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Roerich and then true to himself. Again, soft colors, as on other canvases, and again a little historical plot, as well as on some of his canvases. But here is a completely different story. Here there is a place for mythology and history and for a natural phenomenon, and of course more attention is paid to nature. Look carefully and you will not immediately understand where the crowns are. And crowns are clouds, crowns are protrusions on the earth, and, in the end, three are fighting for the crowns. Yes, they are fighting.
The artist very ineptly portrayed the battle here, but according to the characteristic movements it is clear that a close fight is really being waged for the possession of the territory. Such a conclusion can be made when the city walls are discovered in the distance. But look how the artist depicted the blue distances of the mountains, he seemed to merge these distances with the sky, but at the same time he awarded these two elements with different colors - the sky is dirty blue, but the mountains are blue, and bright blue. By the way, there are also three crowns in the sky. Somehow, everything is three ... Considering that Roerich lived in Tibet for a long time, you can understand him by his fascination with numbers.
For Buddhists, numbers are important. On the canvas, everything is three - three warriors, three protrusions on the ground, and three clouds that are removed further away in the sky. The result is the number nine. In Buddhism, this figure determines the strength of the earth and nature. And Roerich just shows the power of nature and human power and shows on his canvas. Moreover, there is a certain sense of foreboding of trouble. It hovers around, it is almost tangible. It was possible to convey to the author. Moreover, there is this hunch in the shades of the canvas. For example, an image of a city. It is distant and gloomy. It exacerbates an unpleasant sensation.
Roerich rarely depicted death or misfortune on canvases. More often on his canvases only joyful sensations. But here everything had to slightly move away from the idyll. True, the master did this reluctantly, as if not wanting.
Description Paintings Fedotova Breakfast Aristocrat