Meaning of the Banner of Peace symbol

The trinity symbol is an image of three identical or similar elements located at an equal distance from each other and forming either a triangular figure or a circle. As a rule, these signs contain a deep spiritual meaning, and wonderful mystical properties are often attributed to them. They also mean the unification of three qualities, phenomena, states, hypostases into a holistic entity. The article presents a description and photo of the trinity symbol that makes up a triangle.

Ancient origins

Some signs appeared long before our era, and it is now almost impossible to accurately determine their original meaning. The oldest symbol of the trinity was the image of a triangle, which can be seen in the form of cutouts on bones and drawings on the first ceramics of the Stone Age. Over time, circles, dots, spirals, and other figures appeared that made up a circle or triangle. Such drawings did not always have any meaning; most often they were simply ornaments. Sometimes such images marked places of worship and burial.

With the development of the rich mythology and organized religion of the ancient Egyptians, Sumerians, Greeks, Celts, Iranians and other peoples, certain signs became sacred. They symbolized triads of gods or hypostases of one deity, its three qualities and manifestations, denoted the higher, human, underground world, the process from birth to death, as well as other ideas about the universe.

During the period of the formation of ancient philosophy, astronomy, and geometry, the signs of triads acquired additional meaning. The whole, consisting of three parts, meant human qualities, states, actions, natural phenomena, elements, celestial objects, time relationships, types of art, mathematical functions, and other concepts. Visual options for intersecting elements of triangular shapes and their combinations with other geometric shapes appeared.

Faith, Hope, Love: symbols of Christian virtues in the works of jewelers of the 18th and 19th centuries

Today the entire Orthodox world honors the memory of the holy great martyrs Faith, Nadezhda, Love and Sophia.

A couple of months ago, one of my customers sent me a photo of a brooch from her great-grandmother’s box, which she inherited. Alas, I did not find the photo itself among the numerous correspondence. But it looked something like this:

The girl suggested that this brooch meant something, but she didn’t know what exactly and asked me.

Three signs, the triad Cross - Anchor - Heart, according to historians, have been serving for thousands of years as an allegory to designate the three main Christian virtues: faith, hope and love. Together they symbolize the Holy Trinity.

In Europe, you can quite often find these designations in architecture, ornaments, and patterns. Artists used it. Sometimes maidens or angels were depicted holding allegorical objects.

Above in the picture there are three postcards in a row from 1907, they were printed in a London printing house. Such postcards were given as a sign of gratitude and respect, sometimes to a philanthropist or a person who was involved in charity.

In Russia, these symbols of virtue are rare, as a rule, only where the architects were invited Europeans.

The cross is a symbol of Faith. One of the oldest symbols of human civilization. It is the Latin cross, or sometimes called the long cross (see photo), that is traditionally depicted on the triad. It is believed that it was from this cross that Christ was taken down. In the Middle Ages, Western priests marked with such a cross the place in the book where they needed to cross themselves.

The anchor is a symbol of Hope. A sacred object to which sacrifices were made, since the anchor was often the only salvation of sailors. The anchor, as a symbol of hope, was cast on ancient coins of Greece, Syria, Phenicia, Carthage and Rome.

The meaning of the anchor was borrowed by Christian culture from the Romans, since in the art of Ancient Rome the anchor symbolized the joy of returning home after a long journey.

The anchor became a key symbol of Christianity during Roman persecution. The first Christians depicted an anchor instead of a cross on the walls of the catacombs, next to the word “peace” and fish - a symbol of Christ.

It should be noted that the anchor acquired its present appearance relatively recently - in 1813.

Heart is a symbol of Love. It was added to the triad later than everyone else (late 17th century), after the cult of the “Sacred Heart of Jesus” was finally established in Catholicism. It was this cult that the Russian Orthodox Church categorically did not accept, and apparently for this reason the allegory of the Cross - Anchor - Heart never became widespread in Russia.

It is generally accepted that jewelry with the symbols Cross - Anchor - Heart came into fashion in the 1830s and remained in favor for many decades. On the modern antique world market you can still find jewelry in this theme, but, as a rule, they are from a later period. It is rare to find a thing from the first half of the 19th century; often it is jewelry from the Victorian or Edwardian period (1860 - 1920).

Above is a Victorian jet mourning brooch.

Sentimental brooch with the hair of a living or deceased loved one (mourning brooch).

In the photo above, the pendant is decorated with natural agate plates.

As you can see, all jewelry differs in design and materials used in them.

They differ in craftsmanship, beauty and sophistication.

And therefore, such jewelry was worn by ladies of different wealth and material capabilities, but everyone liked them, and they were all susceptible to the flow of fashion.

Well, and finally, a few more themed vintage postcards:

Among the ancient Slavic peoples, on the last day of September there was a holiday called “women’s name day”. All women on this day were congratulated on the holiday. Women's name days were usually celebrated for three days.

On this day, women were allowed not to work even around the house, they had to cry for themselves, for their family and friends, so the holiday did not begin with fun at all, which is why it got one of its names - “Woman’s Howl.” On this day, everyone was supposed to cry - both those who really had something to be sad about and those whose lives turned out well.

Years passed, and gradually ancient Slavic customs became intertwined in the popular consciousness with the veneration of Faith, Hope, Love and their mother Sophia.

On this day, young people organized so-called “parties” - boys and girls looked at each other, and those between whom the fire of love had already been lit sent matchmakers. After all, in just two weeks the Intercession comes and the time of weddings begins.

Thanks to everyone who read to the end!

Congratulations to everyone, regardless of name, on the occasion of Baby's Name Day!

Middle Ages

Early Christians graphically depicted the image of God with a triangle, images of which can be seen in Roman catacombs and funerary slabs. After the First Ecumenical Council (325), at which the formula of confession was approved, the church adapted some of the ancient signs as Christian symbols. Until the tenth century, the depiction of three hypostases (faces) of the one God, namely the Father, Son, and Holy Spirit in human images, was not accepted. Therefore, such figures as the triquetra, the stylized trefoil, the triskelion, a simple triangle formed from various elements, as well as other signs began to mark the Holy Trinity. Some ancient symbol of the trinity was turned into a decorative element of temple architecture and a richly illustrated Bible. Similar signs appeared on frescoes and in religious paintings, as decorations and protective amulets on knightly shields, weapons, armor, as well as on family coats of arms.

Rules for using and cleaning the amulet

It is recommended to wear Triglav around the neck. All chakras are concentrated in this area. Accordingly, under the influence of the amulet, positive changes are noted throughout the body, and the state of health improves.

In addition, when using the amulet, you must adhere to the following recommendations:

do not wear the product simultaneously with amulets that are parts of animals killed for profit, for example, with claws, fangs or skin;
It is unacceptable to combine the talisman with church incense, icons, or a pectoral cross;
It is best to wear the amulet on a chain made of silver.

If you follow these simple rules, Triglav will bring maximum benefits.

The main thing is to periodically cleanse it of accumulated negative energy.

For this purpose, the amulet is immersed in water and removed after a couple of hours.

19th century occultism

In the middle of the last century, interest in philosophia occulta became widespread throughout Europe and many areas of North America, becoming quite a fashionable phenomenon in the middle and upper circles of society. With the development of science and technology, developments have appeared that bring the ideas of esotericism to a scientific basis. Many theoretical works were written, many books and magazines were published on various areas of occultism. Since in the esoteric tradition one of the main principles is the subordination of all entities to the law of the trinity, the symbol of the triad in the “secret teachings” is endowed with special, mystical significance. In occult publications of the 19th century, such images are interpreted from the point of view of their deep meaning in esotericism, as well as the sacred role of Western and Eastern religious systems.

How to activate the amulet

For the amulet to take effect, it must be activated. The charge is produced by using the forces of Earth, Fire or Water. With their help, life is breathed into the amulet, it becomes a guard for its owner and home.

The easiest way to activate Triglav:

Immerse the product in clean water.
Soak in liquid for about three hours.
Dry naturally.

After this, the symbol is used for its intended purpose. The main thing is that it is charged with human energy. For this purpose, after activation, it is put on and not removed for three days.

Conducting the ritual cannot be trusted to strangers. All actions must be performed independently. If the talisman is made of silver, it should be placed on the windowsill at night. Then the amulet will charge with moonlight.

Wooden amulets are activated in nature. They perform the ritual in a good mood. Perform the following actions:

Triglav is washed in the river in the morning and then placed in the sun.
When the clock shows exactly 16:00, the product is taken into hand. Women go to the left, and men to the right.
They stand facing north, take deep breaths and exhales. At the same time, they imagine how the rays of the sun pass through the body. They enter the crown, move towards the solar plexus and exit through the palm in which the talisman is placed.
The phrase “Real” is pronounced 3 times. Praise. Rule."
The hand with the amulet is pressed to the heart.
The phrase is repeated 9 more times.

Triangle

Since ancient times, the figure has been associated with fire, mountain, stone, peak, and reflected the connection between the earthly and heavenly worlds. The figure, turned upside down, personified the ancient Great Goddess, the giver of heavenly waters. Depending on the position of the top, the image means the feminine or masculine principle, and the two combined figures symbolize creation and creative power. The inverted triangle was likened to a chalice and the Holy Grail, with its apex up - the heart.

As the primary symbol of the trinity, the figure most often reflected heaven, earth and between them man or the essence of the divine, human, animal. The triangle also denoted the world of the dead, the living and the higher spheres.

Among the ancient Egyptians, the vertical side of the triangle was identified with the man (beginning), the horizontal side with the woman (middle, storage), and the hypotenuse with the offspring (completion). In the world of the gods, these foundations of procreation were represented by the triad of Osiris, Isis and Horus. The Egyptians considered the nature of all things and perfection to be the number three contained in a triangle, the sacred ratio of the sides and the hypotenuse of which corresponded to the ratio 3: 4: 5.
In ancient Athens, the regular triangle was dedicated to the goddess of knowledge and wisdom, Athena, and also symbolized space, creation, the absolute and was considered a divine creation. The Tetractys of Pythagoras, containing ten points and nine equilateral triangles, was identified with the Great Consubstantial One, containing everything else.
In Christianity, the figure symbolizes the Trinity and, as a triangular halo, is an attribute of God the Father. The so-called shield of the Holy Trinity in the form of an inverted triangle is often part of the stained glass windows of Gothic cathedrals. During the Renaissance, a triangle with the divine all-seeing Eye was depicted as a sign of higher conduct, and later became part of Masonic symbolism. The Eye of God, depicted in a triangle, is also a symbol of Jehovah in Judaism and is present in the iconic visual art of Ancient Egypt.

There are other figures that form three equal sides. The period and places of their origin differ, but in Christianity the meaning of the trinity symbol for these signs remains the same - they all identify the Holy Trinity.

Stern 18

Banner of Peace

Trinity Symbolism

in painting by N.K. Roerich

Art Gallery

We bring to your attention several of the most famous paintings of Nicholas Roerich, in which he used the Symbolism of the Trinity and the sign of the Banner of Peace

This ancient symbol, which has a protective meaning, has been found everywhere in world culture since ancient times. N.K. Roerich saw this Symbol in his scientific expeditions, wrote about it in his essays, depicted it in paintings, theatrical and decorative works, monumental painting, and graphics.

Information about the paintings

"Banner of Peace. Pax cultura» • Madonna Oriflamme • Glow • Sophia the Wisdom • Treasure of the world. Chintamani • White stone. Horse of Happiness • Banner of Peace • Holy Stones. Mongolia (Shara-Muren) • Earthly spell

"Banner of Peace. Pax culture"

1931 Paper on cardboard, tempera. 15x23 Private collection

The Banner of Peace, a white flag with three circles in an amaranth-colored ring, is a symbol of the Roerich Pact, the first ever international treaty for the protection of the cultural heritage of mankind.

The treaty was signed on April 15, 1935 in Washington by representatives of 20 countries of North and South America.

According to Roerich's plan, this sign should be placed on objects to be protected, as a kind of Red Cross of Culture.

The origin of the symbol is lost in ancient times. It was given sacred meaning at different times and among different peoples. About this N.K. Roerich wrote in many works, including the essay “Banner of Peace” (1939)

Despite its ancient origins, it has never been used as a distinctive sign of any belief. N.K. Roerich also called it a symbol of the Trinity, understood the hidden meaning of this sign and did not object to various interpretations if they were based on the concepts of synthesis and unification.

“There can be no international agreement and mutual understanding without Culture. The popular understanding cannot embrace all the needs of evolution without Culture. Therefore, the Banner of Peace contains all the subtle concepts that will lead peoples to the concept of Culture. Humanity does not know how to show respect for what is the immortality of the spirit. The Banner of Peace will give an understanding of this great meaning. Humanity cannot flourish without knowledge of the greatness of Culture. The Banner of Peace will open the Gates to a better future. When countries are on the path to destruction, even the least spiritual must understand what the ascent consists of. Truly, salvation is in Culture! This is how the Banner of Peace carries a better future.” Hierarchy. §331

“Truly, the Banner of Peace will unite all cultural tasks and give the world the achievement that is so needed. Thus, those who carry an aspiring quest will respond to all statements. The nations will truly unite under this Banner.” Hierarchy. §334

N.K. Roerich about the Pact of Roerich and the Banner of Peace (essays from different years)

“...The symbol of the Roerich Pact was the Banner of Peace, which carries within itself not only the idea of protecting Culture, but also the evolutionary nature of this Culture. Banners of Peace, the international sign of evolution, are displayed throughout the world where Culture is protected. “There will be a time when the Banner of Peace, the Banner of Culture,” wrote Helena Roerich, “will cover the whole world.” (...)

On April 15, 1935, when the Roerich Pact for the Protection of Culture was signed by the heads of a number of states, N.K. Roerich once again reminded everyone of the meaning and evolutionary essence of the Banner of Peace, the symbol of this pact.

“Let the Banner flutter over the centers of Light, over the sanctuaries and strongholds of beauty. Let it flutter over all the deserts, over the lonely hiding places of Beauty, so that the deserts may flourish from this sacred grain. The banner is raised. It will not be discouraged in spirit and heart. The Banner of Culture will flourish with the bright fire of the heart. Let it be!”

“Let it be,” we will repeat, following our great compatriot, who brought to our planet the much-needed knowledge about Culture and Cosmic Evolution.”

Shaposhnikova L.V. Roerich Pact. At the core is beauty and knowledge. Newspaper "Culture", No. 14, April 14-20, 2005.

“...The Banner of Peace was consecrated in 1931 in Bruges, where the town hall itself is decorated with a Gothic trefoil. In the same year, N. Roerich created a series of works reflecting the meaning and purpose of the protective cloth. These are his famous poster paintings “Glow” and “Banner of Peace. Pax cultura."

Matochkin E. Sign of the Banner of Peace in the art of Eurasia and the works of N.K. Roerich. Magazine “Fiery World”, No. 4 (15). 1997. p.78

Madonna Oriflamme

1932. Canvas, tempera. 172.5x99.3 Museum named after N.K. Roerich in New York, USA.

“That is why it is so necessary to affirm the feminine principle in the spirit. For the banner of the great balance of the world is given to a woman to raise. So the time has come when a woman must win the right that was taken away from her and which she gave voluntarily...” Fiery World III. §241

N.K. Roerich

Lady of the Banner of Peace

Lady of the red flame! Lady of the Banner of Peace! To You, Lady, we resort. Who will raise the sign of Peace, the sign of preserving the Highest Treasures? Who besides You will come to us to Help us raise the Banner, a sign of creation for the nations? The sea is stormy and the whirlwinds are destructive, But You will raise the Banner and Fill the human heart with the Consciousness of the sacred preservation of the Spirit. After all, You know how impossible it is to put off this sign. After all, You know how many destructions have already humiliated the Earth. You know all the reproaches of the best that people need. If the flock does not know danger, You, being a shepherd, will raise the Banner of Peace. And the mountain winds carry Your order everywhere: Save, and build, and lay down a Bright tomorrow. Your Flame of Red dispels the darkness. Your Breath heals all wounds And does not Your Hand build, Lightly touching the creative stones of creation? So we ask You to raise This sign of the Powerful Trinity. We know that You will not refuse, For You are disgusted by the destruction and destruction of beautiful principles. You do not tolerate chaos, You do not tolerate Confusion, and therefore You will raise and Preserve and Show to the peoples the sign of the Protection of peaceful beautiful treasures! A Guiding Sign for every creative Thought! Sign of Affirmation and Light. Help, Lady of the Banner of Peace!

(April 10, 1932. Himalayas.)

Published: Peace through Culture. Yearbook. M. Soviet writer. 1990. p.6

“The Oriflamme Madonna bears the reflection of Leonardo’s art.” Here, as in Renaissance images, everything is filled with admiration for both the human appearance of the Goddess and the opening cosmic distances. The Oriflamme - the scarlet battle banner of the French kings - here calls not for battle, but for the protection of all the beauty of the world. The maforium on the head of the Lady is marked with three circles, as the artists of the 15th century, in particular Jean Fouquet, usually decorated the crown of the Mother of God.”

Matochkin E. Sign of the Banner of Peace in the art of Eurasia and the works of N.K. Roerich The Fiery World. Magazine No. 4 (15). 1997. p.78

Glow

1931 Cardboard, tempera. 23 x 35.5 Private collection. New York, USA.

“In March 1914, I completed the painting “Glow.” Against the backdrop of a Belgian castle, near a statue of a Belgian lion, a knight stood guard in full armor. The entire sky was already filled with a bloody fiery glow. Fire hieroglyphs were already flashing on the towers and windows of the old castle. But the noble knight remained awake on his constant watch. Four months later, everyone already knew that this noble knight, of course, was King Albert himself, who protected the dignity of the Belgian lion.

King Albert

The name of King Albert, all his creative feats for the good of his country, his military heroism, his broad views and deep goodwill have always been precious to me. Truly, it is joyful, even in our troubled times, to have before us such a clear image of a hero - a knight without fear or reproach, who brilliantly spent his entire life in tireless labors for the prosperity of the people.

Humanity must take care of its heroes. It should also cherish the memory of them, for it will already contain healthy creative inspiration. Life is dull without a hero. It is all the more valuable if such heroes not only appear on the pages of legends, passing into divine myths, but they turn out to be sent to ours.

time. They work, create and fight for good these days. People could see them. Many comrades could feel the touch of an encouraging hand and hear the calling word. Our times have not been abandoned either. The name of King Albert will remain among these undoubted heroes, so necessary not only for their country, but for the honor and dignity of all humanity.

Heroism is not selfhood. Heroism is true altruism. In heroism self-denial and self-sacrifice live and shine. Glory accompanies the hero, but it is not a deliberate spelling, but a natural emblem of his glorious shield.

And now in the Mongolian desert it is also a joy to be able to write down these words. After all, in every good mark there is already something calling, uniting and opening the heart. We should be grateful to the hero who, through his feat, helps us open our hearts and look friendly into the eyes of our neighbor.”

Roerich N.K. "King Albert". Diary sheets. I volume ICR. Bisan Oasis. 1995. p.486,487

Nikolai Konstantinovich was referring to the events associated with the beginning of the First World War, when Germany, having declared an ultimatum to neutral Belgium, demanded that its troops pass through its territory to the borders of France. Having received a refusal, on August 4, 1914, Germany invaded Belgium and attacked the border fortress of Liege. The Belgian army, led by King Albert, put up fierce resistance, but was forced to retreat before a stronger enemy. Soon almost the entire territory of Belgium was occupied by German troops.

Years have passed. The hard times are over. In the early thirties, Belgium became one of the first countries in the world where the ideas of the Roerich Pact were supported. In this, Nikolai Konstantinovich believed, great merit belonged to the enlightened ruler of Belgium, King Albert. (...)

In 1931, seeing the glow of new wars, Nikolai Konstantinovich repeated the picture of 1914, depicting the Banner of Peace in its upper right corner. No, Armageddon times are not a thing of the past, Roerich seems to remind and calls for strengthening the Sacred Watch. That is why the noble knight stands on guard; and above the “stormy, lost world” flies the saving Banner with the words CULTURE and PEACE inscribed on it.

Great gift. About the painting by N.K. Roerich “Glow”. Sunrise. Magazine. No. 4 (144). 2006

Sophia Wisdom

1932 Canvas, tempera 107.5x153 N. Roerich Museum in New York, USA.

The Angel of Silence was captured with the same hand and thought that formed the image of Sophia - the Wisdom of God. Fiery are the wings of the aspiring Sophia, and fiery are the wings of the Angel of Good Silence. (...) Agni Yoga preaches: the first covenant is like thunder, but the last is created in silence. First the Fiery Messenger, and then the Most Pure Sophia Herself - Wisdom...

N.K. Roerich "Power of Light". About the Eternal... M. 1994 p.169-170

“...In 1932, Roerich created the painting “Sophia the Wisdom of God,” where he depicts a royal feminine creature soaring over the world on a fiery horse. It is interesting to compare Roerich’s Sophia with her canonical image in ancient Russian icon painting, described by Florensky: “...an angel-like figure in a royal dalmatic, with barmas and an omophorion. Her long hair is not curly, but falls on her shoulders. Her face and hands are the color of fire, behind her back are two large fire-like wings, on her head is a golden caduceus, on her left is a closed list, pressed to her heart; near the head there is a golden halo, above the ears there are toroki or “rumors”,” in addition, Florensky gives his own decoding of the symbolism of her image: “Sofia’s wings are a clear indication of some special closeness to the heavenly world. The fiery nature of the wings and body is an indication of spirituality, the fullness of spirituality. A crown in the form of a city wall is a common sign of Mother Earth in her various modifications, perhaps expressing her patronage of humanity as a collective whole.” Regarding the list, it is said that “it contains the unknown and hidden secrets of God.”

First of all, it should be noted that Roerich, instead of the calm and solemn image of the traditional icons of Sofia, creates a work that is unusually dynamic and expressive. His Sophia flies on a horse, as is customary for the image of Archangel Michael - the commander-leader of the forces of light. Instead of Sophia's halo there is a disk of the sun. She herself is like a messenger of the sun, like a warrior of Light. A detailed comparison with Florensky’s description shows that, basically, Roerich strictly adheres to the iconographic rules, except for one glaring difference. Sofia holds the list not in her left hand, but in her right, and this list is revealed. The list shows the symbol of the Banner of Peace - three circles in a circle and the word “Αγιωζ” is written three times in ancient Greek, which means “holy”. The Banner of Peace, or the International Flag of Culture, was proposed by Roerich to protect Art and Science, all the creations of human genius. In the picture, this Banner flies over cathedrals and palaces, libraries and museums.

They all represent one world city behind a common Kremlin wall, as if symbolizing the unity of the creations of human hands. According to the author, “the proposed Banner has three connected amaranth spheres on a white background in a circle as a symbol of Eternity and unity.”

In the image of the heroic Sophia, Roerich embodied his faith in the advent of the era of the Mother of the World and had great hopes for women in the further development of humanity. In his book “The Power of Light” in 1931 it was written: “In the difficult days of cosmic cataclysms and human disunity and degeneration, the oblivion of all the highest principles of existence that give true life and lead to the evolution of the world, a voice must rise calling for the resurrection of the spirit, for bringing the fire of achievement into all the actions of life, and, of course, this voice should be the voice of a woman who has drunk the cup of suffering and humiliation and has been tempered in great patience. Let now the woman - the Mother of the World - say: Let there be Light! What will this Light be like and what will the fiery feat consist of? “In raising the banner of the Spirit, on which will be inscribed – Love, Knowledge and Beauty.”

Applying these thoughts to this picture, you can also read the scroll as follows: “Holy Love. Holy Knowledge. Holy Beauty." Apparently, the time has come for people to realize and protect these highest spiritual and evolutionary values. After all, the cornerstone of the future Culture will rest on them, and a new world will come through them. All red and yellow, in the flame of the solar disk, Roerich's Sophia again returns us to Solovyov's interpretation of the apocalyptic plot. It is probably impossible to depict the image of a wife dressed in the sun more convincingly than Roerich did in his painting. And the word born by her is those unknown hidden secrets of God that are inscribed in the open scroll. The meaning of the picture is close to Bulgakov’s thoughts: “... and above the earthly world the mountain Sophia floats, shining through it as reason, as beauty, as ... economy and culture.”

The chants dedicated to Sophia say that “from her came the fire of the Divine.” So in Roerich’s canvas the whole sky is engulfed in fire, in its flames the divine Sophia rushes on a horse.”

Matochkin E.P. “N.K. Roerich and Russian cosmism." Part I

Treasure of the world. Chintamani

1935-36 Canvas, tempera 91.8 x 116.9 International Center-Museum named after. N.K. Roerich. Moscow. Russia

“On the edge of an abyss, near a mountain stream, in the evening fog the outlines of a horse appear. The rider is not visible. Something unusual sparkles in the saddle. Maybe this is a horse lost in a caravan? Or perhaps he threw off the rider while jumping over the abyss? Perhaps this horse, weakened, was abandoned on the road and now, rested, it is looking for its owner? The mind thinks this way, but the heart remembers something else. The heart remembers how from the Great Shambhala, from the sacred mountain heights, at the appointed hour a lonely horse will descend and on its saddle, instead of a rider, the Treasure of the World will shine: Norbu Rinpoche-Chintamani - the Wonderful Stone, the Savior of the World.

Isn't it time? Doesn’t a lonely horse bring the Treasure of the World?”

Roerich N.K. "Power of Light". Sacred Watch. Riga. Vieda. 1992. p.193,194

“...Once again ten fingers are raised around the fire and the story, convincing in its simplicity, inspires human hearts. Now the tale is about the famous black stone. In beautiful symbols, the old traveler will tell you how, in time immemorial, a wonderful stone fell from other worlds - Chintamani of the Hindus or Norbu Rinpoche of the Tibetans and Mongols. And since then, part of this stone has wandered the earth, heralding a new era and great world events. It will be told how a certain ruler owned this stone and how dark forces tried to steal the treasure.

Your friend, listening to this legend, whispers to you:

“This stone is black, unbridled and odorous and is called the Beginning of the World. And he moves as if spiritualized. This is what Paracelsus bequeathed." And our other companion will smile:

"The Stone of Exile, the Wandering Stone of Wolfram von Eschenbach."

But the narrator by the fire continues his tale about the miraculous powers of the stone; how the stone manifests itself and how it indicates world events.

“When a stone is hot, when a stone trembles, when a stone changes its color, by these phenomena the stone predicts the future for the owner and makes it possible to know enemies and dangers or happy events.”

A listener asks:

“Isn’t this the stone on the Rigden-Dzhapo tower? Isn’t it he who gives the rays that penetrate all the oceans and mountains for the benefit of people?”

The narrator continues:

“The black stone wanders the earth. We know that the Chinese emperor and Tamerlane owned the stone. Knowledgeable people say that the great Solomon and Akbar owned a treasure that gave them miraculous powers. The treasure of the world is the name of the stone.”

Roerich N.K. "Power of Light". Sacred Watch. Riga. Vieda. 1992. p.185

“The painting “Chintamani” (1935-1936) is closely connected with the legend of the miraculous Stone, capable of influencing people’s lives. Mention of this Stone is found in the legends of various peoples. In the West it is the Holy Grail, in the East it is the sacred symbol of Chintamani, the Treasure of the World. But what lies behind these legends? According to the esoteric tradition of the East, this Stone was sent to Earth from the constellation Orion, and on the site of its fall the Abode of the Teachers of Knowledge and Light - Shambhala - was founded. There he remains to this day, being a link between the Earth and the Distant Worlds, and his fragment travels in the world, appearing on the threshold of great events. In the painting, Treasure is depicted in the saddle of a lonely white horse descending from a mountain peak. If the Stone is sent into the world, it means that a new page will soon open in the history of the Earth...”

Museum named after N.K. Roerich. Guide. Under the general editorship of L.V. Shaposhnikova. ICR. Master Bank. M. 2006. p.187,190

White stone. Horse of Happiness

1933 Canvas, tempera, 82.6x105.2 N. Roerich Museum in New York, USA.

Painting “White stone. Horse of Happiness” echoes the painting “Treasure of the World. Chintamani." It also depicts the Symbol of the Trinity in tongues of stylized flames surrounded by sacred symbols on the saddle of a riderless horse. We can see the same plot in the painting “Horse of Happiness” (Maitreya series, 1925)

We saw the white horse of St. Yegori.

We saw the white horses Flor and Laurus.

We saw Svetovit’s white horses, and Valkyries raced on white horses. Have you heard about the horse of Isfahan? We saw Arjuna's saddled horses guarding the temples. We heard about Geser Khan's horse, and even saw the blows of his horseshoes. They knew the horse Himavat with the fiery burden of Chintamani.

In Chinese paintings, deer carry the same fiery treasure. Like St. Hubert's deer. And the tread of the white horse outlines the boundaries of the state. And again the heroes are on white horses. And in Mongolia, Tsagan Mori, a white horse, will be marked by all sorts of legends. Rigden-Dzhapo also rushes on it, and in the fiery reflections the horse becomes fiery. And when the people await the future on one side, the Great Horseman turns the faces of those waiting in the other direction - to where they need to go.

It is the white horse that belongs to the hero in folk tales. It is the white horse that is left to walk alone, bringing the great news...

N.K. Roerich "Erdeni Mori". Diary sheets. Volume 1, MCR, M. 1995

“Roerich transferred the legend of Chintamani, captured by someone on a block of stone, to his canvas in the painting “White Stone”.”

Matochkin E. Sign of the Banner of Peace in the art of Eurasia and the work of N.K. Roerich “The Fiery World”. Magazine No. 4/15. 1997. p.79

Banner of Peace
1931.
Tempera on canvas. 57 x 197 Location unknown. From the collection of Yu.N. Roerich

No matter how much you mention admiration and surprise at the nameless creativity spread across the entire face of the earth, you still admire each time when you see new examples.

When, on dangerous mountain passes, you find giant images on the rocks, hardworkingly carved by someone, each time you are filled with respect for such spontaneously formed creativity. […]

You feel especially clearly that such creations are caused by some deep need. The work they were required to do was sacred work. Someone unknown to us needed to spend their time and energy in order to leave an anonymous monument for the edification of some unknown travelers in sometimes the most inconvenient conditions.

N.K. Roerich "Nameless".

Diary sheets. T. 1/ M.: International Center of the Roerichs. 1995. pp. 417-418.

Holy stones. Mongolia

(Shara-Muren)

1935-1936. Canvas, tempera. 46.5 x 78.5 State Museum of Oriental Art. Moscow, Russia.

Shara-Muren is an area in Inner Mongolia (China), which N.K. and Yu.N. The Roerichs visited in the summer of 1935 during the Manchurian expedition (1934 – 1935) on the way from the Chahar province to Sui-yuan. In Shara-Muren there was a Buddhist monastery of the same name, which was the residence of the incarnate lama (Khubilgan) Chu-chi-ston Rinpoche. According to some reports, the monastery was later destroyed.

The rock of the Shara Murena monastery is all dotted with blue signs of the Banner of Peace. The Circassian gurda blades have the same sign. From the monastery, from sacred objects to the combat blade, the same sign is everywhere. You can see it on the shields of the crusaders and on the tamga of Tamerlane. On old English coins and on Mongolian seals - the same sign is everywhere.

Doesn't this ubiquity mean that it needs to be remembered everywhere? Doesn’t it mean that on top of individual folk designations there are unifying and reminder signs everywhere, just to be able to see them and remember them firmly? Both conditions: to discern and to remember are equally necessary. How can you remember something that you couldn’t see at all? And what’s the point of seeing it if you can’t comprehend and remember it. (...)

Any authenticity will only prove how many essential signs are scattered everywhere. Just see, just remember, just convey. It is difficult to convey streams of grace. Sometimes they are absorbed into the heart and then they are most likely to be preserved. Also, in order to see and remember, undistorted goodwill is necessary, without any self-made shackles. Built-up dungeons are terrible, but homemade dungeons are even more terrible. And yet everywhere there is so much wonderful, so much beauty.

Just to see and remember.

N.K. Roerich. “Everywhere” Diary sheets vol.1. MCR, M. 1995

“...At night all the star chambers burn. All the wonderful signs shine. The Book of Greatness has been opened. A ray of light flashed behind the mountain. Who's there? Who went there? Not Erdeni Mori?

There are signs of treasure on the rocks of Shara-Murena. Naran-Obo hid a wonderful stone. Erdeni Mori went everywhere.”

Roerich N.K. Erdeni Mori. Gateway to the future. Riga. Uguns. 1936. p.135

“In rock art, the sign of the Banner of Peace also appears from the Stone Age. Thus, a circle with three points and three connected circles were carved in Mongolia on stone slabs in Arshankhad and Tsagaan-airig back in Mesolithic times. A circle with three points, according to E. Novgorodova, can be compared with anthropomorphic figures of the Paleolithic era, reminiscent of female and male symbols.

The sign of the Banner of Peace can be found among the Amur images of Sakachi-Alyan of the Neolithic period and the petroglyphs of the Angara of the Bronze Age. A. Okladnikov, who found a similar sign on Mount Teshb in Mongolia, described it as “three rings connected together and forming a kind of triangle, similar to the Symbol of the Roerich Pact.” It is these images that N. Roerich reproduces in his paintings “Holy Stones. Mongolia" (1935-1936)".

Matochkin E. Sign of the Banner of Peace in the art of Eurasia and the works of N.K. Roerich

“Fiery World”, magazine, No. 4 (15). 1997. p.76

Earthly spell

1907 Cardboard, tempera. 49×63 State Russian Museum. Saint-Petersburg, Russia.

“...But among the concrete, recognizable paintings of the past, unusual and strange paintings appear. ...The past is on them too. With the same specific details, with the same historical mood. But they seem to fall out of the eras familiar to us. They are less conventional and have mysterious names. It’s as if it’s not history that lives in them, but legends about it. Everything on the canvases is real, but something has become unusual, illusory, as in a vague memory.

Fancyly dressed witches bend over secret herbs. The eyes of sorcerers look piercingly and wisely, in which timelessness and secret knowledge shine. Fantastic faces and signs of ancient spells appear in the uncertain light of the month. They conjure earth, conjure fire, conjure water..."

Shaposhnikova L.V. Master. ICR. Master Bank. 1998. p.52,53

“...Normal and inverted images of the sign with a central circle at the bottom, called masks in archeology, were reflected in Roerich’s painting “The Earthly Spell” (1907). The artist reconstructs one of the most mysterious rituals of antiquity, associated with face masks, and archaeologically accurately reproduces the petroglyphs of Sakachi-Alyan and Fort Rupert (USA). A strikingly close plot confirming the accuracy of Roerich’s reconstruction was recently discovered in the Mugur-Sargol tract (Tuva). Here, on the rocks protruding from the Yenisei, a man with a staff is carved out of stone in a strange half-bent position, walking among anthropomorphic faces. As M. Devlet, a researcher of Yenisei petroglyphs, notes, this composition can be partly associated with a large group of dancing men in the petroglyphs of Karelia and small sculptures of the Baltic states.”

Matochkin E. Sign of the Banner of Peace in the art of Eurasia and the work of N.K. Roerich “The Fiery World”. Magazine No. 4 (15). 1997. p.76

“It is worth noting the amazing fact that long before Roerich proposed the security banner, this sign was already present in the artist’s works. In addition to the “Earthly Conjuration”, in the same 1907, Roerich painted the sign of the Banner of Peace on the cloak of Archangel Michael on the icon from the iconostasis for the Kamensky family church in the convent in Perm. Apparently, Roerich continues here some unspoken artistic tradition. Among Western iconography, it is visible in the above-mentioned images of Saint Domingue from Silos, Saint Michael Bartolomeo Vermejo and Rogier van der Weyden, as well as Saint Mauritius - the master of Moulins (95). Among the Old Bulgarian monuments, three white dots on the red cloaks of the Archangels can be found on an icon of the 16th century. “Savior Emmanuel with the Archangels” (96), as well as on the icon of the 17th century. "Archangel Michael" (97).

Matochkin E. Sign of the Banner of Peace in the art of Eurasia and the work of N.K. Roerich “The Fiery World”. Magazine No. 4 (15). 1997. p.80

Home → Roerich Pact and Banner of Peace

Christian variations of the triangle

Many varieties of similar figures appeared in the religious symbolism of the Middle Ages:

The triangle in combination with the cross symbolized the death on the cross of Jesus for human sins, his resurrection by God the Father, the repentance of Christians and the condescension of the Holy Spirit.
The three fish making up the triangle meant: Jesus Christ, Son of God, Savior. They also marked the Trinity.
A triangle containing the Greek letters Omicron, Omega and Nu. These letters represent the words εγω ειμι ο ων spoken by God to Moses from the burning bush (Exodus 3:14), which are translated as “I am who I am.” The phrase was taken literally from the Septuagint, the ancient Greek translation of the Old Testament.
Three figures of running rabbits create two triangles, internal and external. The symbol was often present as a relief element in architecture and woodwork. The sign also signifies the Triune God. Such an image is found in the wall paintings of ancient Egypt and, perhaps, then symbolized a man, a woman, and offspring.

Holy Trinity

In the Christian tradition, a triangle is a symbol of the Trinity: spirit, soul and body; father, son and holy spirit. In Christian painting, God the Father is symbolically depicted with a triangular halo above his head, or with a radiance in the form of two triangles intersecting and forming the sign of a six-pointed star.

Triquetra

It is believed that this beautiful, balanced symbol originally appeared in Celtic culture and denoted the three positions of the sun in the sky: sunrise, zenith, sunset. The figure's current name comes from two Latin words, tri and quetrus, meaning "triangular". The symbol has another name - the triple Celtic knot. The sign was quite common among northern European populations and can often be seen on Celtic crosses. Among these peoples, the symbol was associated with the god Manannan, among the Scandinavians - with Thor.

Later in the tenth century, the sign began to appear as an ornamental element in the culture of the Baltic Slavs - the Varangians. From them the image came to the lands of Rus', where the triquetra was extremely rare and, most likely, remained just a beautiful pattern. If we talk about the meaning of the trinity symbol among the Slavs, then in Rus' such images were practically not used. Common forms in Russian ancient Slavic ornament and sacred symbolism are a cross, a square, a circle (Kolovrat). The symbol of the Divine Trinity appeared after the baptism of Rus'.

In medieval Europe, the triquetra became a Christian symbol of the Trinity, as well as a popular element of architecture and artistic decoration. In the beautifully illustrated Book of Kells of the early ninth century, created by Irish monks, the triquera motif is repeated many times. The figure can be single, double, and can be combined with an outer and inner circle and a triangle.

Tattoo meaning

The tattoo symbolizes the same thing as the Triglav amulet. The symbol embossed on the skin helps to look at life optimistically, attracts good luck and success, and protects from enemies and ill-wishers.

This tattoo looks unusual, mysterious and stylish. True, before applying it you need to weigh the pros and cons, because this is not just a beautiful drawing, but a magical symbol. It is worth considering whether a person is ready to commit exclusively righteous deeds throughout his life, whether he can resist the temptations of evil forces.

If you are not absolutely sure, then first you need to test the effect of the symbol by applying a temporary tattoo. It will not cause harm, but at the same time you will be able to feel the power of the sign. If after such a check your life has become better, you can get a real tattoo.

Among the many Slavic symbols, Triglav deserves special attention. It has been used since ancient times to maintain harmony and peace. Even now, the amulet is capable of providing benefits. To do this, you just need to activate it and apply it strictly according to the rules.

Banner of Peace

The symbol of three circles or dots has a very wide range of interpretations, much like an equilateral triangle. The most famous version of the sign was the Banner of Peace, the design of which was developed by the Russian artist, philosopher and writer Nicholas Roerich for the international Pact for the Protection of Cultural Heritage in 1935. The description and purpose of using the symbol in a formal contract is given as follows:

To identify the monuments and institutions referred to in Article I, a distinctive flag (a red circle with three circles in the middle on a white background) may be used in accordance with the model annexed to this treaty.
(Treaty on the Protection of Artistic and Scientific Institutions and Historical Monuments (Roerich Pact)).

Roerich himself speaks about how widespread the sign is in the religious culture of different peoples and what inspired the artist for the ideological and visual content of the Banner of Peace in his letters and notes published in the two-volume collection “Diary Sheets”:

What could be more ancient and more authentic than the Byzantine concept, which goes back centuries to the first generalized Christianity and was so beautifully embodied in Rublev’s icon “The Holy Life-Giving Trinity” of the Holy Trinity Sergius Lavra. It is this symbol that is the symbol of ancient Christianity, illuminated for us also by the name of St. Sergius, our sign told me, the meaning of which is expressed in the attached photograph, preserving all the elements and their locations, according to Rublev’s icon.”
“There was also a sign of the Banner in the Temple of Heaven. Tamerlane's tamga consists of the same sign. The sign of the three treasures is widely known in many countries of the East. On the chest of a Tibetan woman you can see a large fibula, which is a sign. We see the same brooches in Caucasian finds and in Scandinavia. The Strasbourg Madonna has this sign just like the saints of Spain. The icons of St. Sergius and the Wonderworker Nicholas have the same sign. On the chest of Christ, in the famous painting by Memling, the sign is depicted in the form of a large pectoral brooch. When we go through the sacred images of Byzantium and Rome, the same sign connects Sacred Images around the world.

What does it look like

Variants of the Triquetra talisman among different nations

If the word Triquet is translated literally from Latin, then triquetrum means “ having three corners .” This is not a classic figure with geometric proportions, since its lines are bent in an arc. It resembles three intertwined petals, or a trefoil. In the early stages of the development of Christianity, the amulet was decorated with fish and the sign was called “ Fish of Yeshua ”. Later, a circle is woven into the image, which unites the triad into a single whole.

There is another version of the Christian decorative sign that symbolizes the Trinity. Among the northern peoples, the symbol is somewhat different, preserving the main lines, which are presented in different variations. But the classical variants include the Celtic sign as the human trinity : the unification of mind, soul and body.

On a note:
Ancient artifacts excite the consciousness of modern man. He is trying to get to the bottom of the true meaning of the sign, hidden in the depths of centuries. And today magicians give different meanings to the Triquetra.

Trifol

The name of the figure means trefoil and comes from the Latin trifolium. This symbol of the trinity of the Lord arose around the tenth century. It achieved its popularity in the 13th and 14th centuries, when it was often used in architecture and stained glass. This is a graphic shape consisting of an outline of three intersecting rings. The term is often applied to other triple symbols. It is curious that the logo of the famous Adidas concern also contains a stylized trefoil.

Valknut

The three interlocking triangles take their name from the Old Norse words valr (slain warriors) and knut (knot). The sign is present on many archaeological sites of ancient Germanic peoples. The compound noun valknut appeared in the modern era, and it is unknown what the symbol was called at the time of its historical depiction.

Scientists, giving a description of the symbol of the trinity of the valknut, find it difficult to interpret it accurately. Some associate the sign with the god Odin. An authoritative expert on Germanic and Celtic paganism, academic Hilda Ellis Davidson, believed that the figure meant Odin surrounded by his attributes, two wolves or ravens. These animals, like the Valknut, were often depicted on cremation urns found in Anglo-Saxon cemeteries in East Anglia. Since the symbol is present next to the image of Odin on funeral slabs and offerings, most experts believe that the sign correlates with religious practices associated with death.

The image is used in modern folk culture of neo-paganism. Like other ancient symbols, in our time the Valknut sign acquires new interpretations. It is used by various political and commercial groups, and the image is sometimes found in modern folk culture. Since the sign comes from the traditions of Germanic paganism, it is used as a symbol of their heritage by some "white" nationalist groups. Despite this, the Valknut was not classified as an objectionable image by the German government.