe as an invincible sword. This is the picture that comes to mind when I think about our Conference. Angels are kind, but adamant. I imagine the legions of Peace and Culture to be just as benign and unyielding.

Let us welcome all those who, overcoming personal difficulties, bypassing pathetic selfishness, direct their spirit to the preservation of Culture, which above all else will bring a brilliant future.

By all means raise the wonderful necessity of Culture. If we had other defining greatnesses at our disposal, we would have to use them when speaking about the most significant concept of the world.

We should not be afraid of enthusiasm. Only the ignorant and spiritually powerless can mock this great and pure feeling, but such ridicule is nothing more than a sign of a true legion of honor. It would be terrible if during great revelations the words “small” and “insignificant” were used as defining words. We must in every possible way protect ourselves from the most shameful action - from belittling. This would mean decomposition. Nothing can prevent us from serving the formation of Culture, since we ourselves believe in it and because we give it our best ardent thoughts.

Don't belittle! Great Agni burns drooping wings. Only in harmony with evolution can we ascend, and nothing can extinguish the selfless fiery wings of enthusiasm.

1931, Santiniketan

From the collection Nicholas Roerich. Power of Light. ALATAS, 1931

A little over 10 years ago, during Operation Desert Storm, the most famous city of antiquity, Babylon, ceased to exist in Iraq. At the same time, the Mesopotamian Art Museum in Baghdad was looted by looters and many cultural treasures disappeared forever. Alas, today we have many similar examples of destruction. However, since the burning of the Temple of Artemis in Ephesus, history knows not only herostrati, but also people who realize the value of culture and try to preserve its heritage from destruction.

New and old

History, as we know, does not know linear development - it is cyclical. Everything that was once born, that reached the climax of its development and bore fruit, must one day decline and disappear, giving way to a new beginning. But this new beginning is rarely cloudless. “The gods of one era become demons in another,” the ancients said, implying that changing historical cycles always causes a change of paradigms and an inevitable conflict between the old and new worldviews. This principle manifests itself both in large historical cycles and in small ones.

The Era of Pisces, for example, which replaced the Era of Aries, brought Christianity, a new worldview, a new religion of Love. But with what difficulty she made her way! And having broken through, she fiercely denied the pagan past - right up to the physical destruction of “heretical” works. Each Era and each religion has its own tasks and its own value; the new and the old cannot be compared in the categories of “better or worse” - they are simply different. The problem is that at the junction of eras, when one cycle gives way to another, the denial of the old often leads to the denial of the values of the previous era, up to their physical destruction.

This was the case in Ancient Egypt, when Akhenaten’s monotheists destroyed many historical monuments, trying to destroy any mention of the God Amun. This is what happened in young Soviet Russia, when, in the wake of the atheistic upsurge, churches were destroyed and books were burned under the hot hand. This was the case quite recently, when independent states that had left the USSR were actively “liberating” themselves from the Soviet past.

I repeat, the question is not comparing the new and the old - they cannot be objectively compared. The question is that denial of the previous stage often leads to destruction cultural heritage, the value of which cannot be estimated. And the problem is precisely that few people can appreciate the damage that we as humanity inflict on ourselves by destroying what was created earlier.

But maybe it's not so scary? Maybe it’s even useful to free yourself from the burden of the past, giving the opportunity to create something new? After all, when moving from one house to another, we are happy to get rid of old things that have long become a burden, an unnecessary burden. Maybe we shouldn’t be so sensitive to the loss of ancient, mossy values? After all, new ones will be created!

Culture and civilization

It's time to define some terms. When talking about the total heritage that humanity creates, we usually talk about culture and civilization. These concepts are so closely related that they are often confused, which is not entirely true. They are indeed closely interconnected, but this connection is akin to the connection between spirit and matter in nature, soul and body in man: these are two parts of a single whole.

Nicholas Roerich, a famous artist and outstanding public figure, defined culture as spirit creative human activity. He called it civilization matter this activity, the arrangement of human life in all its material and civil aspects. These two types of activities are inextricably linked, but have different sources of origin and different content and purpose. Roerich wrote that “until now many people believe it is quite possible to replace the word Culture with civilization. At the same time, it is completely missed that the Latin root Cult itself has a very deep spiritual meaning, while civilization at its root has a civil, social structure of life.”

Many outstanding philosophers considered culture to be the core of a person’s internal formation and spiritual growth: culture stores sacred symbols that connect a person with his true roots and allow him to nourish himself from these roots. Such a connection, carefully maintained and protected, can provide food for internal awakening and spiritual growth. In particular, Nikolai Berdyaev wrote: “The oldest of cultures - the culture of Egypt - began in the temple, and its first creators were priests. Culture is associated with the cult of ancestors, with legend and tradition. It is full of sacred symbolism, it contains knowledge and similarities to another, spiritual reality. Every culture (even material culture) is a culture of the spirit; every culture has a spiritual basis - it is a product creative work spirit over natural elements."

For the happy and productive development of humanity it is important synthesis spiritual and material, culture and civilization. When, for some reason, cultural values fade into the background, then civilization begins to dominate, and a person is deprived of food for the soul. “In civilization,” wrote Berdyaev, “spiritual energy dries up, the spirit, the source of culture, is extinguished. Then the domination over human souls begins not of natural forces... but of the magical kingdom of machineness and mechanicalness, replacing true being.”

You and I do not need to go far to confirm this thought of Berdyaev: before our eyes, generations are being formed who are only familiar with “War and Peace”, “Eugene Onegin”, the works of Bach and Rachmaninov, Nesterov and Polenov. Cultural values have not completely disappeared from our lives, but their lack is felt so acutely that it makes us talk about a kind of crisis that we are experiencing today. Its essence is that today we have enormous capabilities and skills (civilization), but we understand less and less for what they are given to us. It is precisely this understanding of “for what” that culture provides.

Thus, returning to the question of the importance of cultural values, wittingly or unwittingly destroying them, destroying cultural heritage, we as humanity are depriving ourselves of our roots and simply complicating our own further spiritual development.

Banner of Peace

Better than anyone else, realizing all of the above, at the beginning of the last century, Nicholas Roerich came up with a project to protect world cultural values and proposed a special sign for this project - the Banner of Peace. The essence of the proposal was to protect historical monuments and artistic and scientific institutions. Protect from possible destruction in the event of military conflicts and protect in peacetime from destruction for any other reasons.

On April 15, 1935, in Washington, 21 American republics signed the proposal proposed by Roerich Treaty for the Protection of Artistic and Scientific Institutions and Historical Monuments, which from that moment began to be called the “Roerich Pact”. The Roerich Pact as an international treaty became the first international document that was entirely devoted to the protection of cultural property. The symbol of this agreement was the Banner of Peace - three red circles inside a red circle on a white background. Roerich himself wrote that “the proposed flag is a symbol of the whole World, not just one country, but the entire civilized World. The proposed Banner has three connected amaranth Spheres on a white background in a circle as a symbol of Eternity and Unity.”

Nikolai Konstantinovich, in his numerous articles, repeatedly insisted that this symbol was not invented, but was taken as one of the most universal world symbols. “Some say,” writes Roerich, “that this is the past, present and future, united by a ring of eternity. For others, the explanation is closer that this is religion, knowledge and art in the ring of culture. Probably, among the numerous similar images in ancient times, there were also all sorts of explanations, but with all this variety of interpretations, the sign as such was established throughout the world.

Chintamani - India's oldest idea of the happiness of the world - contains this sign. In the Temple of Heaven in China you will find the same image. The Tibetan “Three Treasures” talk about the same thing. In the famous painting by Memling, the same sign is clearly visible on the chest of Christ. It is also present in the image of the Strasbourg Madonna. The same sign is on the shields of the Crusaders and on the coats of arms of the Templars. Gurda, the famous Caucasian blades bear the same sign. Can't we distinguish it in philosophical symbols? He is also in the images of Geser Khan and Rigden-Dzhapo. It’s also on Tamerlane’s Tamga. It was also on the Papal coat of arms. It can also be found in ancient Spanish paintings and in a painting by Titian. He is on the ancient icon of St. Nicholas in Bar. The same sign on the ancient image of St. Sergius. He is also in the images of the Holy Trinity. It is on the coat of arms of Samarkand. The sign is in both Ethiopia and Coptic antiquities. He is on the rocks of Mongolia. He is on Tibetan rings. The Horse of Fortune on the Himalayan mountain passes carries the same sign, shining in the flame. He is also on the chest brooches of Lahul, Ladakh and all the Himalayan highlands. It is also on Buddhist banners. Following into the depths of the Neolithic, we find the same sign in pottery ornaments.

History of the Roerich Pact

The fate of the Roerich Pact was not simple. Once signed, it aroused keen and genuine interest among most cultural figures of that time. Rabindranath Tagore, the great Indian poet and public figure, wrote to Nicholas Roerich: “I have vigilantly followed your wonderful achievements in the field of art and your great humanitarian work for the benefit of all peoples for whom your Pact of Peace, with its banner for the protection of all cultural treasures , will be an extremely effective symbol." The pact was warmly supported by outstanding figures of world science and culture: Romain Roland, Bernard Shaw, Albert Einstein, Thomas Mann, Jawaharlal Nehru, Herbert Wells and many others

“With all my heart I join the signatories of the Roerich Pact,” wrote Maurice Maeterlinck. “Let us unite around this noble ideal with all our moral strength.” The famous American artist Leon Dabo wrote: “If we succeed in achieving that all peoples accept this Banner to protect everything that is beautiful, dear, everything manifested by human genius, everything created by human thoughts and hands, then this will be the greatest achievement of spirit and culture in recent times.” millennium". Alas, that did not happen.

Despite the fact that in 1939 the governments of Belgium, Spain, the USA, Greece and the Netherlands, under the auspices of the League of Nations, issued a draft Declarations and project International Convention for the Protection of Monuments and Works of Art in Time of War, all efforts came to naught due to the outbreak of World War II. The destruction and looting caused by this war forced the world community, already within the framework of UNESCO, to return to the issue of protecting cultural monuments. It was only in 1972 that the Convention Concerning the Protection of the World Cultural and Natural Heritage was adopted, which introduced the designation “World Heritage Site” and, for the first time, protection concerned not only cultural but also natural heritage.

Thus, today the Roerich Pact no longer exists directly in the form in which it was intended by its creator, but its goal has been partially achieved. It seems that Nikolai Konstantinovich himself in some sense assumed such an outcome of events when he wrote:

“If the Banner of the Red Cross did not always provide complete security, it nevertheless introduced into human consciousness a huge incentive for philanthropy. Likewise, the Banner we proposed for the protection of cultural treasures, even if it does not always save precious monuments, will nevertheless constantly remind us of our responsibility and the need to take care of the treasures of human genius. This Banner will introduce another stimulus into consciousness, a stimulus of Culture, a stimulus of respect for everything that creates the evolution of humanity. We collectors, who have had much to do with museums, know the Golgothas of countless works of art and science. No one would dare to say that the desire to protect the treasures of creativity may be unnecessary or unnecessary. No, every deepening of this consciousness brings new cultural possibilities. Thus, our proposal will open the possibility of viewing and cataloging true treasures and placing them under the protection of all mankind, not only during war, but, I strongly emphasize, also during the so-called peace.”

Over the almost 80 years of its existence, the Banner of Peace has visited both poles of the Earth and its highest peaks, flown into space on the ISS and for several years officially hung in the foyer of the State Duma of the Russian Federation. Many famous museums and cultural institutions still display it as an official flag. But the main meaning of the Banner of Peace is not in the formal popularity of this symbol, but in the very “stimulus of Culture” that it introduces into a person’s consciousness, reminding him of his own spiritual roots and the importance of preserving them.

Cultural, political, public figures about the meaning of the Roerich Pact and the Banner of Peace

In the strict observance of this pact by the peoples of the world, we see the possibility of the widespread implementation of one of the life principles - the preservation of modern civilization. This agreement contains a spiritual meaning much deeper than that expressed in the text itself. Franklin Roosevelt, US President

It [the Roerich Pact] arose as a kind of pact between peoples for the preservation of cultural and artistic monuments. Many nations have accepted it.<…>...We agree on many things and forget about them in times of war and disaster. We saw with indignation in the last war the destruction of a huge number of cultural monuments, contrary to all previous agreements. However, it remains a fact that the tragedy of destruction took the great cultural monuments of the past by surprise. We have a great number of them in India and it is our duty to respect them, be proud of them and take inspiration from them. Jawaharlal Nehru, Prime Minister of India

I wholeheartedly endorse the ideas and ideals of Professor Roerich associated with the Pact for the Protection of Artistic and Scientific Values. This is a noble project. Leopold Stokowski, conductor

After reading your article about the international flag, I first thought that if even the spiers of the Church of the Lord did not provide protection from bombing in the last war, then no emblem, faith or law would protect against the extremes of wartime. But in fact it is possible, and I, of course, wholeheartedly join this movement, the organizer of which is Professor Roerich. Rockwell Kent, painter, sculptor, writer

You truly deserve high praise for this international Pact in defense of the treasures of art and science, and I am glad to have this opportunity to offer you my congratulations. Theodore Dreiser, writer

The Banner of Peace must be recognized by all governments. Everyone must ensure that this Banner is recognized and legally established by all countries. Lobzang Mingyur Dorje, Lama of Tibet

In my opinion, your project is excellent. You want to save works of art and cultural institutions such as universities, libraries, museums, cathedrals, etc. from destruction during wartime. I believe that this noble initiative will be duly appreciated and fully supported by the peoples who suffered the horrors of war. Every effort should be made to create an international flag that would protect art monuments from such destruction as was caused by those fighting during the last great war. The University of Lublin in Poland joins this project and strongly supports it. Josef Kruszynski, Rector of the Catholic University of Lublin

All of humanity is in your debt for this plan. May the Lord grant well-deserved success to your great initiative. J. Pongrage, Librarian, Lutheran Theological Seminary, Hungary

...An idea born in the Russian artist Roerich<…>in the Russian situation, from sorrowful reflections on Russian neglect of our cultural values, the idea of a call to protect the good fruits of the activity of the human spirit acquired universal significance. Roerich's call is now heard all over the world, an energetic, persistent, non-violent and persistent call - a call that wakes people up and tells them:

The same is not possible. More attentiveness, more love, more sympathy for each other. Life is not only a struggle of all against all, but also human cooperation. And cooperation is Culture.<…>

Every modest teacher, every student sitting behind a book, everyone who thinks about the meanings and goals of history must rush to the sound of this horn, which Nikolai Konstantinovich blows at the Banners of Peace he raises around the world. Vsevolod Ivanov, historian, writer

Roerich's moral principles regarding the cultural heritage of the Earth became norms of international law. S.T.Konenkov, sculptor

N.K. Roerich was the first to raise the Banner of Peace - a symbol of the unity of humanity in the name of preserving and enhancing the great values of Culture, in the name of creating a better future. These noble ideas are especially relevant today, since the degradation of society begins with violations of cultural continuity. D.S. Likhachev, historian, literary critic, public figure, academician of the Russian Academy of Sciences

We raised the Banner of Peace into Space to once again remind all people of our global responsibility for the fate of humanity and the planet. Michael Foel, NASA astronaut

One of the most common symbols of civilization is the so-called trinity sign, which represents three circles or three hemispheres connected in the form of a triangle. This sign is present everywhere from Ancient Egypt and archaic Greece to classical Japan. The artist and thinker Nicholas Roerich once paid close attention to this symbol. Surprised by its prevalence in various cultures and traditions, Roerich called this symbol the “Banner of Peace” and noted: “This symbol is of great antiquity and is found throughout the World, therefore it cannot be limited to any sect, organization, religion or tradition, but also personal or group interests, for it represents the evolution of consciousness in all its phases.” He also notes the uncertainty of the symbolism of this sign: “in pagan cultures, be it the Mongols, the peoples of the Caucasus, the Scythians, the Slavs or the Finno-Ugrians, the symbolism of the sign does not lend itself to an unambiguous interpretation. One thing is certain: the three dots are not just an ornamental motif, they represent a sacred symbol , which is no longer possible to accurately determine"

In 1929, the sign in the form of three red circles enclosed in a large circle, on the initiative of Roerich, was approved as a symbol of the Pact of Culture (International Agreement for the Protection of Cultural Monuments).

The prevalence of this sign can be judged from Roerich’s article.

Roerich N.K. "BANNER OF PEACE"

They ask to collect where there are signs of our Banner of Peace. The sign of the trinity turned out to be spread throughout the world. Now they explain it differently. Some say that this is the past, present and future, united by an eternity ring. For others, the explanation is closer that this is religion, knowledge and art in the ring of culture. Probably, among the numerous similar images in ancient times, there were also all sorts of explanations, but with all this variety of interpretations, the sign as such was established throughout the world.
Chintamani - India's oldest idea of the happiness of the world - contains this sign. In the Temple of Heaven in China you will find the same image. The Tibetan “Three Treasures” talk about the same thing. In the famous painting by Memling, the same sign is clearly visible on the chest of Christ. It is also present in the image of the Strasbourg Madonna. The same sign is on the shields of the Crusaders and on the coats of arms of the Templars. Gurda, the famous Caucasian blades bear the same sign. Can't we distinguish it in philosophical symbols? He is also in the images of Geser Khan and Rigden-Dzhapo. It’s also on Tamerlane’s Tamga. It was also on the Papal coat of arms. It can also be found in ancient Spanish paintings and in a painting by Titian. He is on the ancient icon of St. Nicholas in Bar. The same sign on the ancient image of St. Sergius. He is also in the images of the Holy Trinity. It is on the coat of arms of Samarkand. The sign is in both Ethiopia and Coptic antiquities. He is on the rocks of Mongolia. He is on Tibetan rings. The Horse of Fortune on the Himalayan mountain passes carries the same sign, shining in the flame. He is also on the chest brooches of Lahul, Ladakh and all the Himalayan highlands. It is also on Buddhist banners. Following into the depths of the Neolithic, we find the same sign in pottery ornaments.
That is why a sign was chosen for the All-Unifying Banner that has passed through many centuries - or rather, through millennia. Moreover, everywhere the sign was used not just as an ornamental decoration, but with a special meaning. If we put together all the prints of the same sign, then perhaps it will turn out to be the most widespread and ancient among human symbols. No one can claim that this sign belongs to only one belief or is based on one folklore. It can be especially valuable to look into the evolution of human consciousness in its most diverse manifestations.
Where all human treasures should be protected, there should be such an image that will open the hiding places of all human hearts. The prevalence of the sign of the Banner of Peace is so great and unexpected that people sincerely ask whether this sign was reliable or whether it was invented in later times. We had to see sincere amazement when we proved the prevalence of this sign since ancient times. Now humanity, in horror, is turning to troglodytic thinking and is planning to save its property in underground vaults and caves. But the Banner of Peace speaks precisely of the principle. It asserts that humanity must agree on the universality and nationality of the achievements of human genius. The banner says: “noli me tangere” - do not touch - do not insult the treasures of the world with a destructive touch.

Subsequently, in 1935, during the Mongolian expedition, Roerich again encountered a familiar image and noted “The rock of the Shara Murena monastery is all dotted with blue signs of the Banner of Peace. The Circassian gurda blades have the same sign. From the monastery, from sacred objects to the combat blade, the same sign is everywhere. You can see it on the shields of the crusaders, and on the tamga of Tamerlane. On old English coins and on Mongolian seals - the same sign is everywhere. Doesn't this ubiquity mean that it needs to be remembered everywhere? Doesn’t it mean that on top of individual folk designations there are unifying and reminder signs everywhere, just to be able to see them and remember them firmly? Both conditions: seeing and remembering are equally necessary.”

Subsequently, there were more and more new manifestations of this symbol in the cultures of different times and peoples. Moreover, in addition to the “classic” sign in the form of a composition of three circles, there are also many stylizations, for example, a merged image of circles in the form of a trefoil. (Many examples of the use of this sign, recorded by researchers, can be found in the review article by E. Matochkin “The Sign of the Banner of Peace in the art of Eurasia and the works of N.K. Roerich”,

Below are some illustrations that give an impression of the inclusiveness and stylistic diversity of the “sign of the three circles.”

Ill. Three circles on a stone plate of the Upper Paleolithic period (about 30 thousand years BC), found on the territory of Khakassia (1), on petroglyphs from Ireland (2) and Puerto Rico (3)

Ill. The sign of three circles on ceramics from Ancient Greece (1,2) and China (3)

Ill. Three circles on a Sumerian tablet

Ill. Three circles on jewelry from Ancient Egypt, Crete and Khakassia

Ill. Products found on the territory of Ancient Rus' (1), Mordovia (2), Khakassia (3)

Ill. Ornaments on a Celtic cross, a Japanese kimono and a priest's robe from ancient (pre-Aryan) India

Ill. Symbols of the Swedish ruler Birger Magnusson (17th century engraving)

Ill. Ornaments decorating European cathedrals

Ill. Ornaments on the Cairo Mosque, Shaolin Temple (China) and Tokugawa Dynasty Mausoleum (Japan)

Ill. Flemish artist Hans Memling (15th century) depicted the symbol of three circles on the chest of Christ

Ill. Symbol of three circles of beads in iconography

The Banner of Peace, a white flag with three circles in an amaranth-colored ring, is a symbol of the Roerich Pact, the first ever international treaty for the protection of the cultural heritage of mankind.

The treaty was signed on April 15, 1935 in Washington by representatives of 20 countries of North and South America.

According to Roerich's plan, this sign should be placed on objects to be protected, as a kind of Red Cross of Culture.

The origin of the symbol is lost in ancient times. It was given sacred meaning at different times and among different peoples. About this N.K. Roerich wrote in many works, including an essay "Banner of Peace"(1939)

Despite its ancient origins, it has never been used as a distinctive sign of any belief. N.K. Roerich also called it a symbol of the Trinity, understood the hidden meaning of this sign and did not object to various interpretations if they were based on the concepts of synthesis and unification.

"Can't be international agreement and mutual understanding without Culture. The popular understanding cannot embrace all the needs of evolution without Culture. Therefore, the Banner of Peace contains all the subtle concepts that will lead peoples to the concept of Culture. Humanity does not know how to show respect for what is the immortality of the spirit. The Banner of Peace will give an understanding of this great meaning. Humanity cannot flourish without knowledge of the greatness of Culture. The Banner of Peace will open the Gates to a better future. When countries are on the path to destruction, even the least spiritual must understand what the ascent consists of. Truly, salvation is in Culture! This is how the Banner of Peace carries a better future.” Hierarchy. §331

“Truly, the Banner of Peace will unite all cultural tasks and give the world the achievement that is so needed. Thus, those who carry an aspiring quest will respond to all statements. The nations will truly unite under this Banner.” Hierarchy. §334

“...The symbol of the Roerich Pact was the Banner of Peace, which carries within itself not only the idea of protecting Culture, but also the evolutionary nature of this Culture. Banners of Peace, the international sign of evolution, are displayed throughout the world where Culture is protected. “There will be a time when the Banner of Peace, the Banner of Culture,” wrote Helena Roerich, “will cover the whole world.” (...)

On April 15, 1935, when the Roerich Pact for the Protection of Culture was signed by the heads of a number of states, N.K. Roerich once again reminded everyone of the meaning and evolutionary essence of the Banner of Peace, the symbol of this pact.

“Let the Banner flutter over the centers of Light, over the sanctuaries and strongholds of the beautiful. Let it flutter over all the deserts, over the lonely hiding places of Beauty, so that the deserts may flourish from this sacred seed. The Banner is raised. In spirit and heart it will not be lowered. It will flourish with the bright fire of the heart Banner of Culture. Let it be!"

“Let it be,” we will repeat, following our great compatriot, who brought to our planet the much-needed knowledge about Culture and Cosmic Evolution.”

Shaposhnikova L.V. Roerich Pact. At the core is beauty and knowledge.
Newspaper "Culture", No. 14, April 14-20, 2005.

“...The Banner of Peace was consecrated in 1931 in Bruges, where the town hall itself is decorated with a Gothic trefoil. In the same year, N. Roerich created a series of works reflecting the meaning and purpose of the protective cloth. These are his famous poster paintings “Glow” and “Banner of Peace. Pax cultura.”

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Magazine “Fiery World”, No. 4 (15). 1997. p.78

“That is why it is so necessary to affirm the feminine principle in the spirit. For the banner of the great balance of the world is given to a woman to raise. So the time has come when a woman must win the right that was taken away from her and which she gave voluntarily...” Fiery World III. §241

N.K. Roerich

Lady of the Banner of Peace

Lady of the red flame!
Lady of the Banner of Peace!
To You, Lady, we resort.
Who will raise the sign of Peace,
Sign of Preservation of the Supreme Treasures?
Who else besides You will come to us?
Help raise the Banner,
A sign of creation to the nations?
Stormy sea and destructive whirlwinds
But you will raise the Banner
And fill the human heart
Consciousness of the sacred keeping of the Spirit.
After all, You know how impossible it is to put off this sign.
After all, You know how many destructions have already humiliated the Earth.
You know all the reproaches of the best, what people need.
If the herd knows no danger
After all, you, being a shepherd, will raise the Peaceful Banner.
And the mountain winds carry Your command everywhere:
Save, and build, and create a Bright tomorrow.
Your Flame of Red dispels the darkness.
Your breath heals all wounds
And doesn’t Your Hand build,
Lightly touching the creative stones of creation?
So we ask You to raise
This sign of the Powerful Trinity.
We know that you will not refuse,
For You are disgusted by destruction and
Destruction of beautiful beginnings.
You can't stand chaos, You can't stand
Confusion, and therefore You will raise and
You will preserve and show the people a sign
Protecting peaceful beautiful treasures!
A Guiding Sign for every creative Thought!
Sign of Affirmation and Light.
Help, Lady of the Banner of Peace!

“The Oriflamme Madonna bears the reflection of Leonardo’s art.” Here, as in Renaissance images, everything is filled with admiration for both the human appearance of the Goddess and the opening cosmic distances. The Oriflamme - the scarlet battle banner of the French kings - here calls not for battle, but for the protection of all the beauty of the world. The maforium on the head of the Lady is marked with three circles, as the artists of the 15th century, in particular Jean Fouquet, usually decorated the crown of the Mother of God.”

Matochkin E. Sign of the Banner of Peace in the art of Eurasia and the works of N.K. Roerich
Fiery World. Magazine No. 4 (15). 1997. p.78

“In March 1914, I completed the painting “Glow.” Against the backdrop of a Belgian castle, near a statue of a Belgian lion, a knight stood guard in full armor. The entire sky was already filled with a bloody fiery glow. Fire hieroglyphs were already flashing on the towers and windows of the old castle. But the noble knight remained awake on his constant watch. Four months later, everyone already knew that this noble knight, of course, was King Albert himself, who protected the dignity of the Belgian lion.

The name of King Albert, all his creative feats for the good of his country, his military heroism, his broad views and deep goodwill have always been precious to me. Truly, it is joyful, even in our troubled times, to have before us such a clear image of a hero - a knight without fear or reproach, who brilliantly spent his entire life in tireless labors for the prosperity of the people.

Humanity must take care of its heroes. It should also cherish the memory of them, for it will already contain healthy creative inspiration. Life is dull without a hero. It is all the more valuable if such heroes not only appear on the pages of legends, passing into divine myths, but they turn out to be sent to ours.

time. They work, create and fight for good these days. People could see them. Many comrades could feel the touch of an encouraging hand and hear the calling word. Our times have not been abandoned either. The name of King Albert will remain among these undoubted heroes, so necessary not only for their country, but for the honor and dignity of all humanity.

Heroism is not selfhood. Heroism is true altruism. In heroism self-denial and self-sacrifice live and shine. Glory accompanies the hero, but it is not a deliberate spelling, but a natural emblem of his glorious shield.

And now in the Mongolian desert it is also a joy to be able to write down these words. After all, in every good mark there is already something calling, uniting and opening the heart. We should be grateful to the hero who, through his feat, helps us open our hearts and look friendly into the eyes of our neighbor.”

Roerich N.K. "King Albert". Diary sheets. I volume ICR. Bisan Oasis. 1995. p.486,487

Nikolai Konstantinovich was referring to the events associated with the beginning of the First World War, when Germany, having declared an ultimatum to neutral Belgium, demanded that its troops pass through its territory to the borders of France. Having received a refusal, on August 4, 1914, Germany invaded Belgium and attacked the border fortress of Liege. The Belgian army, led by King Albert, put up fierce resistance, but was forced to retreat before a stronger enemy. Soon almost the entire territory of Belgium was occupied by German troops.

Years have passed. The hard times are over. In the early thirties, Belgium became one of the first countries in the world where the ideas of the Roerich Pact were supported. In this, Nikolai Konstantinovich believed, great merit belonged to the enlightened ruler of Belgium, King Albert. (...)

In 1931, seeing the glow of new wars, Nikolai Konstantinovich repeated the picture of 1914, depicting the Banner of Peace in its upper right corner. No, Armageddon times are not a thing of the past, Roerich seems to remind and calls for strengthening the Sacred Watch. That is why the noble knight stands on guard; and above the “stormy, lost world” flies the saving Banner with the words CULTURE and PEACE inscribed on it.

Great gift. About the painting by N.K. Roerich “Glow”. Sunrise. Magazine. No. 4 (144). 2006

The Angel of Silence was captured with the same hand and thought that formed the image of Sophia - the Wisdom of God. Fiery are the wings of the aspiring Sophia, and fiery are the wings of the Angel of Good Silence. (...) Agni Yoga preaches: the first covenant is like thunder, but the last is created in silence. First the Fiery Messenger, and then the Most Pure Sophia Herself - Wisdom...

N.K. Roerich "Power of Light". About the Eternal... M. 1994 p.169-170

“...In 1932, Roerich created the painting “Sophia the Wisdom of God,” where he depicts a royal feminine creature soaring over the world on a fiery horse. It is interesting to compare Roerich’s Sophia with her canonical image in ancient Russian icon painting, described by Florensky: “...an angel-like figure in a royal dalmatic, with barmas and an omophorion. Her long hair is not curly, but falls on her shoulders. Her face and hands are fiery in color, behind her back are two large fire-like wings, on her head is a golden caduceus, on her left is a closed list, pressed to her heart; near the head there is a golden halo, above the ears there are toroki or “rumors”,” in addition, Florensky gives his own decoding of the symbolism of her image: “Sofia’s wings are a clear indication of some special closeness to the heavenly world. The fiery nature of the wings and body is an indication of spirituality, the fullness of spirituality. A crown in the form of a city wall is a common sign of Mother Earth in her various modifications, perhaps expressing her patronage of humanity as a collective whole.” Regarding the list, it is said that “it contains the unknown and hidden secrets of God.”

First of all, it should be noted that Roerich, instead of the calm and solemn image of the traditional icons of Sofia, creates a work that is unusually dynamic and expressive. His Sophia flies on a horse, as is customary for the image of Archangel Michael - the commander-leader of the forces of light. Instead of Sophia's halo there is a disk of the sun. She herself is like a messenger of the sun, like a warrior of Light. A detailed comparison with Florensky’s description shows that, basically, Roerich strictly adheres to the iconographic rules, except for one glaring difference. Sofia holds the list not in her left hand, but in her right, and this list is revealed. The list shows the symbol of the Banner of Peace - three circles in a circle and the word “Αγιωζ” written three times in ancient Greek, which means “holy.” The Banner of Peace, or the International Flag of Culture, was proposed by Roerich to protect Art and Science, all the creations of human genius. In the picture, this Banner flutters over cathedrals and palaces, libraries and museums.

They all represent one world city behind a common Kremlin wall, as if symbolizing the unity of the creations of human hands. According to the author, “the proposed Banner has three connected amaranth spheres on a white background in a circle as a symbol of Eternity and unity.”

In the image of the heroic Sophia, Roerich embodied his faith in the advent of the era of the Mother of the World and had great hopes for a woman in further development humanity. In his book “The Power of Light” in 1931 it was written: “In the difficult days of cosmic cataclysms and human disunity and degeneration, the oblivion of all the highest principles of existence that give true life and lead to the evolution of the world, a voice must rise calling for the resurrection of the spirit, for bringing the fire of achievement into all the actions of life, and, of course, this voice should be the voice of a woman who has drunk the cup of suffering and humiliation and has been tempered in great patience. Let now the woman - the Mother of the World - say: Let there be Light! What will this Light be like and what will the fiery feat consist of? “In raising the banner of the Spirit, on which will be inscribed – Love, Knowledge and Beauty.”

Applying these thoughts to this picture, you can also read the scroll as follows: “Holy Love. Holy Knowledge. Holy Beauty." Apparently, the time has come for people to realize and protect these highest spiritual and evolutionary values. After all, the cornerstone of the future Culture will rest on them, and a new world will come through them. All red and yellow, in the flame of the solar disk, Roerich's Sophia again returns us to Solovyov's interpretation of the apocalyptic plot. It is probably impossible to depict the image of a wife dressed in the sun more convincingly than Roerich did in his painting. And the word born by her is those unknown hidden secrets of God that are inscribed in the open scroll. The meaning of the picture is close to Bulgakov’s thoughts: “...and above the earthly world the mountain Sophia floats, shining through it as reason, as beauty, as...economy and culture.”

The chants dedicated to Sophia say that “from her came the fire of the Divine.” So in Roerich’s canvas the whole sky is engulfed in fire, in its flames the divine Sophia rushes on a horse.”

Matochkin E.P. “N.K. Roerich and Russian cosmism." Part I

“On the edge of an abyss, near a mountain stream, in the evening fog the outlines of a horse appear. The rider is not visible. Something unusual sparkles in the saddle. Maybe this is a horse lost in a caravan? Or perhaps he threw off the rider while jumping over the abyss? Perhaps this horse, weakened, was abandoned on the road and now, rested, it is looking for its owner? The mind thinks this way, but the heart remembers something else. The heart remembers how from the Great Shambhala, from the sacred mountain heights, at the appointed hour a lonely horse will descend and on its saddle, instead of a rider, the Treasure of the World will shine: Norbu Rinpoche-Chintamani - the Wonderful Stone, the Savior of the World.

Isn't it time? Doesn’t a lonely horse bring the Treasure of the World?”

Roerich N.K. "Power of Light". Sacred Watch. Riga. Vieda. 1992. p.193,194

“...Once again ten fingers are raised around the fire and the story, convincing in its simplicity, inspires human hearts. Now the tale is about the famous black stone. In beautiful symbols, the old traveler will tell you how, in time immemorial, a wonderful stone fell from other worlds - Chintamani of the Hindus or Norbu Rinpoche of the Tibetans and Mongols. And since then, part of this stone has wandered the earth, heralding a new era and great world events. It will be told how a certain ruler owned this stone and how dark forces tried to steal the treasure.

Your friend, listening to this legend, whispers to you:

“This stone is black, unbridled and odorous and is called the Beginning of the World. And he moves as if spiritualized. This is what Paracelsus bequeathed." And our other companion will smile:

"The Stone of Exile, the Wandering Stone of Wolfram von Eschenbach."

But the narrator by the fire continues his tale about the miraculous powers of the stone; how the stone manifests itself and how it indicates world events.

“When a stone is hot, when a stone trembles, when a stone changes its color, with these phenomena the stone predicts the future for the owner and makes it possible to know enemies and dangers or happy events.”

A listener asks:

“Isn’t this the stone on the Rigden-Dzhapo tower? Isn’t it he who gives the rays that penetrate all the oceans and mountains for the benefit of people?”

The narrator continues:

“The black stone wanders the earth. We know that the Chinese emperor and Tamerlane owned the stone. Knowledgeable people say that the great Solomon and Akbar owned a treasure that gave them miraculous powers. Treasure of the world - that’s what the stone is called.”

Roerich N.K. "Power of Light". Sacred Watch. Riga. Vieda. 1992. p.185

“The painting “Chintamani” (1935-1936) is closely connected with the legend of the miraculous Stone, capable of influencing people’s lives. Mention of this Stone is found in the legends of various peoples. In the West it is the Holy Grail, in the East it is the sacred symbol of Chintamani, the Treasure of the World. But what lies behind these legends? According to the esoteric tradition of the East, this Stone was sent to Earth from the constellation Orion, and on the site of its fall the Abode of the Teachers of Knowledge and Light - Shambhala - was founded. There he remains to this day, being a link between the Earth and the Distant Worlds, and his fragment travels in the world, appearing on the threshold of great events. In the painting, the Treasure is depicted in the saddle of a lonely white horse descending from mountain peak. If the Stone is sent into the world, it means that a new page will soon open in the history of the Earth...”

Museum named after N.K. Roerich. Guide. Under the general editorship of L.V. Shaposhnikova.
ICR. Master Bank. M. 2006. p.187,190

Painting “White stone. Horse of Happiness” echoes the painting “Treasure of the World. Chintamani." It also depicts the Symbol of the Trinity in tongues of stylized flames surrounded by sacred symbols on the saddle of a riderless horse. We can see the same plot in the picture “Horse of Happiness” (Maitreya series, 1925)

We saw the white horse of St. Yegori.

We saw the white horses Flor and Laurus.

We saw Svetovit’s white horses, and Valkyries raced on white horses. Have you heard about the horse of Isfahan? We saw Arjuna's saddled horses guarding the temples. We heard about Geser Khan's horse, and even saw the blows of his horseshoes. They knew the horse Himavat with the fiery burden of Chintamani.

In Chinese paintings, deer carry the same fiery treasure. Like St. Hubert's deer. And the tread of the white horse outlines the boundaries of the state. And again the heroes are on white horses. And in Mongolia, Tsagan Mori, a white horse, will be marked by all sorts of legends. Rigden-Dzhapo also rushes on it, and in the fiery reflections the horse becomes fiery. And when the people await the future on one side, the Great Horseman turns the faces of those waiting in the other direction - to where they need to go.

It is the white horse that belongs to the hero in folk tales. It is the white horse that is left to walk alone, bringing the great news...

N.K. Roerich "Erdeni Mori". Diary sheets. Volume 1, MCR, M. 1995

“Roerich transferred the legend of Chintamani, captured by someone on a block of stone, to his canvas in the painting “White Stone.”

Matochkin E. Sign of the Banner of Peace in the art of Eurasia and the works of N.K. Roerich
"Fiery World". Magazine No. 4/15. 1997. p.79

Shara-Muren is an area in Inner Mongolia (China), which N.K. and Yu.N. The Roerichs visited in the summer of 1935 during the Manchurian expedition (1934 – 1935) on the way from the Chahar province to Sui-yuan. In Shara-Muren there was a Buddhist monastery of the same name, which was the residence of the incarnate lama (Khubilgan) Chu-chi-ston Rinpoche. According to some reports, the monastery was later destroyed.

The rock of the Shara Murena monastery is all dotted with blue signs of the Banner of Peace. The Circassian gurda blades have the same sign. From the monastery, from sacred objects to the combat blade, the same sign is everywhere. You can see it on the shields of the crusaders and on the tamga of Tamerlane. On old English coins and on Mongolian seals - the same sign is everywhere.

Doesn't this ubiquity mean that it needs to be remembered everywhere? Doesn’t it mean that on top of individual folk designations there are unifying and reminder signs everywhere, just to be able to see them and remember them firmly? Both conditions: to discern and to remember are equally necessary. How can you remember something that you couldn’t see at all? And what’s the point of seeing it if you can’t comprehend and remember it. (...)

Any authenticity will only prove how many essential signs are scattered everywhere. Just see, just remember, just convey. It is difficult to convey streams of grace. Sometimes they are absorbed into the heart and then they are most likely to be preserved. Also, in order to see and remember, undistorted goodwill is necessary, without any self-made shackles. Built-up dungeons are terrible, but homemade dungeons are even more terrible. And yet everywhere there is so much wonderful, so much beauty.

Just to see and remember.

N.K. Roerich. “Everywhere” Diary sheets vol.1. MCR, M. 1995

“...At night all the star chambers burn. All the wonderful signs shine. The Book of Greatness has been opened. A ray of light flashed behind the mountain. Who's there? Who went there? Not Erdeni Mori?

There are signs of treasure on the rocks of Shara-Murena. Naran-Obo hid a wonderful stone. Erdeni Mori went everywhere.”

Roerich N.K. Erdeni Mori. Gateway to the future. Riga. Uguns. 1936. p.135

“In rock art, the sign of the Banner of Peace also appears from the Stone Age. Thus, a circle with three points and three connected circles were carved in Mongolia on stone slabs in Arshankhad and Tsagaan-airig back in Mesolithic times. A circle with three points, according to E. Novgorodova, can be compared with anthropomorphic figures of the Paleolithic era, reminiscent of female and male symbols.

The sign of the Banner of Peace can be found among the Amur images of Sakachi-Alyan of the Neolithic period and the petroglyphs of the Angara of the Bronze Age. A. Okladnikov, who found a similar sign on Mount Teshb in Mongolia, described it as “three rings connected together and forming a kind of triangle, similar to the Symbol of the Roerich Pact.” It is these images that N. Roerich reproduces in his paintings “Holy Stones. Mongolia" (1935-1936)".

Matochkin E. Sign of the Banner of Peace in the art of Eurasia and the works of N.K. Roerich

“Fiery World”, magazine, No. 4 (15). 1997. p.76

“...But among the concrete, recognizable paintings of the past, unusual and strange paintings appear. ...The past is on them too. With the same specific details, with the same historical mood. But they seem to fall out of the eras familiar to us. They are less conventional and have mysterious names. It’s as if it’s not history that lives in them, but legends about it. Everything on the canvases is real, but something has become unusual, illusory, as in a vague memory.

Fancyly dressed witches bend over secret herbs. The eyes of sorcerers look piercingly and wisely, in which timelessness and secret knowledge shine. Fantastic faces and signs of ancient spells appear in the uncertain light of the month. They conjure earth, conjure fire, conjure water...”

Shaposhnikova L.V. Master. ICR. Master Bank. 1998. p.52,53

“...Normal and inverted images of the sign with a central circle at the bottom, called masks in archeology, were reflected in Roerich’s painting “The Earthly Spell” (1907). The artist reconstructs one of the most mysterious rituals of antiquity, associated with face masks, and archaeologically accurately reproduces the petroglyphs of Sakachi-Alyan and Fort Rupert (USA). A strikingly close plot confirming the accuracy of Roerich’s reconstruction was recently discovered in the Mugur-Sargol tract (Tuva). Here, on the rocks protruding from the Yenisei, a man with a staff is carved out of stone in a strange half-bent position, walking among anthropomorphic faces. As M. Devlet, a researcher of Yenisei petroglyphs, notes, this composition can be partly associated with a large group of dancing men in the petroglyphs of Karelia and small sculptures of the Baltic states.”

Matochkin E. Sign of the Banner of Peace in the art of Eurasia and the works of N.K. Roerich
"Fiery World". Magazine No. 4 (15). 1997. p.76

“It is worth noting the amazing fact that long before Roerich proposed the security banner, this sign was already present in the artist’s works. In addition to the “Earthly Conjuration”, in the same 1907, Roerich painted the sign of the Banner of Peace on the cloak of Archangel Michael on the icon from the iconostasis for the Kamensky family church in the convent in Perm. Apparently, Roerich continues here some unspoken artistic tradition. Among Western iconography, it is visible in the above-mentioned images of Saint Domingue from Silos, Saint Michael Bartolomeo Vermejo and Rogier van der Weyden, as well as Saint Mauritius - the master from Moulins (95). Among the Old Bulgarian monuments, three white dots on the red cloaks of the Archangels can be found on an icon of the 16th century. "Savior Emmanuel with the Archangels" (96), as well as on the icon of the 17th century. "Archangel Michael" (97).

Matochkin E. Sign of the Banner of Peace in the art of Eurasia and the works of N.K. Roerich
"Fiery World". Magazine No. 4 (15). 1997. p.80