The holder of the cup. Mongolia. 1937

Nicholas Roerich painted "The holder of the cup. Mongolia." using what looks like tempera on board. The paint handling in this painting is fascinating. Roerich applies the tempera in thin, washy layers, creating a chalky matte surface, except for the statue, where the paint is built up, like he has daubed the surface with a dry brush. He clearly relishes in the materiality of the medium, emphasizing its textural qualities, which gives the piece a sense of depth and dimensionality. I'm really drawn to the statue in the foreground. See how the ochre tones of the figure contrast with the blue of the sky? The statue seems to radiate a sense of stillness and contemplation. Roerich has chosen to depict the figure as solid and grounded, a striking contrast to the fluidity of the landscape and sky that surrounds it. Roerich’s interest in spiritual themes and symbolism reminds me of Hilma af Klint and her exploration of the unseen realms through abstract form, or perhaps the meditative landscapes of Agnes Martin. Like those artists, Roerich invites us to contemplate the mysteries of existence through the language of art.