In His (Morya's) Own Country (The Roerichs' Memorial House) ... III

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 In His (Morya's) Own Country (The Roerichs' Memorial House) ... III


Roerich's Living and Library (Room)


As we tried to peep into Roerich House's living room and library from outside, our gaze fell upon the grandeur of the symbolic triptych Fiat Rex. A striking contrast in the tones of the Himalayas, expressed through spatial rhythms and color harmonies, was evident in the upper paintings. In particular, the sparkling golden-yellow of the Sissu Monastery conveyed something of its spirit—a deeply serene Lahaul mood. It might not be just the colors, but a combination of many elements—materials, canvas, wooden panels, and composition.


Fiat Rex appears to be painted as though the common viewer is not meant to perceive its full grandeur at once. It is known to have been one of the favorite paintings of Helena Roerich, and many of the family’s photographs were taken in front of it when it was placed in this room in Naggar. According to some commentaries, Nicholas Roerich portrayed real historical figures (and possibly their own past lives): Eckard II, Margrave of Meissen, and his wife, Margravine Uta von Ballenstedt, who lived in eleventh-century Germany. Yet a deeper symbolism also seems to be embedded within it.


As my gaze fixed upon the painting, the concepts of perfect marriage and the androgynous race—hinted at in the writings of Helena Petrovna Blavatsky, Tibetan-Bailey teachings, and VBA—seemed to connect symbolically with the triptych. Intuitively, Fiat Rex (Latin for “Let there be a King”) denotes (King-)Mahatma Morya (Manu of future races) in the center holding the diamond seed of future races—perhaps the fifth, sixth, or seventh subrace of the seventh root race.


These are races in which consciousness will be redeemed from polarity, where both masculine and feminine principles—depicted in Roerich’s painting as the active spiritual warrior with a sword and shield, and the receptive principle symbolized by a chalice containing sacred fire—will form a perfect polarity of two complete units. Together, they create the nucleus of a physical androgyne, with alter egos polarized on the buddhic plane, oriented toward a hierarchical, Shamballic end. The triptych thus portrays an esoteric vision of a perfect marriage in the further evolution of humanity.


Collages - The Roerich's Living Room, 'Fiat Rex' and 'Sissu Monastery' painted by Nicholas in Public Domain. (This experience was made possible through the spirit of International Roerich Memorial Trust Kullu and Nicholas Roerich Museum New York, to whom we offer our gratitude.)







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