Buddha Winner # 3 Roerich N.K. (Part 3)
Roerich N.K. – Buddha Winner # 3
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Location: International N.K. Roerich’s Center-Museum, Moscow (Международный Центр-Музей им. Н.К. Рериха).
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This painting by Nikolai Roerich can be said to be an illustration of the ancient writings of the East. It is believed that Roerich peeked at this subject at one of the Buddhist temples, reinterpreted it a little and depicted it on the canvas. The painting is very symbolic and takes us to the distant past, when the Buddha was still alive. On the canvas we see a large cave in which the sage is sitting in the lotus position.
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Description of the painting "Buddha the Victorious" by Nikolai Roerich
This painting by Nikolai Roerich can be said to be an illustration of the ancient writings of the East. It is believed that Roerich peeked at this subject at one of the Buddhist temples, reinterpreted it a little and depicted it on the canvas.
The painting is very symbolic and takes us to the distant past, when the Buddha was still alive. On the canvas we see a large cave in which the sage is sitting in the lotus position. According to the scriptures, these events existed in reality. It is believed that Buddha wandered the world for many years in search of truth. He decided to go down into the underworld, where the all-powerful Lord of Death ruled. The underworld is an allegory of our consciousness. Buddha delves deep into his thoughts, begins to think about his actions, and thus finds great enlightenment. The God of death who rules in this underworld is nothing other than our temptations, passions, dissatisfactions. In this dark cave, Buddha fought the lord of death and defeated him.
Roerich depicted in this painting the moment when the Buddha had already defeated the evil king. One of the rocks, in the lower right corner of the painting, is very reminiscent of the mouth of a terrible animal. Perhaps this is the defeated monster. The water, near which the Buddha sits, is the source of life. It is also called the source of knowledge.
So we understand that this cave is not only a symbol of the underworld, hell, but also the embodiment of human ignorance, ignorance.
Nikolai Roerich, depicting the dungeon, uses mainly two colors: blue and yellow. They are not mixed, but neatly superimposed on each other. It is noteworthy that the artist did not depict the source of illumination. It seems that the Buddha himself is glowing. The sage who overcame all his fears and temptations became great, and this illumination comes from his figure. The pose in which the Buddha is depicted is considered canonical. This is the pose in which this sage is usually depicted.
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The figure, centrally positioned, is depicted in a seated posture suggestive of meditation or contemplation. The individual’s form appears relatively small compared to the scale of the surrounding environment, emphasizing a sense of isolation and perhaps insignificance within the vastness of nature. The face remains largely obscured, preventing any specific identification but reinforcing the universality of the figures experience.
The cavern itself is not depicted realistically; instead, it is presented as an abstract landscape of jagged peaks and hanging formations. These shapes seem to converge towards a central point above the seated figure, creating a visual funnel that draws attention upwards. The lighting within the cave is uneven, with areas bathed in intense illumination contrasting sharply with regions shrouded in shadow. This interplay of light and dark contributes to a dramatic atmosphere and suggests a spiritual or transformative experience.
Subtly, theres an implication of confinement alongside potential liberation. The figure’s placement within this enclosed space could symbolize the limitations of human existence or the challenges encountered on a path toward enlightenment. However, the upward-pointing formations and the radiant light suggest a possibility for transcendence – a movement beyond these perceived boundaries.
The painting evokes themes of solitude, introspection, and the search for meaning within a larger, often overwhelming world. The artist’s choice to depict this scene in an abstract style allows for multiple interpretations, inviting viewers to project their own experiences and understandings onto the work.