"You have a Sign and a Book, which means that you have a complete connection with the Source still invisible to you and your brothers in spirit, scattered in different parts of the world. The main thing is to try to free yourself from prejudices, understanding them broadly, understanding that sometimes the ignorant foreigner and the full-time theologian are both equally low in relation to prejudices. And how joyful it is to feel that the inner being is freed from prejudices. And how much is becoming available and possible.

Therefore, work hard, look for new worthy people, look closely at the young... " (Harbin Time, No314, November 20, 1934)

Orthodoxy, as we profess it, is indifferent to Roerich, rather hostile. Freemasons call God the Great Architect of the Universe, in Roerich's view God is the Great Artist of the Universe, a synonym for beauty.

"Beauty is God... and a new path of Beauty and Wisdom will come. A new world is coming. He walks amidst amazed and shocked eyes. And in the new world, in its new colors, a new life will take shape."

"Among the monstrous mental heaps of unlived rags, signs of synthesis are already visible." (Nicholas Roerich, Ways of Blessing, pp. 7-8.)

In all Roerich's works, despite their mystical tone, the most important thing for a Christian is missing – the confession of Jesus Christ as taught by the Holy Church.

Roerich finds it possible and not reprehensible to speak about the unknown absence of Christ and about the coming Messiah, i.e. to repeat the truisms of theosophical wisdom.

"According to legend," Roerich writes, "Buddha was somewhere beyond the Himalayas, for he came to the feat from the north. But where was Christ before He was thirty years old? Who knows these refuges?" (Nicholas Roerich, The Heart of Asia, p. 98.)

And here are the vague words in which Roerich tells about the coming Messiah, namely about the coming Messiah, and not about the Messiah who has already come, Christ.

"The blessed Maitreya the Messiah is always depicted wearing a crown. In a big way. In Tashilumno (the monastery of Tashi Lama) three years ago a gigantic image of Maitreya the Savior of the World was erected. This idea is brought about by the new coming century of the Tibetan era." (Heart of Asia, p.112.)

Who is this Maitreya? Roerich himself answers:

"But the future is already covered with sunshine. No longer in secret caves, but in the solar worship and expectation of Maitreya-Buddha. It has been three years since Tashi Lama in his Tashilumno solemnly and clearly erected a great image of the Coming One. Invisible hard work is underway." (Heart of Asia, p. 132.)

This is how Roerich's religious worldview is reflected in his literary works. And the same thoughts, the same moods prevail in the works of his brush.

Roerich's paintings on religious themes are alien to true religious mysticism. The main direction of his work is pantheism. With his works, Roerich introduced modernism into Christian painting, which had nothing in common with genuine Christian painting, so clearly expressed in the works of Nesterov and Vasnetsov, these universally recognized luminaries of Christian painting. In Roerich's paintings there is no Christian mood, joyful feeling and quiet light, that is, what can be created not by a theosophist with perverted mysticism, which is Roerich, but by the deepest mystic – a Christian and a pure confessor of Christ.