Nicholas Roerich

This article studies, and comments on the ideology and art of Nicholas Roerich (1874-1947). Through this

paper, we aim to understand Roerich’s process of creation and its relevance in today’s society.

Nicholas Roerich was a trained painter and lawyer, also archaeologist, ethnographer, geographer, poet,

historian, philosopher, scientist, traveller, fighter for peace, and defender of cultural values of all nations.

Roerich, throughout his life, devoted himself to the ideal of the common good of mankind. He made India

his home in the latter part of his life, and is today counted amongst the great Indian masters such as

Rabindranath Tagore, Nandalal Bose and Jamini Roy.

Roerich’s outlook of the world was unique, based upon the knowledge of the fundamental laws of Existence.

He was convinced that by increasing the level of masses’ spiritual culture, one could transform life on earth

and defeat ignorance, vulgarity, exploitation and wars. In his own words “Where there is culture, there is

peace”.

The legacy of Nicholas Roerich is a joint Russian-Indian cultural heritage.

For this study, the team has visited the Roerich Estate in Naggar (Kullu), and sought information from the

Roerich Museum, New York, and the International Roerich Centre, Moscow. The team acknowledges with

gratitude the support of these institutions.

Art Appreciation Project

~ Nishant Singh (16M103) | Rohan Sablay (16M134) | Rudraneel Chattopadhyay (16M137)

~ Young India Fellowship (Class of 2016)

~ Ashoka University

N I C H O L A S R O E R I C H

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Contents

Introduction ........................................................................................................................................................................... 3

The person ............................................................................................................................................................................ 5

Early life ......................................................................................................................................................................................................... 5

Varied interests, stupendous proficiency ............................................................................................................................................. 6

Preservation of art in a career spanning wars .................................................................................................................................... 8

Creations through journey & times ................................................................................................................................... 9

War and „the prophet‟ ............................................................................................................................................................................... 9

Poignant longing ...................................................................................................................................................................................... 10

Poetry and reflections .............................................................................................................................................................................. 11

India ...................................................................................................................................................................................... 13

Himalayan expeditions ............................................................................................................................................................................ 13

Woman: a personification of nature ................................................................................................................................................... 15

Kullu Valley ................................................................................................................................................................................................. 16

Roerich and preservation of art ....................................................................................................................................... 17

Roerich Pact and the Banner of Peace ............................................................................................................................................... 17

Relevance in the 21st century ................................................................................................................................................................. 18

Existence through spirit ..................................................................................................................................................... 21


2

References ........................................................................................................................................................................... 22

Books ............................................................................................................................................................................................................ 22

Academic papers ...................................................................................................................................................................................... 22

Online resources ....................................................................................................................................................................................... 23


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Introduction

In a large part of the global

mindset, Russian culture

only really existed in the

nineteenth century. Before

Vladimir Putin‟s kleptocracy

and before the horrific

purges of the Soviets,

Russia was, we are led to

believe, a somewhat

backward land that

nevertheless managed to

produce great works of art.

Undoubtedly, Russia in the nineteenth century did churn out spectacular talents, from the

poetry of the great Alexander Pushkin to the novels of Fyodor Dostoevsky and the music of

Pyotr Ilyich Tchaikovsky.

While tremendous time and effort have been justly used in the study of Russia‟s “Golden

Era”, too little time has been spent on its virtuosos of its twentieth century. However, when it

comes to the finer things in life, none has gotten the dust-off more than Russian painting,

especially the pre- and post-Soviet masters who failed to tow the avant-garde and social

realist lines.

Chief among these nonconformists is Nicholas Roerich, a man ostensibly of the esoteric

school of modernism. Born Nicholas Konstantinovich Roerich in Saint Petersburg to a well-

to-do family, Roerich remains a man out of time. Although Roerich met and was influenced

by the many great artists of the day (Roerich knew personally Vladimir Strasov and the


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musicians Modest Mussorgsky, Igor Stravinsky, and Nicolai Rimsky-Korsakov) and even

though Roerich matriculated at the prestigious Imperial Academy of Arts, he remains a

rather unorthodox traditionalist. Through his many interests, which included poetry,

philosophy, painting, archeology, and Eastern religions, Roerich created a deeply

imaginative world full of color, transcendence, and most importantly, history. In this way,

Roerich‟s spiritual antecedent is the great Russian master Viktor Vasnetsov.


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The person

Nicholas Roerich, born in St. Petersburg in

1874, figured prominently in the Silver Age

of Russian art at the turn of the century. By

the time he left Russia, around 1917, he had

painted several hundred canvases and had

achieved an international reputation. He

continued to paint prolifically in Western

Europe, America, Central Asia, and India

until his death at Naggar in the Himalayas

in 1947.

Early life

Roerich was the eldest son of Konstantin

Roerich - a St. Petersburg lawyer of

Scandinavian descent - and his wife, Maria

Kalashnikova, who came from an old

Russian family in Pskov. Initially, he was educated at the May Gymnasium in St. Petersburg

(1883-93). Later, Roerich graduated from the Faculty of Law at the University of St.

Petersburg (1896) and the Academy of Fine Arts (1897). He read law only at his father's

insistence and never went into practice. His own preference had been archaeology and

history; consequently, he spent much of his time at university attending lectures on these

subjects, and he became a member of the Institute of Archaeology while still a student.

Picture 1: Portrait of Nicholas Roerich in a Tibetan Robe (1933) - Svetoslav Roerich


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Roerich drew upon this expertise

in his painting, gaining

considerable notice as a historical

painter early in his career. The

eminent collector Pavel Tretyakov

launched him professionally

when he purchased for his

Moscow gallery, Roerich's

graduation painting, The Messenger (1897), which he had seen at the Academy's exhibition.

The fascination Roerich found in the early history of his country gave rise to many paintings

on such topics as the Stone Age, the ancient Slavs, the Vikings, the beginnings of Rus, and

the architecture of medieval Russia.

Varied interests,

stupendous proficiency

Roerich's paintings continue to

be well known in the Soviet

Union and India, as do his

writings and his activities in the

fields of archaeology, education

in the arts, Eastern philosophy

and world peace. In the West,

though, he is best known as a theatrical designer, a reputation due especially to his sets and

costumes for Serge Diaghilev's productions of the Polovtsian Dances from Prince Igor in

1909 and Le Sacre du Printemps in 1913. Both ballets were acclaimed at the time of their

Parisian premieres and became classics of stage decor.

Picture 2: The Messenger (1897)


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Roerich's designs for the theater were just one aspect - albeit an important one - of a full

and varied career. Speaking of the range and content of his father's activities, Dr. Svetoslav

Roerich, the younger of the painter's two sons, commented that "his success as a theatrical

designer would have been

sufficient to satisfy many an

ambitious man!" In addition

to his work for the theater,

Roerich painted several

thousand canvases, together

with a good number of

murals and designs for

mosaics. He was the author

of over a dozen published

volumes, mainly dealing with

cultural and philosophical

subjects. He lectured on archaeology and conducted excavations in Russia and India. His

interest in Eastern philosophy, which he shared with his wife, Helena, led to their promotion

of Buddhism and a system of ethics known as Agni Yoga. Their names were also associated,

to a lesser extent, with the teachings of Sri Ramakrishna and Swami Vivekananda and the

writings of Helena Blavatsky. As an educator in the field of the arts, he was active with art

schools and cultural institutions in St. Petersburg and New York. He was also involved with a

number of social causes. In Russia, for instance, he helped with fund raising for the Red

Cross, establishing architectural courses for women, rehabilitating war invalids, and

preserving ancient buildings and monuments. In the West, he led an international campaign

for peace and set up a laboratory for cancer research.


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Preservation of art in a career spanning wars

Roerich's career spanned

three continents and two

world wars. It was caught up

in a world of changing

frontiers and values. It started

in the imperial Russia of Tsar

Alexander III and in Paris -

and other continental cities -

as they were before and just

after the First World War. It

continued, after the Russian

Revolution, in the England,

America, and Asia of the post-war Twenties and the pre-war Thirties, and it finished in the

strife-torn India of the British Raj, Independence, and the Partition.

Roerich was a dedicated activist for the cause of preserving art and architecture during

times of war. The Roerich Pact (signed into law by the United States and most nations of the

Pan-American Union during April 1935) was amongst the first international treaties formed

to protect art and heritage during times of conflict.


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Creations through journey & times

Musical terms and analogies can appropriately be applied to Roerich‟s painting. He

frequently related music to the use of color and color harmonies, and applied this sense to

his designs for opera. The original force of Roerich‟s work consists in a masterly and marked

symmetry and a definite rhythm, like the melody of an epic song.1

War and „the prophet‟

In the years immediately preceding World War I, Roerich sensed an impending cataclysm,

and his paintings symbolically depicted the awful scale of the conflict he felt descending

upon the world. These works marked the birth of Roerich the “prophet”.

In “Battle in the Heavens” Roerich used the violent contrast of light and darkness to suggest

the terrible events that would soon overtake Russia and all Europe.

1 Nina Selivanova, The World of Roerich (1922)


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By this time, in his depiction of

both historical and natural

themes, symbolism and the use of

allegory had become essential

ingredients in his work. As one

critic wrote: “He populated his

world not with participants in

transitory dramas and comedies,

but with spokesmen for the most

steadfast ideas about the truth of

life, the millennial struggle of good

and evil, the triumphal procession of a bright future for all.”

Poignant longing

In 1915 Roerich became ill with

pneumonia, and was sent by his

doctor to recuperate with his

family in Sortavala, Finland. This

was a period of great unrest the

world over, and no less so in the

lives of the Roerich family. In

Roerich‟s paintings of the period,

such as “Karelia - Eternal

Expectation” and “The Waiting

Woman”, the cold, austere countryside of rocks and uninhabited shores of the north seems

to express a sense of poignant longing. In “The Waiting Woman”, her gaze is fixed on the

horizon as if she awaits some sign of the return of long-gone voyagers.

Picture 3: Battle in the Heavens (1912)


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By 1917 the revolution was raging in Russia and returning there would have been dangerous.

The family began making plans to visit India, whose magnetic appeal had been felt

increasingly during these years. This became a possibility in 1918 when Roerich was invited

by a Swedish entrepreneur to exhibit his paintings in Stockholm.

Poetry and reflections

Between 1916 and 1919

Roerich had written a

collection of sixty-four blank

verse poems that were

published in Berlin, in

Russian, under the title

Flowers of Morya, and

subsequently published in

English as Flame in Chalice.

In them we find Roerich‟s

inner journey charted and

his commitment to spiritual

search stated. These poems evoke some of the images that Roerich later used in his

paintings, and in a way help us to understand the symbols and meanings that lie behind

some of them.

“At the core of Roerich‟s belief system is the Hindu concept of a beginningless and endless

universe which manifests itself in recurring cycles of creation and dissolution of material

forms caused by the pulsation of divine energy. On the human plane, this means the rise

and fall of civilizations and, in terms of individual life, the reincarnation of a soul…”2 As

Roerich, the poet, writes, in the poem About the Eternal:

2 Irina Corten, Flowers of Morya: The Theme of Spiritual Pilgrimage in the Poetry of Nicholas Roerich (1986)


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Brother, let us abandon

all that rapidly changes.

Otherwise we will not have time

to turn our thoughts to that

which is changeless for all.

To the eternal.

In May, 1923, the Roerichs were at last on their way to India, where, in that ageless land,

amid the snows of the Himalayan range, they sought to turn their thoughts to the Eternal.


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India

The Roerichs landed in Bombay in December, 1923, and began a tour of cultural centers

and historic sites, meeting Indian scientists, scholars, artists, and writers along the way. By

the end of December 1923, they were already in Sikkim on the southern slopes of the

Himalayas, and it is clear by the speed with which they reached the mountains that the

Himalayas were where their interest lay.

Himalayan expeditions

They initiated a journey of exploration that would take them into Chinese Turkestan, Altai,

Mongolia and Tibet. It was an expedition into untracked regions where they planned to

study the religions, languages,

customs, and culture of the

inhabitants.

Roerich wrote about this first

Central Asiatic Expedition in his

book Heart of Asia, and he

creates for the reader a vivid

account of the wonder of the

land and its people. However,

the images are nowhere as vivid as in the five hundred or so paintings that resulted from the

trek. In Kanchenjunga, Sikkim Pass, His Country, The Great Spirit of the Himalayas, and the

Banners of the East series, we can see philosophical concepts and ideas giving birth to visual

images, and the splendor of Northern India providing the physical setting.


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In The Path, the figure of Christ leads the way along a tortuous path through crags and

peaks of the Himalayas, a metaphor for the hazardous obstacles confronting the spiritual

journeyer. Eastern religious figures and concepts appear in the paintings, important among

these being the images of the Lord Maitreya—the Buddhist Messiah, the Kalki-Avatar of the

Puranas, Rigden Jyepo of Mongolia, or the White Burkhan of Altai—all of whom are

described in legends that link them with the Ruler of Shambhala, who is “destined to appear

on earth for the final destruction of the wicked, the renovation of creation and the

restoration of purity.”3

The trek was at times arduous.

Roerich tells us that thirty-five

mountain passes from fourteen

to twenty-one thousand feet in

elevation were crossed. But

these were the challenges he

felt born for, believing that the

rigor of the mountains helped

a man to find courage and

develop strength of spirit. And

in spite of obstacles, wherever

they went the Roerichs‟ belief in the essential goodness of life and the spirituality of man was

reinforced. Roerich‟s Banners of the East series of nineteen paintings depicting the world‟s

religious teachers, Mohammed, Jesus, Moses, Confucius, and Buddha, and the Indian and

Christian saints and sages, was a testimonial to the unity of religious striving and the

common roots of man‟s faith.

3 Helena Blavatsky, The Theosophical Glossary (1892) in Nicholas Roerich, Heart of Asia: Memoirs from the Himalayas (Reprint 1990)


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Woman: a personification of nature

At counterpoint to these themes in Roerich‟s painting is the image of Woman and her

destined role in the coming era, and we can assume that what Helena Roerich wrote to a

friend in 1937 reflects Nicholas‟ own point of view: “…woman should realize that she herself

contains all forces, and the moment she shakes off the age-old hypnosis of her seemingly

lawful subjugation and mental inferiority and occupies herself with a manifold education, she

will create in collaboration with man a new and better world… Cosmos affirms the greatness

of woman‟s creative

principle. Woman is

a personification of

nature, and it is

nature that teaches

man, not man

nature. Therefore,

may all women

realize the grandeur

of their origin, and

may they strive for

knowledge.”4

Nicholas Roerich depicted the great female deities in such paintings as She Who Leads,

Madonna Laboris, and The Mother of the World. This latter conception, equivalent to the

Lakshmi and Kali of India, is one of Roerich‟s most inspiring images, rendered with majesty in

deep tones of blue and violet. Helena Roerich‟s contribution in the life and work of Nicholas

cannot be overestimated. Their union could be best described as a lifetime collaboration in

4 Letters of Helena Roerich 1935-1939, vol. II


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fields of mutual endeavor. Her philosophy, comprising a living ethic, was shared by Nicholas

and motivated him in his work and his life. At some time in their late years an anniversary

approached and he wrote in his diary: “Forty years—no less than forty. On such a long

voyage, meeting many storms and dangers from without, together we overcame all

obstacles. And obstacles turned into possibilities. I dedicated my books to Helena, my wife,

friend, traveling companion, inspirer! Each of these concepts was tested in the fire of life.

And in Petersburg, Scandinavia, England, America, and in all Asia we worked, we studied, we

broadened our consciousness. Together we created, and not without reason is it said that

the work should bear two names—a feminine and a masculine.”

Kullu Valley

At the end of their major expedition, in

1928, the family settled in the Kullu Valley

at an elevation of 6,500 feet in the

Himalayan foothills, with a magnificent

view of the valley and the surrounding

mountains. Here they established their

home and the headquarters of the Urusvati

Himalayan Research Institute, which was

organized to study the results of their

expedition, and of those explorations that

were yet to come. The Institute‟s activities

included botanical and ethnological-

linguistic studies, and the exploration of

archeological sites. Under the direction of

their father the two Roerich sons, George and Svetoslav, established a collection of

medicinal herbs, and made extensive studies in botany and ancient medical lore, as well as

in Tibetan and Chinese pharmacopoeia.


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Roerich and preservation of art

Roerich Pact and the Banner of Peace

In the following year, on a trip back to New York

for the opening of the Roerich Museum‟s new

premises, Roerich raised an issue that had been

close to his heart for many years. Using the Red

Cross as an example, he proposed a treaty for the

protection of cultural treasures during times of

both war and peace—a proposal he had

unsuccessfully tried to promote in 1914. In

consultation with lawyers versed in international

law, he drafted a Pact, and suggested that a flag

would be flown over all places under its

protection. This flag he called the Banner of Peace. The design of the Banner shows three

spheres surrounded by a circle, in magenta color on a white background. Of the many

national and individual interpretations of this symbol, the most usual are perhaps those of

Religion, Art and Science as aspects of Culture, which is the surrounding circle; or of past,

present, and future achievements of humanity guarded within the circle of Eternity. The

symbol can be seen in the seal of Tamerlane, in Tibetan, Caucasian, and Scandinavian

jewelry, and on Byzantine and Roman artifacts. The image of the Strasbourg Madonna is

adorned with it. It can be seen in many of Roerich‟s paintings, most notably Madonna

Oriflamma, in which Woman is depicted as the carrier and defender of the Banner.

In this sign and the motto, Pax Cultura, that accompanies it, is symbolized Roerich‟s vision

for humanity. As he wrote: “Let us be united—you will ask in what way? You will agree with

me: in the easiest way, to create a common and sincere language. Perhaps in Beauty and


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Knowledge.” Roerich‟s efforts to promulgate such a treaty resulted, finally, on April 15, 1935,

in the signing by the nations of the Americas—members of the Pan American Union—of

The Roerich Pact, in the White House in Washington. This is a treaty still in force. Many

individuals, groups, and associations around the world continue to promote awareness of

the Pact, the Banner, and their underlying principles.

Relevance in the 21st century

The Roerich Pact is not

only a relatively short

multilateral treaty: it is a

combination of legal ideas

about a new state order in

which the state and the

culture closely overlap. A

measure of this complexity

is the share of state budget

annually spent on culture,

art and education, which in

many countries exceeds

military expenses.

Important in the framework of ideas of the Roerich Pact is the recognition that the safety of

any foreign cultural object on the territory of a foreign state must be also respected and

treated as a factor much higher in significance than military willingness to bomb, destroy or

use it for military purposes.

Nicholas Roerich managed to continue and develop into a profound and feasible doctrine

the famous maxim proclaimed by Fyodor Dostoyevsky, “Beauty will save the World!” Hence

starts a very powerful Russian movement in the development of the concept of aesthetical


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statehood. The concept of the state as a work of art was first suggested in the 19th century

by Jacob Burckhardt, who was Swiss historian of art, specializing in Italian Renaissance, and

who gave this name to a chapter of one of his books. The concept itself had not been

formulated to a completion and was expressed in a general idea that period, as well as their

rulers, considered the achievements in culture and art as most important for securing the

prestige both of their states and their own, which finally resulted in the unique Italian

Renaissance art, literature, philosophy and science. Roerich produced ideas based on the

approaches used by Burkhardt and Dostoevsky.

Roerich considered the care for future generations to be a cornerstone of the existence of

the rule of law and the constitutional state. President of the USA, Franklin D. Roosevelt, in

the speech upon the signature of the „Roerich Pact‟ Treaty said: “In opening this Pact to the

adherence of the Nations of the world, we are endeavoring to make of universal application

one of the principles vital to the preservation of modern civilization. This Treaty possesses a

spiritual significance far deeper than the text of the instrument itself. It is important to realize

that the Roerich Pact was only the first step towards the future development of a new legal

culture. All written laws must conform to the universal unwritten principles of morality,

fairness, and justice, equality, autonomy, dignity, and respect that is known as a higher law

theory.

The concrete conceptual provisions of Roerich‟s philosophical and legal concept of the state

are based on the one of Rule According to Higher Law ideas that the primary duty of the

state is to sustain and develop the spiritual unity of its citizens, by carefully preserving the

best specimens of national cultural heritage, promoting universal culture and spiritual

growth of all people, especially the young ones. At that, the major share of profits received

by the state should be directed at the development of culture, which, as it was already

mentioned, would lead to a further growth of economic prosperity.


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According to Roerich's concept, the state, as an instrument for the preservation and

development of culture, the instrument defending both domestic and foreign cultural

treasures, the instrument maintaining peace and avoiding wars, the instrument building a

new civilization, based on the best cultural traditions of today and, therefore, spending the

utmost economically reasonable assets for these purposes, — all this can be explicitly and

exclusively based on constitutional foundation for using Roerich‟s words, “a State of the

future” and “a civilization of

the future.”

The Roerich Pact led way to

the 1954 Hague Convention,

1972 World Convention, 1999

Second Protocol to Hague

Convention, and 2003

Intangible Cultural Heritage

Convention. Ideas of the

Roerich Pact are still not fully

implemented in the

international law, and 21st

century may be a good time

to resurrect Roerich's concept

of beauty and culture as a

path to peace.


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Existence through spirit

It is in his Himalayan paintings that one most easily finds evidence of the loftiness of spirit

and sense of mission that led Roerich to attempt the tasks he set for himself. In them can be

seen the sense of drama, the urgency of a message to send or receive, a traveler to greet, a

mission to perform, a path to travel. The towering mountains stand for the spiritual goals

that humanity must set for itself. Roerich urges people on to their spiritual destiny and

reminds them of their duty to prepare for the New Era in which Rigden Jyepo will gather his

army and under the Banner of Light defeat the host of darkness. Roerich the warrior was

already armed and mounted; he sought to muster his army for the battle, and bid that their

breastplates bear the word “culture.”

The pursuit of refinement and beauty was sacred for Roerich. He believed that although

earthly temples and artifacts may perish, the thought that brings them into existence does

not die but is part of an eternal stream of consciousness—man‟s aspirations nourished by

his directed will and by the energy of thought. Finally, he believed that peace on Earth was a

prerequisite to planetary survival and the continuing process of spiritual evolution, and he

exhorted his fellow man to help achieve that peace by uniting in the common language of

Beauty and Knowledge.

Maharishi Nicholas Roerich died in

Kullu on December 13, 1947. His

body was cremated and its ashes

buried on a slope facing the

mountains he loved and

portrayed in many of his nearly

seven thousand works.


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References

Books

Helena Blavatsky, The Theosophical Glossary (1892)

Irina Corten, Flowers of Morya: The Theme of Spiritual Pilgrimage in the Poetry of Nicholas

Roerich (1986)

Letters of Helena Roerich 1935-1939, vol. II

Nicholas Roerich, Heart of Asia: Memoirs from the Himalayas (Reprint 1990)

Nina Selivanova, The World of Roerich (1922)

Academic papers

Nicholas K. Roerich, The American Magazine of Art, Vol. 12, No. 6 (June, 1921), pp. 198-200

Reviewed Work: Heart of Asia by Nicholas Roerich, The American Magazine of Art, Vol. 21,

No. 2 (February, 1930), pp. 119-120

Alfred C. Bossom, An Appreciation of Nicholas Roerich, The American Magazine of Art, Vol.

18, No. 4 (APRIL, 1927), pp. 198-201

Edgar Lansbury, The Art of Nicholas Roerich, Kailash (2010)

John McCannon, Passageways to Wisdom: Nicholas Roerich, the Dramas of Maurice

Maeterlinck, and Symbols of Spiritual Enlightenment, The Russian Review, Vol. 63, No. 3 (Jul.,

2004), pp. 449-478


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Kenneth Archer, Nicholas Roerich and His Theatrical Designs: A Research Survey, Dance

Research Journal, Vol. 18, No. 2, Russian Folklore Abroad (Winter, 1986-1987), pp. 3-6

Lynn Garafola, Reviewed Work: Nicholas Roerich: The Life and Art of a Russian Master by

Jacqueline Decter, The Nicholas Roerich Museum, Dance Chronicle, Vol. 13, No. 3 (1990 -

1991), pp. 401-412

Victoria Klimentieva, Nicholas Roerich: In search of Shambhala, The University of Texas at

Austin (2009)

Online resources

Center for Peace through Culture: http://www.centerforpeacethroughculture.org

Estonian Roerich Society: http://www.roerich.ee/index.php

International Centre of the Roerichs: http://en.icr.su

National Gallery of Modern Art, India: http://ngmaindia.gov.in/ce_nicholas-roerich.asp

Nicholas Roerich Museum, New York: http://www.roerich.org

Nicholas Roerich Virtual Museum: http://www.roerich.ru

Roerich Mongolia: http://www.roerichmongolia.org/

http://www.centerforpeacethroughculture.org/

http://www.roerich.ee/index.php

http://en.icr.su/

http://ngmaindia.gov.in/ce_nicholas-roerich.asp

http://www.roerich.org/

http://www.roerich.ru/

http://www.roerichmongolia.org/


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Nicholas Roerich

Documents

Transcript of Nicholas Roerich