- 372
Nicholas Roerich
Estimate
900,000 - 1,200,000 USD
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Description
- Nicholas Roerich
- Mongol Tsam (Religious Ceremony), 1927-1928
- signed with monogram and dated 1928 (lower left); labeled Nicholas Roerich and Religious Dance Festival (on the reverse)
- mixed media on canvas
- 35 3/8 by 56 in.
- 89.9 by 142.2 cm
Provenance
Guru RHH, Ralph Harris Houston
Private collection
ACA Gallery, New York
Acquired by the present owner from the above, circa 1988
Private collection
ACA Gallery, New York
Acquired by the present owner from the above, circa 1988
Literature
Roerich Museum Catalogue, New York, 1930, p. 33, no. 858
Catalogue Note
In 1926 Nicholas Roerich and members of his expedition traveled to Mongolia, where the Roerichs planned an extensive journey to visit the holy sites in Tibet. While in Mongolia, Roerich was struck by the profound local belief in the coming era of Shambhala, a time that would herald fulfillment, peace and tranquility. Roerich's personal quest for Shambhala fueled his Tibetan expeditions of 1926 and 1928, the latter year the present lot was painted. Before embarking on his 1926 trans-Himalayan journey, Roerich presented the Mongolian government with Rigden Djapo-Ruler of Shambala which illustrates the artist's fascination with the sacred art of Tibet and its stylized geometric approach to representation. Another work inspired by Rigden Djapo and presently in a private collection in Moscow closely relates to the stylistic approach in Mangol Tsam (fig. 1). In the present work, Roerich realized his interest in shamanistic rituals and traditional Tankas, religious painting mostly executed on cloth (cotton) and used in a variety of ways from aids in meditation, to religious processions to family altars. Tankas often feature the Buddha surrounded by deities or lamas, but subjects such as death, rebirth and representations of the universe also figure prominently (fig. 2).
Roerich’s team documented their expeditions photographically and through the assistance of The Roerich Museum archives in New York, we have identified a photograph of Mongol Tsam, the sacral ritual to exorcise evil that clearly inspired the present composition (fig. 3). Roerich pays particular attention to the haunting Tankas, displayed on large masts, they tower over the harmonious masked festival below. The Tsam dance was introduced in Mongolia in the 18th century; however, Tsam ceremonies abated in the 1930's due to religious repression, making this composition of 1928 especially historically significant.
The present work, fresh to the market from a distinguished private collection, is one of the largest and most important paintings by Nicholas Roerich to come up at auction. Mongolian ritual scenes rarely figure in Roerich's oeuvre, making this painting, with its dazzling use of Tanka imagery particularly rare.
Roerich’s team documented their expeditions photographically and through the assistance of The Roerich Museum archives in New York, we have identified a photograph of Mongol Tsam, the sacral ritual to exorcise evil that clearly inspired the present composition (fig. 3). Roerich pays particular attention to the haunting Tankas, displayed on large masts, they tower over the harmonious masked festival below. The Tsam dance was introduced in Mongolia in the 18th century; however, Tsam ceremonies abated in the 1930's due to religious repression, making this composition of 1928 especially historically significant.
The present work, fresh to the market from a distinguished private collection, is one of the largest and most important paintings by Nicholas Roerich to come up at auction. Mongolian ritual scenes rarely figure in Roerich's oeuvre, making this painting, with its dazzling use of Tanka imagery particularly rare.