"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.

The image of St. Sergius, placed in N. K. Roerich's book "The Banner of St. Sergius. Sergius of Radonezh", is definitely blasphemous in nature.

The background, the background of the picture is made up of the "sacred" for Roerich Himalayan mountains, from where the "world all-embracing religion" – theosophy – shone.

When looking at the "St. Sergius" it is not difficult to see Roerich himself, in whom St. Sergius was incarnated. Sergius of Radonezh.

Should we talk about the face of the Savior, depicted somewhere at the feet of "Sergius", and neither the features of the Face, nor the radiance around the head – unprecedented in Orthodox iconography before Roerich.

And finally, depicting "St. Sergius", Roerich did not fail to depict a semblance of a border along the edge of the cloth placed in the hands of "Sergius" and to place a Masonic sign in the middle of the border – three dots, which, according to Roerich's interpretation, symbolizes the banner of peace.

Roerich's paintings on religious subjects, containing pseudo-Christian sentiments, are propaganda of Freemasonry and make it possible to mislead true Christians, which happened in Harbin, where, due to a sad misunderstanding, Roerich was invited by the "Icon" Society as an honorary member.

II. The second task of Roerich's activity is the propaganda of "eternal peace" and international solidarity.