THE PORTRAITS OF THE MASTERS THAT THE ROERICHS HAD

 

Andrei commented the following:

 

In Helena Roerich's diaries there is mention of a certain portrait of Master Morya that was personally delivered by her in America and the members of the Circle as well as some other people had copies of this portrait.

 

This portrait was constantly on Helena Roerich's desk and I think it is the portrait that currently sits on her desk located in Kullu.

 

This is clearly seen in Natalia Bondarchuk's film: "Kullu - Sacred Valley" (1996) where Helena Roerich's desk appears with the portrait of Master Morya, and below I put a screenshot:

 

 

 

Natalia Bondarchuk this same year filmed a second film entitled: "Urusvati - The light of the morning star" where the furniture of the rooms of the Roerich house in Kullu is filmed, and two more portraits appear there: the portrait on the left it is of Master Kuthumi and the portrait on the right is supposed to be of Master Morya, and below is a screenshot:

 

 

 

 

 

 

 

 

OBSERVATIONS

 

The Morya's portrait that appears in the first film and the Kuthumi's portrait that appears in the second film are copies of the portraits that the German artist Hermann Schmiechen painted of these two Trans-Himalayan Masters in 1884:

 

 

 

While the portrait of Master Morya that appears in the second film is a copy of the fanciful drawing made by David Anria, who was a member of the Theosophical Society Adyar, and who put it together with other portraits that he also made in his book "The masters, their portraits and meditations" that he published in 1932.

 

 

 

 

 

 

 

CONCLUSION

 

The Roerichs praised the Theosophical Masters, but if they had studied Theosophy more carefully then they would have realized that in their spiritist séances they were not communicating with Master Morya but with a deceitful entity posing as this Master.

 

 

 

 

 

 

 

 

ANNEXED

 

 

Romanov commented the following:

 

What is known to our group is that the first portrait presented in the section is exactly the one that Helena Ivanovna Roerich sent to Riga to the "senior Roerichs". There are several more variants in St. Petersburg but I haven't seen this one for a long time.

 

The history of our copy is as follows: about 12 years ago, the director of our society sent this portrait to Gunta Rihardovna for examination, because the Novosibirsk people rejected it, saying that it was a fake. G. R. replied that this was exactly the portrait that was sent to her father and to Harald E. Roerich. But she did not return it to us, saying that sending portraits by mail is not allowed.

 

In search of the portrait we rushed to another source - Natalia Dmitrievna Spirina, with whom our leader was in correspondence. The fact is that in the inner circle of Novosibirsk I saw another portrait, given here second. I was told that this version was true and that N. K. Roerich himself gave Abramov in Harbin. Fortunately N. D. sent this portrait to our leader. There was a great inner feeling when he arrived, as well as a feeling of the presence of the same N. D. But the first option is dearer to us.

 

Since such an elevated topic has come up, I will tell the community members that there is also a more intimate portrait, which I have never seen published. This is a portrait of Vl. M. at a very old age, it is also amazing.

 

There is another portrait, also absent here, which was always with Yuri Nikolayevich, it is similar to the one with Sanskrit letters below it, which is exhibited in the ICR in a glass case, but differs somewhat from it.

 

 

Source: http://forum.lebendige-ethik.net/viewtopic.php?t=496