Arrows of sky - spears of land 1915

Curator: I see a world bathed in shades of red – almost apocalyptic, or maybe… primal? Editor: Indeed. This painting, “Arrows of Sky – Spears of Land”, was created in 1915 by Nicholas Roerich. Roerich, a fascinating figure of the Russian Avant-Garde, created this piece using oil paint. What initially grabs your attention beyond that pervasive red? Curator: It’s the figures, standing amidst… well, what looks like defeat? The banners are broken, and there’s a palpable sense of loss, maybe even exhaustion. But that red sky feels less like a sunset and more like a warning. Or like when you wake up from a terrible dream. Editor: Roerich's use of symbolism here is potent. It's believed he aimed to capture the cultural clashes and perhaps even the destruction brought about by war, reflecting on humanity’s destructive tendencies. His interest in history, particularly ancient Slavic culture, certainly influenced his work. Curator: I get that. The attire of the figures is interesting too - almost theatrical, ceremonial. Like this isn't just war; it's some kind of ritual, a dark passage perhaps. Is he placing the fall of something specific, an empire or way of life in this image? Editor: That's the enduring question with Roerich, isn’t it? It exists both as an allegory and history painting, with layered interpretations encouraged by his aesthetic leanings towards Symbolism. Roerich’s deep connection to spirituality also added another level; to me it is also about humanity's inner struggles. Curator: Mmh, I find myself strangely drawn to its rawness, despite the somewhat naive style that some tag it with. It doesn't strive for perfection, but for feeling. Roerich’s raw simplicity becomes a profound commentary. Editor: Absolutely. And his involvement with various cultural institutions highlights how artistic creation can be entangled with larger social narratives. The location of this artwork in the Turkmen Museum of Fine Arts also sparks interesting thoughts about cultural preservation and circulation, wouldn't you say? Curator: Indeed. Roerich gives us something powerful. A mirror, maybe – one we might be afraid to look into for too long. Editor: He compels us to confront difficult aspects of our history and culture. Food for thought, as we move to our next work.