First issue, 1959

Second issue 2002

ART

References compiled from the

Books of the Agni Yoga Teachings

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Leaves of Morya’s Garden,

Book I, The Call, 1924

2. Pure art is the true expression of the radiant spirit.

Through art you gain the light.

333. Remember, Art is the one vital medium of the coming

culture.
Through Beauty will you approach.
Understand and remember.
I have entrusted you to pronounce Beauty.
I bid you pronounce Beauty.

Community, 1926
63. The main misunderstanding will be of the fact that labor can be relaxation. Many
amusements will have to be abolished. Chiefly, it must be understood that the products of
science and of art are for education, not diversion. Many amusements will have to be
destroyed as hotbeds of vulgarity. The forefront of culture must sweep away the dens of
fools passing time over a mug of beer. Likewise, the use of profanity must find a far more
severe penalty. Likewise, manifestations of narrow specialization must be disapproved.

104. Each school must be a complete educational unit. In the schools there must be a useful
museum in which the pupils themselves take part. There must be a cooperative, and the
pupils must also be taught such cooperation. All phases of art must be included. Without
the paths of beauty there can be no education.

224. It has been repeated again and again—know how to find joy in eternal labor and in
eternal vigilance. You have heard music and singing in Our Community. These must be
looked upon as a part of the labor. Usually, under the influence of sounds people fall into
psychic inaction and are even incapable of creating forms. This results from the custom of
understanding repose as torpor. One can become accustomed to making use of art as a
condensation of forces. A work of beauty can produce not only a heightening of activity but
also a sharpening of forces. But one should accept this fact consciously and learn to make
use of emanations of creativeness.
Could a structure of a community be conceived without crystals of sound and color?
Verily, this would be a mole's hole! The bearers of sound and color must bring into the
community an unspilled vessel. Knowledge and creativeness will be the Amrita of the
Community.

Hierarchy, 1931
359. Our constructiveness lies in vitality. The pledge of happiness for humanity lies in
beauty. Hence, We assert art to be the highest stimulus for the regeneration of the spirit.
We consider art to be immortal and boundless. We make a demarcation between
knowledge and science, because knowledge is art, science is method. Therefore, the
element of Fire intensifies art and spirit-creativeness. Therefore, the wondrous pearls of art
can actually uplift and transmute the spirit instantaneously. Everything is attainable through
the growth of the spirit, for only the inner fires can give the needed strength of receptivity.
Thus an Agni Yogi can sense all cosmic beauty without narrow scientific methodology.
Verily, the pearls of art bring exaltation to humanity, and the fires of spirit-creativeness
give a new understanding of beauty to humanity. Thus, We value integrity around the
center and appreciate the Service to Hierarchy through the heart.

377. Thus, during the Epoch of Fire, when Light battles with darkness, the manifestation of
the Banner of Peace is that fundamental sign which will give a new step to humanity. Thus
Beauty, Knowledge, Art, and all nations will unite under this sign. Thus, only the highest
measures can be applied to the Banner. Verily!

Heart, 1932
377. Only thought purified by art and liberated from servility can give efflorescence to the
consciousness.

402. A mantram and all prayers can sustain the outer rhythm and also serve as union with
the Highest World. Many people fail to perceive either the outer or inner meaning of a
prayer. The beautiful hymns of the Rig Vedas died away because they did not penetrate
into the heart. This lack of rhythm can be regarded as a sign of the final period of Kali
Yuga. It is precisely darkness which will intrude upon each harmony by every means.
Dissonance is the distinctive mark of all contemporary arts. It can even be noticed how
consonance and the major key seemingly have become a distinctive characteristic of the
old-fashioned. One must possess a certain courage to continue to create in the consonance
of the major key—maestoso! Thus, along the entire structure of life one must note the
deviation from every heroism. And in the entire world cowardly malice distinguishes the
adherents of darkness and chaos. But the heart demands construction, for it knows how
infectious is chaos. Each decay generates further decay.

Fiery World, I, 1933

30. On finding himself beyond the boundaries of the three dimensions even the most cold-
blooded person will be terrified if his heart is unprepared for the next realization. One
cannot leap from one state to another without a fiery tempering. Thus, it is impossible to
assimilate the beauty and solemnity of the Subtle World without a timely refinement of the
heart. One can stand insensate in the dark before the most wondrous works of art, but the
darkness is within ourselves! And one can kindle the Spatial Fire only by the fire of the
heart. It has been said many times that the Great Fire is manifested through our hearts.
Therefore, let him who remains in darkness blame only himself. But it is terrifying to
remain in the darkness of the fourth dimension, and all the succeeding dimensions become
hideous nightmares when not illumined by the fire of the heart.

243. One must not approach Fire with covetous aims. A simple prayer about perfectment
opens the best Gates. Likewise, a simple truthful attitude assists in cognizing the actual
rhythms of the Cosmos. It is easy to substitute greed for cosmic rhythm, but the bond with
Hierarchy leads to realization of Truth. Experience in the beautiful keeps one within the
bounds of authenticity. When the earthly world is so rich, when the Subtle World is still
richer, when the Fiery World is so majestic, then experience in the beautiful is needed.
Only acuteness of observation helps to affirm beauty. It is a mistake to think that transitory
methods of art can create a single basis for judgment. Actually, only the power of
observation, which nourishes the third eye, provides a firm foundation for creativeness that
is suitable also in the Subtle World.

244. Creativeness in the Subtle World differs considerably from earthly conditions. One is
obliged to become accustomed to so-called mental creativeness. True, thought in its
convolutions can produce very dim, flickering outlines. Stable forms depend not only upon
the force of the will but also upon former observations. As minerals through a fiery process
produce well-formed crystals, so, too, fieriness is needed for creativeness. Like everything
else, it is accumulated gradually and it belongs to ineradicable accumulations, therefore it is
never tardy in coming.

245. You value sagacity in co-workers, it is exactly so throughout the Chain of Hierarchy.
Knowledge alone will not give the fiery alertness of mind accumulated by many
experiences. What is possible and what is impossible in all the situations of life cannot be
written down. Knowledge alone is a deadly peril, but its application is a fiery art. That is
why We so esteem ready sagacity, that straight-knowledge which whispers when one
should not turn the key in the lock. He who has accumulated such straight-knowledge will
not be a traitor, either consciously or indirectly. To give away the key not according to the
level of consciousness means to act as a traitor. Not to notice wiliness or falsification
means not to be discriminating. Discrimination only on the morrow is not worth much.
Such perception will not prevent one from falling over the precipice—but how sensitive
must be the accumulation of sagacity! In each school the development of fast thinking must
be taught; without it how can one pass through the flame?

Fiery World, II, 1934

61. The art of thinking must be developed in schools. Every art is in need of exercise.
Likewise thinking must be strengthened by practice. But such a deepening should not be
burdensome nor tedious, therefore the instructor in such a subject must be truly
enlightened. It may be seen that the most terrible calamities in the history of mankind have
arisen from the inability to think. There may be found a multitude of examples wherein
spasmodic thinking and unbridled feelings have led whole nations towards the abyss. On
the other hand, laziness of thinking and slow-mindedness have destroyed accumulated
possibilities. The Leader must provide in himself the example of a constant broadening of
thinking in order to approach foresight. Of course, foresight results from Communion with
Hierarchy. But Communion itself requires alertness in thinking and a clear striving. The art
of thinking should not be understood as an occult concentration. There is nothing
mysterious in the art of thinking and in the refinement of consciousness. Only a lofty
quality of consciousness will affirm the path of the thinker. And no one will say that the
thinker is a special genius. Every child can be directed towards thinking. Hence, one must
regard the art of thinking as the health of the nation.

63. Every unification can take place only on a cooperative basis. To admit but an element
of conquest, suppression and humiliation, means that sooner or later these horrible shadows
will turn into destructive monsters. Therefore no act of violence can enter into the
construction of the Stronghold. One may find the power of joy in cooperation, but such
cooperation requires the art of thinking. Who will distribute the forces for productive labor?
Only he who is able to visualize a useful cooperation. He must know how to imagine such
labor in common, but, as you know, imagination must be cultivated. The task of every
school is the opening of a well-founded imagination.

77. In order to stimulate the cognizance of beauty in schools, let there be introduced a study
of the beauty of life. The history of arts and sciences will enter into this subject, for it must
not only embrace conceptions of the past, but also contain indications of contemporary
achievement. The instructor in this subject must be truly enlightened, in order to avoid
bigotry, which contains in itself the seed of ignorance.

293. Not without reason did the ancient sages choose to occupy themselves with some art
or handicraft. Each one had to acquire some manual skill. They had in mind a means of
concentration. Each one, in his striving for perfectionment, thus intensified his will and
attention. Even in the few objects which have come down to us, there can be seen a high
quality of workmanship. Precisely at present, the time has again come to return to quality in
manual work. It is impossible to place spiritual limitations within the confines of machines.
It is necessary to take the time to produce a quality of workmanship that will revivify the
imagination. Precisely quality and imagination are united on the steps of fiery attainment.
Fiery World, III, 1935
27. The dominance of the spirit and the dominance of the heart are understood so little that
it is necessary to broaden these concepts for the advancement of humanity. Often lack of
understanding of these great principles creates a disturbance of the earthly equilibrium. The
best example is the gap between East and West. Thus, in the East one does not understand
that the domination of spirit does not mean inaction and that domination of the heart is not
lack of will. And the West has destroyed both these concepts and affirmed the domination
of matter as the basis of life. One cannot advance without the dominance of spirit and of
heart. One should accept into daily usage the formula of inspired matter. Then spirit, heart
and matter will enter life. The Fiery World affirms domination of spirit in its entire Cosmic
span. If the scientists would but understand the great significance of the domination of the
spirit, how many useful investigations could be given to humanity! But the “bookmen” do
not acknowledge the most powerful force, namely, the domination of spirit. Therefore each
subtle approach to science, to art, must be evaluated as true fiery thinking. Let us remember
about the dominance of spirit on the path to the Fiery World.

28. Man himself affirms that power which governs his being. This power will consist
of the principal qualities of the spirit. People live under the dominion of various
potentials. One may distinguish the manifestations of construction and destruction.
Those who live under the power of Beauty are attracted toward constructiveness.
They create by their potentiality the mastery of spirit. They regenerate life through
Beauty. But how terrible is the life of those who live by the power of destruction! Of
course, speaking of the power of destruction, one should have in mind the power of
selfhood, which is opposed to the power of Beauty. Thus one should understand
clearly that a man either casts himself into an abyss or is uplifted into Infinity. The
domination of spirit and heart is a great cosmic law. Therefore the Fiery World
creates through the power of spirit.

93. A construction of new fundamentals will be contained in the establishment of

equilibrium and of coordination between science, art and life. For an equilibrium is needed
based on a survey of all affirmations. Thus, the World is in need of a great manifestation of
equilibrium. Coordination is to be affirmed upon a new understanding of all the subtle
principles of Hierarchy.

591. You already know how necessary it is to reiterate, but repetition itself is in need of art.
It is almost, but not quite, the same as the rug on the stairs. To be wearied by the mere fact
of repetition itself is impossible, as witness a pavement of identical stones. And those to
whom endless repetition is offered may proceed as calmly as they walk along the pavement
where each stone has been laid with care.

Aum, 1936
298. We often mention physicians and scientists, but it must not be thought that other
occupations should not also be mentioned in speaking of the Higher World. Can lawyers
and judges administer earthly laws if they have no concept of the laws of the Universe?
How can they establish earthly law without thinking of universal justice? It is impossible to
isolate Earth from all the worlds; it is necessary to understand the interaction of the earthly
world and the Subtle World in order to acquire the right to judge people's conduct. It is
wrong to restrict oneself to former casual decisions which do not conform to present
conditions. Each time has its own peculiarities, and without a clear picture of the
evolutionary situation the court will err. Verily, the judge takes upon himself a great
responsibility if he is to remain at the helm of universal justice.

299. Likewise, architects must be enriched with inspiration from the treasuries of universal
cognition. The style of a period is molded out of life, winged by knowledge. How superb
are the structures into which the thought of beauty has been impressed! One can see the
ascent of entire epochs through their constructive inspiration. The very quality of the
structures is felt in the strength of their materials. The builder must also know the material
which endures. Can he deny the Higher World?

300. It is superfluous to speak of the meaning of striving to the Higher World to poets,
musicians, artists, sculptors, and singers, because their expression of beauty is founded on
inspiration. Who, then, can define the boundary between inspiration and Hiero-inspiration?
Such a boundary line between inspirations is undefinable. Each inspiration contains some
particle of Hiero-inspiration. Only the heart itself can determine the degree of its exaltation.
The true participant of beauty can sense the Guiding Principle brooding above earthly
expression. Therefore, there is no need to convince the servitors of beauty of its lofty
heights.
He is no sower in the field of creation who feels no tremor in the realization that he
creates beauty.

301. Nor can any of the other domains of human labor disown the Higher Principle. If the
tiller of the soil is only a daily slave, his labor will never expand. Each form of work has a
creative domain. Earthly thought binds one within earthly limits, but evolution contains the
Higher Principle.
Books should be written on the different domains of labor. Therein servile,
circumscribed toil should be compared with unbounded creative labor. It is necessary to
demonstrate in a strictly scientific manner the possibilities which can be reached through a
regeneration of the quality of labor. People who are depressed by the daily routine lose
sight of the horizon. So, too, the eyes of man cannot at once become accustomed to the
light. Let science in all ways aid the expansion of the horizon.

302. Humanity creates more than people think.

Letters of Helena Roerich,

Book I, 1929-1935
On the Art of Nicholas K. Roerich:
19 June 1933. His art is valued for purity, translucency and an endless diversity of color
combinations which go together with an unusual power and depth of tone. Each painting is
a beautiful symphony of color consonances. We know that the colors, the shades and their
harmony create an occult impression upon the viewer. It is known that beautiful paintings
have the power of healing, and we have had many opportunities to witness this. But, of
course, for such reactions one must have “an open heart and an open eye.” As it is said, “It
is possible to remain in full darkness even while facing the most beautiful art creations, if
darkness is in us.”
But no less attention should be paid to the quite exceptional gift of N.K. in composition,
which, by the way, is very rare. All strange—to put it mildly—deviations in the life of art,
which we notice periodically, come mainly because of this lack of the gift of composition.
But each creation of N.K. is striking by its harmony in the combination of all its parts, and
this harmony carries real conviction. Nothing can be added, nothing can be taken away.
Everything is just right. This harmony of form and color, this mastery, is that gift which is
characteristic of a great creator. The creations of N.K. are also dear to me because of the
beauty of their thought, expressed in majestic but simple and sometimes profoundly
touching images.
For me, a constant witness of his art, it is a source of endless amazement—this
inexhaustible thought combined with daring and unexpected color combinations! Just as
remarkable is the ease and certainty with which he calls forth his images. They truly speak,
live on his canvases, and very seldom has he had to change something or to abandon the
first sketch. Verily, in watching the process of his work one does not know which is more
amazing—the beauty of the painting or the virtuosity of its execution.

On Greek Art:
19 June 1933. I do not agree that the Greek art is lacking in spirituality. I think that the
spirituality of ancient Greece was higher than ours, which is proved by their high
philosophy and by the contributions of their greatest workers, creators and thinkers. Their
philosophy put great ideas into lovely forms. It seems to me that we are the ones who have
lost spirituality and therefore the ability and sense to appreciate beauty. Because of the fact
that art expresses the character of its people and the conditions of nature in which it
originated and developed, very often it is not understood by other peoples who live and
create in different environments. For instance, the marble statue of the Greeks may be out
of place in our northern clime, but it was lovely under the bright sun, on the purple sands,
and with a background of turquoise waters and the dark cypresses of Greece.
Art, in all its manifestations and in all its conventional forms, remains basically
spiritual. It awakens our longing for beauty, for the Highest; and here is its chief and great
significance. As you correctly write, “The true problem of art is to move man toward the
comprehension of beauty.” Verily, the true striving toward the beautiful will lead us to the
understanding of the higher beauty of the laws which rule the Universe and are expressed
in the Perfect Mind and the Perfect Heart.

On Science, Art and the Living Ethics:

8 August 1934. You are right in thinking that in all the attempts of the dark ones there is a
certain system. Precisely, they strive to discredit every pure beginning. And the easiest way
to achieve this is by bringing dark or irresponsible persons into the midst of benevolent
activity. That is why the books of the Teaching insist so much upon discrimination
regarding newcomers. Discrimination is the key to achievement and success. This is the
first quality which a disciple should develop. Therefore, the idea of organizing groups for
the study of science and art is wise and useful in all respects. Such studies harmonize with
the tasks of self-perfection indicated by the Teaching more than anything else. Moreover,
this should give a good opportunity to observe the characters of the students, and to accept
into the Teaching of Living Ethics only well-tested persons.
Science, Art and the Living Ethics constitute a beautiful trinity. Thus, make it a rule that
the main thing is not quantity but quality, and let those who are unable to follow the path of
Light leave. Let us recall that once, after Buddha had finished preaching, five thousand of
his followers left Him and only a small group remained. But the Great Teacher smiled and
said, “It is good that the chaff has become separated from the grain; there remains the
community which is strong in its unity.” Yes, the Great Teachers appreciate a closely
united body of tested co-workers, and never seek masses of people.

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