Why is this Krishna Spring in Kulu, Painting style so intriguing? What is it that engross the viewers? In one of the posts, we wrote about the nine gems of Indian art or the Navratnas of Indian art. Nicholas Roerich who painted this ethereal work is one of these Navratna’s whose works were declared as the National Treasure of India.  Well, he was the only artist not from India to receive this title! Roerich was also nominated for Nobel Peace Prize several times for being a passionate activist for protecting cultural heritage. So, let’s dive in deeper to understand this transcendental work, its unique composition, painting style, criticism, and more.

Composition – Krishna, Spring In Kulu

The first thing you spot is the vibrant blossoms depicting the spring. Then you see the breathtaking Himalayas in the backdrop and Lord Krishna mesmerising you as he plays the flute in the foreground.

However, quite unconventional is the middle space in the work. you notice the green valley and then several overlaying foothills that are almost flat from the viewer’s viewpoint as compared to the other parts of the composition.

Also, unlike the usual blue depiction of Krishna’s skin tone, Roerich preferred to keep it Beige brown.

Furthermore, Roerich used to mix egg yolk and paint, a tempera method, to give that translucent effect, depicting the shimmer in the snow-capped mountain tops.

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Painting Style of Krishna Spring in Kulu

This painting can be interpreted from several perspectives. Apparently, it is a religious painting having an immense aesthetic value. Roerich’s symbolist painting style portrays his inner assimilation of nature and its relation to the world’s religion that precipitates into the transcendental universe.

Roerich’s fascination for the Himalayas, known to be the abode of mystics, was often represented in his paintings as the ultimate truth or path.

He passionately gathered knowledge about Buddhism, Hindusim and otherworldly religions during his travels in places like Japan, Russia, Tibet and China. This apparently, drew him to India in 1923 to explore more about the abode of mystics in the Himalayas.

The subtle luminosity in his works is said to be the consequence of ceaseless meditation and spiritual evolution. He believed in universal religion and often mirrored it in his work. Lord Krishna,‘ The holy shepherd’ depicted in this work, can also be interpreted as Jesus Christ or ‘Lel’ the Slavic folk hero.

He believed in the theory that one can have the same spiritual experience through natural mysticism which can be experienced through any and every religion. This belief stands strong even today through his work and will continue to remain for years.

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Symbolism movement overview

So, let’s quickly understand what the Symbolist style is all about.

It was in the late 19th century when materialism and rationalism dominated the western culture when Symbolism came into existence as a literary movement opposing the two thoughts. You find the origins of the movement in the writer Jean Moreas’s famous Symbolist Manifesto published in 1886.

According to the manifesto, every natural element, object, and person should represent a symbol having a deeper emotion or idea. So, rather than just mirroring reality, the artists should propose new ideas using symbols. Although it first began as a literary movement, some young visual artists were quick to heed the rules.

You can spot symbolist style in Roerich’s work that has broad brushwork, unmodulated colours, and flat abstract forms. Also, the main element in his work, Lord Krishna, immediately adds deep symbolic meaning to the entire work.

The symbolists often stressed on the significance of the lines, shapes, forms and colours. The works of some of its advocates epitomised the end of the representational art that came from Classical times. Thus, Symbolism was seen at the forefront of modernism. It came up with new and abstract techniques to convey psychological truth. It exhibited the idea of the existence of spiritual reality behind the physical world.

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Symbolists could give form to the most indescribable dreams and visions through their works. So, does it mean that Surrealism and Symbolism are the same? Well, there is a slight difference. In Surrealism, the painting does not have a meaning or make any sense. However, in Symbolism, every element in the work has a deep meaning.

Criticisms – Cultural misrepresentation of the East

Many scholars have appreciated Roerich’s work for its unusual style and unique message. However, Arundhati Kalyan’s article on Nicholas Roerich’s work argues that his art does not live up to the true nature of Eastern religion and culture. She quotes different examples elaborating on this thought. Nevertheless, as we are discussing Krishna, Spring in Kulu here’s her take on the work.

The Hindu deity Krishna is seen playing his flute in an ideal, romantic Himalayan setting. However, there is no mythological legend that mentions his travel to the mountains. In fact, Krishna spent his substantial life in the present-day Uttar Pradesh and Haryana (Vyasa, 400–301/1883–1896), states in Northern India.

Thus, Krishna is displaced from the area he is commonly associated with and worshipped to an exotic location like the Himalayas where people fail to associate him with. This according to Kalyan is an “inaccurate impression of Hinduism on the uninformed viewer—Roerich’s representation seems to imply that Hinduism is predominantly practised in the Himalayas when this is not the case.”

Roerich and India

Nicholas Roerich was a man of many talents. Polymath, to be precise. Other than being a celebrated artist, he was a writer, scholar, archaeologist and humanitarian. Though born in Russia, Nicholas Roerich found a home in the Himalayas.

He drew inspiration from the breathtaking mountain range to create vibrant works at an expansive scale. Today, his legacy lives on through a dedicated Nicholas Roerich Museum, New York and his numerous collection across India and Russia. On October 15, 1969, a planet was also named after him.

She who leads

It was Helena, his wife, who was the catalyst in awakening his sincere and deep interest in Roerich for Eastern religions and philosophy. She was a keen enthusiast and wrote several books on the subject. Roerich, in his diary, referred to Helena as “She Who Leads”. Helena also co-created many of his paintings reflecting their common creative work!

The great expedition

So, Nicholas Roerich and his family came to Mumbai (then Bombay) in December 1923. They toured all the historic sites and cultural centres and met Indian scholars, scientists, artists, and writers along the way. By the December end, they were already in Sikkim. The speed with which they reached the mountains made it clear that Roerichs interest lay in the Himalayas.

Roerichs explored the untracked regions including Chinese Turkestan, Mongolia, Tibet and Altai to study the languages, religions, culture and customs of the inhabitants.

Nicholas crossed thirty-five mountain passes and created over five hundred paintings that documented his expedition through the Himalayas. His book ‘Heart of Asia‘ tells a vivid account of the wonderful land and its people.

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Sustainable bravery and spiritual strength

During this expedition, they met with several challenges even getting imprisoned for five months in Tibet for travelling without a permit.

The artist believed that the rigour of the mountains, and seeming unconquerable obstacle, hones a man’s spirit which enables him to develop sustainable bravery and spiritual strength.

Nicholas Roerich Shambhala

Do you know about the mystical concept of “Shambhala”? It is a utopian place of eternal knowledge, truth, and peace. Shambhala inspired Nicholas Roerich so much that his paintings portray this pursuit of utopian land in diverse Eastern traditions.

He often painted towering mountains which represent spiritual goals that one must set for oneself. He urges people to set on their spiritual destiny. This pursuit for beauty and search for ultimate truth was sacred for Roerich. He also recorded his journey through Central Asia and Tibet in his book “Shambhala”. 

As per Roerich, earthly artefacts and temples are perishable but the thought that manifests them into existence is immortal. It is a part of an eternal flow of consciousness which comes from a man’s aspirations, well nourished by his strong will and the power of thought.

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