Art enthusiasts, scholars, and cultural connoisseurs gathered on 4 March 2025 to witness something extraordinary—the unveiling of “Nicholas Roerich: The Eternal,” a landmark exhibition commemorating the 150th birth anniversary of one of history’s most enigmatic artists at The National Gallery of Modern Art.
The exhibition, painstakingly curated over many months, brought together pieces from across India—each with its own story of discovery and careful transportation. Half the collection featured Roerich’s grand canvases, which capture the majestic Himalayas in their full splendor, while the remainder showcased his more intimate works, equally powerful in their spiritual resonance.
The legacy of a man who transcended boundaries as painter, writer, philosopher, and peacemaker – a true polymath whose vision continues to inspire 150 years after his birth.
Nicholas Roerich, The Artist
For a deeper understanding of the Exhibition, we sat down with Dr. Jyoti Tokas, Curator at The National Gallery of Modern Art, who shared her journey and professional insights, offering a behind-the-scenes glimpse into the intricate process of assembling this landmark collection.
Q. Before we delve into the specifics of the exhibition, I am truly interested in understanding your insight to Nicholas Roerich. My first question is, what has inspired you during this remarkable 150-year Retrospective to Roerich?
Dr.Jyoti Tokas: This year we are celebrating Nicholas Roerich’s 150th birthday anniversary. So, the goal behind this exhibition is truly to celebrate his contribution to the world. And when I started working for this exhibition to celebrate his legacy around the world, the idea behind it was to find out more about his personality, what Nicholas Roerich actually was, his contributions to the world, not only to art?
Because when we started researching about Nicholas Roerich, the first thing that came in every book about him, was that he was a polymath. So I started trying, searching, what Nicholas Roerich was as a polymath, what all he did, and his life journey. The story behind his life, and what motivated him to come to India and how he spent 20 years, two decades, while creating more than 7000 art books. That was the initial idea.
Nicholas Roerich Museum
Q. How does Roerich’s work align with the gallery’s broader mission of preserving and presenting modern Artistic Heritage?
Dr Joyti Tokas: Actually, there is a story behind Roerich’s institutions in India. So, the government of India identified him as a national treasure very late, just around 1975, but Nicholas died way before that.
It was his 75th anniversary that year, and Roerich, when he stayed here in India, he started with the exploration of the Himalayas and he went on a very long journey exploring only Tibet, Altai, Mongolia and up to the Soviet. He wanted to explore the ecology, the culture, the religion, the people and the geography. So, his purpose was multifaceted and the news of his exploration spread very fast in India. He also had a very good relationship with the fraternity, most of whom were scientists, scholars, poets, as well as writers.
During the time he stayed and settled in Naggar, he was already known to a lot of people in India. Through his connections, people started approaching him and that’s when the Allahabad Museum and The Nicholas Roerich Art Gallery and Museum came into being. Pt. Brijmohan Vyas approached him for donating some of his paintings to the museum, which he accepted generously. Roerich initially donated 12 artworks, and then 6 more, which his son also donated. So in a way, he was very supportive of the establishment of institutions. We are already aware that throughout his life he established many institutions, some of which failed, while others grew into institutions. They were either established by him or, in his name, by others.
Similarly, he donated a few of his artworks to Bharat Kala Bhawan. He was very keen to support the institution. As much as he donated, Roerich also gifted many of his artworks, freely. Because he was truly an artist, he was particularly in love with the country, the philosophy, teachings, the religious life, and the way of the people. So there is nothing about India that he was not attracted to.
Q. As you have mentioned that he has donated a lot to other institutions. For this very retrospective exhibition, NGMA must have borrowed paintings from various institutions. So, how did the selection and transportation for these historic artworks take place and what challenges did it present? How did you tackle it?
Dr Joyti Tokas: Initially, when we started researching the museums and private collections housing paintings by Nicholas Roerich, we decided to focus exclusively on Indian institutions, as this year marks his 150th birth anniversary with celebrations occurring worldwide—a testament to his universal appeal and enduring legacy. His artwork is also prominently featured in major museums across numerous European countries, with anniversary celebrations occurring globally. I chose to focus specifically on collections within India, where he worked for over two decades, beginning my research by cataloging the quantity and locations of his paintings throughout the country
I could only identify around 200 pieces because his collection is scattered among private collectors, many of whom are hesitant to share information about their holdings. I began approaching museums instead, hoping to include every painting in the exhibition. Unfortunately, many of his works are over 100 years old and have undergone conservation treatments, with some deemed too fragile for transport. Bringing these pieces here presented a significant challenge, especially considering their extraordinary—each worth several crores.
Getting Nicholas Roerich paintings properly insured presented another significant challenge. As a museum, we prioritize the preservation and protection of such cultural treasures, so we refrained from pressuring institutions to lend their entire collections, respecting both the value and vulnerability of these historic pieces.
We faced additional challenges due to museum lending policies, as many institutions with substantial holdings would only share a portion of their collections. Some museums refused outright to lend works because of their age, citing the 100-year threshold as a conservation concern. Despite these obstacles, we persevered and are now producing two exhibition catalogues and a comprehensive book to document this landmark exhibition.
During this time, we also faced issues with the sharing of images because most of the institutions were reluctant to share them. Maybe they are skeptical, that they can be misused, or even reproduced for commercial purposes. Even though they haven’t expressed it explicitly to me, certain institutions, such as the Museum in Kolkata, have denied it. They were not willing to share it, even digitally.
Several private collectors possess significant holdings of his work—some owning 11 pieces or more. We politely declined some offers, suggesting future collaboration opportunities instead. Due to these various challenges, we managed to secure only 77 works for this exhibition. The collection is evenly balanced, with half being larger pieces and half smaller ones, representing the diverse scales at which he worked.
Looking at the Exhibition, Nicholas: The Eternal
Q. Given that Ambassador Dennis Alipov was the guest of honor, could you elaborate on how this exhibition represents a cultural bridge between Russia and India?
Dr. Joyti Tokas: You must be aware that Roerich, being a universal personality, is celebrated all over the world. Because he hailed from Russia, the Russian government established numerous international institutions to protect his heritage as early as the 1880s. He was not only a painter, but also a poet and writer, with many institutions bearing his name. His contribution to the Peace Pact in 1935 is significant, and various anniversaries related to his work are regularly celebrated in Russia.
Roerich, as an artist and polymath, serves as a bridge strengthening cultural connections between our countries. We have a joint institution in Naggar, which was formerly his residence. The International Roerich Memorial Trust is co-managed by the Indian and Russian governments. There are several other international institutions named after him that play important roles in international relations.
This exhibition was therefore particularly significant. When we began working on it, the Russian Embassy and Cultural Center showed great interest in staying informed about our progress and offering support. They helped connect us with the New York Museum and various Russian museums to obtain images and information promptly. They also supported our inaugural event by sending a cultural troupe to perform.
Image Courtesy: Nicholas Roerich Museum New York
Contributor
