Wallace addressed Roerich as " Dear Guru ", signed his name as " G " for Galahad — a name Roerich assigned Wallace in his religion — and showed his complete adherence to Roerich's doctrines.

It was written for the 1913 Paris season of Sergei Diaghilev's Ballets Russes company, with choreography by Vaslav Nijinsky and stage designs and costumes by Nikolai Roerich.

Roerich family's residence in Manali, India, is now home for the exquisite gallery of paintings.

Roerich was a dedicated activist for the cause of preserving art and architecture in times of war.

" To earn passage to India, Roerich worked as a stage designer for Thomas Beecham's Covent Garden Theatre, but the enterprise collapsed in 1920, and the artist never received full payment for his work.

Roerich befriended acclaimed soprano Mary Garden of the Chicago Opera and received a commission to design a 1922 production of Rimsky-Korsakov's The Snow Maiden for her.

In 1929 Nicholas Roerich was nominated for the Nobel Peace Prize by the University of Paris.

Today, the Nicholas Roerich Museum in New York City is a major center for Roerich's artistic work.

Russian painter and philosopher Nicholas Roerich ( 1874 – 1947 ) initiated the modern movement for the defense of cultural objects, for the idea of “ Peace of Civilizations ”.

During his excavations at Saint-Petersburg province, Roerich began to point to necessity of protection of cultural monuments, which reproduce a world-view of ancient people for us.

During the Russian-Japan war ( 1904 – 1905 ), Roerich expressed an idea about the necessity of a special treaty for the protection of institutions and cultural monuments.

In 1915, Roerich wrote a report for Russian Emperor Nicholas I and Great Prince Nicholas Nikolayevich containing an appeal to make real state measures for national protection of cultural values.

1931 – An International Union of the Roerich Pact was found at Bruges under the guidance of a member of Belgium Committee for monument protection K. Tyulpink.

A plan of promotion of the Pact ideas at educational institutes was developed, and contacts of International Union of the Roerich Pact with an International Committee for art affairs and Organization Committee for arms reduction were established.

The Conference has resolved to found at Bruges a special institute for world assistance to implementation of the Roerich Pact ideas in public life.

1935, April 15 – A Treaty named “ international pact for protection of artistic and scientific institutions, historic monuments, missions and collections ” ( Roerich Pact ) was signed by representatives of 21 countries in White House, Washington.

A distinctive sign for identification of the protected objects ( Banner of Peace ) proposed by N. Roerich was approved in the frameworks of the Pact.

A text of the Hague convention pointed directly on that the base for it acceptance is a principle of cultural values protection during the war established at Hague peace conventions in 1899 and 1907 and also in the Roerich Pact.

But for the purposes of the Banner and the Pact, Roerich described the circle as representing the totality of culture, with the three dots being Art, Science, and Religion, three of the most embracing of human cultural activities.

In 1904, Roerich gave a report to the Emperor ’ s Russian Archeologist Society about the sad state of historical monuments and the necessity to take prompt actions to protect them.

In the course of several years after his travel in 1903-1904, Roerich repeatedly pointed out the state of antique monuments.

Roerich, considered the care for future generations to be a cornerstone of the existence of the rule of law and the constitutional state.

The concrete conceptual provisions of Roerich ’ s philosophical and legal concept of the state are based on

constitutional foundation for using Roerich ’ s words, “ a state of the future ” and “ a civilization of the future .”

Second, when he wished to reconcile with the USSR, Roerich later maintained that he had not left Soviet Russia deliberately, but that he and his family, living in Karelia, had been cut off from their homeland when civil war broke out in Finland.

After leaving New York, the Roerichs – together with their son George and six friends – went on the five-year long ' Roerich Asian Expedition ' that, in Roerich's own words: " started from Sikkim through Punjab, Kashmir, Ladakh, the Karakoram Mountains, Khotan, Kashgar, Qara Shar, Urumchi, Irtysh, the Altai Mountains, the Oryot region of Mongolia, the Central Gobi, Kansu, Tsaidam, and Tibet " with a detour through Siberia to Moscow in 1926.

On April 15, 1935 the Roerich Pact was signed by the United States and Latin American nations, agreeing that " historic monuments, museums, scientific, artistic, educational and cultural institutions " should be protected both in times of peace and war, and identified by their flying a distinctive flag, the Banner of Peace, bearing the Pax Cultura emblem.

N. Roerich wrote about their marriage in his declining years: " We passed amicably any obstacles.

Many of Roerich ’ s paintings were a result of their common creativity.

N. Roerich and their sons thought highly of Helena Ivanovna, and considered her a spiritual leader and keeper of family ’ s foundations.

Roerich together with elder son had moved to Delhi and then to Khandala ( Bombay ’ s suburb ) where they had waited for steamship from Russia with their entrance visas to the Motherland.

The most important idea of the Roerich Pact is the legal recognition that the defense of cultural objects is more important than military defense, and the protection of culture always has precedence over any military necessity.

In 1914, Roerich appealed to the high command of Russian army, as well as the governments of the USA and France with an idea of conclusion of international agreement aimed on the protection of cultural values during armed conflicts.

Simultaneously Roerich proposed a distinctive sign to identify the objects that are in need of protection – the Banner of Peace.

In 1929 Roerich in collaboration with Paris University professor George Chklaver prepared a draft of an international treaty dedicated to protection of cultural values ( Roerich Pact ).

A few years after the Second World War, the Roerich Pact played an important role in forming of international law standards and public activity in the field of protection of cultural heritage.

Roerich ’ s Pact also Pax Cultura (" Cultural Peace " or " Peace through Culture ") is the motto of the cultural artifact protection movement founded by Nicholas Roerich, and is symbolized by a maroon on white emblem consisting of three solid circles in a surrounding circle.

In the broad sense the Roerich Pact is understood as not only a legal treaty but also whole complex of measures for protection of cultural values suggested by N. Roerich.

Consequently, Roerich Pact has not only legal but also philosophic, enlightener and evolutional significance since it reflects an idea of culture protection in many its manifestations.

Roerich had corresponded with international cultural and enlightens organizations and coordinated its activity for support the Roerich ’ s Pact ( International agreement for protection of artistic and scientific institutions and historical monuments ).

The influence of Theosophy, Vedanta, Buddhism, and other mystical strains of thought can be seen not only in many of his paintings, but in the many short stories and poems Roerich wrote before and after the 1917 revolutions, including the Flowers of Morya cycle, begun in 1907 and completed in 1921.

In the article “ Silent Pogroms ” ( 1911 ) Roerich wrote about the unskillful restoration of St. John the Forerunner Church at Yaroslavl: “ Who would defense a beautiful antique from mad pogroms?

Characterizing the Roerich Pact, space pilot A. A. Leonov wrote:

In his article “ Pain of the planet ” ( 1933 ) N. Roerich wrote: “ The call about culture, call about the world, and call about creativity and beauty reaches the ear which is strengthen by true values only.

N. Roerich wrote:

Roerich wrote: „ Above all Russias there is one unforgettable Russia “.

Roerich wrote: