THE PORTRAITS THAT THE ROERICHS HAD OF THEIR MASTER

 

 

Helena and Nicholas Roerich communicated with their master through spiritis sessions. The first séance that we know was held on March 24, 1920 in London, and shortly after Nicholas Roerich drew, guided by his master, the following portrait of his master (who at this time called himself Allal Ming).

 

 

 

But later the Roerichs considered that this portrait was not genuine and they also became convinced that Allal Ming was Master Morya, and the Roerichs wanted to have a portrait of him.

 

In Helena Roerich's diary it appears that the Roerichs finally obtained this portrait, and below I transcribe what the Roerichs master did and said about it:

 

 

At the séance on June 9, 1921, their master told them:

 

-      I'll give you the portrait today.

-     You may not close your eyes.

-      I will give you the portrait and my love, My wife!

 

(Cid's observation: the Roerich master had told Helena Roerich that she had been his wife in a previous reincarnation.)

 

-      I will give you My pure image through a miraculous power.

-      Food fluids are harmful to the portrait.

-      Roerich, I will give the portrait through you today.

-      Today the miracle will happen.

-      I believe that My portrait will bring you happiness.

-      The masters will elaborate a miracle.

-      I will give you a portrait through Roerich.

-      My student, don't close your eyes while you draw!

 

Helena Roerich commented: (then continued concentration on Allal-Ming for ten minutes).

 

And finally Allal-Ming answered them:

 

-      I can't give the portrait, it's pure misfortune!

-      Roerich is tired.

-       My student can't, he is tired because every night he comes to help me!

 

(Cid's observation: we see that on this occasion Nicholas Roerich wanted to repeat his previous experiment of drawing his master, but this time he could not do it, supposedly because he was tired, but more probably because the Roerichs master did not I knew what Morya's face looked like .)

 

 

 

 

At the séance on June 12, 1921, their master told them:

 

-      I consider it is necessary to note that My portrait will become a talisman.

 

 

 

 

At the séance on June 17, 1921, their master told them:

 

-      It is possible to zoom in on My portrait.

-      Roerich, show your strength to manifest My portrait!

 

 

 

 

At the séance on August 31, 1921, their master told them:

 

-      Morya will award the portrait in Chicago.

 

 

 

 

In Helena Roerich's diary, dated October 11, 1921, she comments that "the promise was finally kept and I received the miraculous portrait of Master Morya."

 

It is not clear to me whether Nicholas Roerich was able to draw a new portrait of his tmastereacher or whether the Roerichs bought a copy of the then existing portrait of Master Morya.

 

 

 

 

At the séance on October 15, 1921, Helena Roerich asked her master:

 

-      Can we show the portrait to the Volkovs?

 

Her master replied:

 

-      Yes.

 

 

 

 

At the séance on October 18, 1921, their master told them:

 

-      Urusvati [Helena Roerich] you can take My portrait.

-      It's overly printed.

-      Show Mrs. Moody My portrait.

 

(Cid's observation: this second comment makes me consider that the Roerichs did buy the portrait. And in a documentary entitled "Kullu - Sacred Valley" that shows the house where the Roerichs later lived in India, there is a copy of the Master Morya portrait that the German painter Hermann Schmiechen painted on 1884.

 

 

 

This is probably the portrait that the Roerichs got from Master Morya when they lived in New York, and I don't see what is “miraculous” about this portrait since it was easy to obtain a copy of it.

 

Supporters of the Roerichs indicate that this portrait was constantly on Helena Roerich's desk and a recent photograph of this desk where the decorations were reinstalled shows that the portrait was small in size.

 

 

 

 

 

 

At the séance on November 7, 1921, Helena Roerich asked her master:

 

-      Can I tell Koshetz where to get a portrait of K. H.?

 

Her master replied:

 

-      The portrait requires a harmonious attitude, not idolatry.

 

(Cid's observation: in another documentary entitled "Urusvati - The Light of the Morning Star" it appears that the Roerichs also had a copy of the Master Kuthumi portrait that Hermann Schmiechen made on 1884 at their home in India and which surely also the Roerichs obtained it while when they lived  in New York.

 

And the Roerichs also had a copy of the portrait of Morya that the writer David Anria drew just as he imagined him, but the Roerichs must have obtained this portrait later since this portrait barely appeared in a book entitled "The Masters, Their portraits and Meditations” which was published in 1932.)

 

 

 

 

 

 

And at the séance on January 3, 1922, their master told them:

 

-      Show respect to My portrait, Lumou.

-      Present the portrait to those who beg for it.

-      Udraya [the eldest son of the Roerichs] can also have it, if you wish.

-      It's good to take it with you.

 

 

Helena Roerich asked her master:

 

-      To which of the friends can the portrait be shown?

 

Her master replied:

 

-      I'll point it out.

 

 

 

 

 

 

 

OBSERVATIONS

 

Here we see once again the hypocrisy of the Roerichs master who pretended to be Master Morya but in reallity he was a trickster astral entity, and all the show that this entity made on a portrait that was not him.

 

And I am very puzzled that Helena Roerich in her diary exclaimed when she finally received the portrait of Master Morya:

 

-      The similarity of the portrait with the appearance of the Master in London is incredible!

 

 

Helena Roerich claimed that she had met the Masters Kuthumi and Morya on London in 1920, in a crowd of Indian delegates, even adding that "she was uncomfortably surprised by the way they looked at her but she didn't recognize them at the time."

 

But this affirmation is false because the Theosophical Masters explained that in the first three quarters of each century they must remain hidden from the people. As Master Kuthumi pointed out:

 

         "If, for generations we have ‘shut out the world from the Knowledge of our Knowledge,’ it is on account of its absolute unfitness; and if, notwithstanding proofs given, it still refuses yielding to evidence, then will we at the End of this cycle retire into solitude and our kingdom of silence once more." (ML 9, p.50)

 

So it does not make any sense that the Theosophical Masters were in London in 1920 in a crowd of Indian delegates, as Helena Roerich affirmed, when Master Kuthumi himself specified that after the year 1900 and until the year 1975, he and the members of his Brotherhood would once again withdraw from any contact with people.

 

(I detail this cycle that Trans-Himalayan Masters must respect in this other article, link.)

 

 

 

 

 

CONCLUSION

 

I at first believed that Helena Roerich had made up this story, but this assertion that the Indian she perceived in London was unbelievably similar to the Master Morya portrait that she later received, she made this assertion in her private diary and therefore she really thought that. And that is why now I consider that Helena Roerich imagined that he was the same person, since I have constated that she was very fanciful with her visions.