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Nachrichten der Roerich-Bewegung

Re: Nachrichten der Roerich-Bewegung

Beitragvon Andrej » Di 21. Jul 2009, 23:52

http://lebendige-ethik.net/1-for-roeric ... altai.html

Die Eröffnung des Denkmales
« Dem Roerich - vom Volk Altais »
Findet den 12-13. September 2009 statt


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Im Rahmen international культурно-просветительского des Projektes{Entwurfs} « wird die Parade des schöpferischen Erbes Russlands und Indiens », des dem Feiern gewidmeten Jahrs Indiens in Russland in 2009, an den Küsten{Ufern} des Flusses Катунь Region Altai den 12-13. September 2009 das Denkmal Nikolai Konstantinovichu Rerihu mit der Bezeichnung{Namen} « dem Roerich - vom Volk Altais » eingerichtet sein. Das Denkmal wird aus беломраморного, mit dunkel прожилками, des Sokels, auf der высечено das Banner der Welt{Friedens} - das Symbol des Paktes des Roerichs und heutig weltumfassend рериховского der Bewegung bestehen. Auf dem Sokel wird die snezhno-weiße Marmorbüste N.K.Rerihas erhöht werden. Die allgemeine Höhe des Denkmales wird kaum mehr{grösser} als vier Meter bilden{zusammenstellen}. Der Platz um das Denkmal wird усыпана marmor-крошкой, nebenan wird der Sokel aus dem roten Marmor, auf ошлифованной dessen Seite выгравированы die unsterblichen Wörter N.K.Rerihas stehen: « <i> Es wird das Herz Indiens zu Rus unermesslich gezogen. Zieht den großen Magnet die indischen Herze russisch heran. Es ist « Altai - Himalaja » - zwei Magnete, die des Gleichgewichtes zwei sind, zwei устоя wahrhaft... Die Schönheit ist im indo-russischen Magnet gelegt. Das Herz dem Herz reicht die Nachricht </i> ».
Das gegebene{Vorliegende} Projekt{Entwurf} « die Parade des schöpferischen Erbes Russlands und Indiens » startete zunächst des Jahrs in Moskau am Autorenabend die Schriftstellerin, der Persönlichkeit des öffentlichen Lebens, des Mitgliedes{Gliedes} des Organisationskomitees des gegebenen{vorliegenden} Projektes{Entwurfs} Maria arbatovoj, mit der Präsentation ihres Buches « die Verkostung Indiens ». Maria Arbatov war vom einem Initiator der Anlage{Installation} des Denkmales N.K.Rerihu auf Altai. Das Budget des gegebenen{vorliegenden} Projektes{Entwurfs} sah solche riesigen Kosten nicht vor, es waren die Sponsoren und der Skulpturen deshalb gefunden, der sich gemeldet hat, das Denkmal dem Roerich … kostenlos zu machen, gleichsam tönte nicht paradox dieses Wort heutzutage die Herrschaften der kapitalistischen Beziehungen.
Der Name dieses Bildhauers ist - er ziemlich bekannt rufen Wladimir Vojchishin. Er wohnt in Barnaul. Seine Arbeiten sind populär, haben die Nachfrage, oft gehen{vergehen} die Ausstellungen. Übrigens hat auf einer seiner{ihrer} Ausstellungen in der Staatsduma Moskaus der Skulpturen eben das Mitglied{Glied} des Organisationskomitees des gegebenen{vorliegenden} Projektes{Entwurfs} von Maria Arbatovoj kennengelernt. Im Lauf{Gang} der Bekanntschaft ist die Idee der Anlage{Installation} des Denkmales dem Roerich auf Altai im Rahmen des Projektes{Entwurfs} des Jahrs Indiens in Russland entstanden. So ist die Idee geboren worden{entstanden}, die in das Leben als das Marmordenkmal schon verwirklicht ist, der an den hohen Küsten{Ufern} лазурной Катуни - dieser heilige Fluss Russlands ganz schnell eingerichtet sein wird. Der Fluss Катунь, laut den Büchern Konstantins Ustinova, ist für die russischen Leute nach seiner{ihrer} geheimen Bedeutung dem gleichen indischen heiligen Fluss Ganges: « Катунь und ihr Wasser haben für die Menschheit solche Bedeutung, wie Gangess. Außer der Menge der Würden{Werte}, die des heiligen Flusses Indien gleich sind, Катунь ist Akkumulator geistig энергий, пробуждающих die höchsten Fähigkeiten der Menschheit ». Gerade fing von diesen steilen Küsten{Ufern} türkis-Катуни, wo das Denkmal N.K.Rerihu in September 2009 eingerichtet sein wird, in 1926 die zweite Etappe трансгималайской der Expedition des Roerichs - von russischem Altai bis zu indisch Гималаев an, aus denen seine{ihre} Strömung{Lauf} gesegneter Ganges beginnt. Катунь und Gangess, Rus und Indien - zwei geistige Festungen der Menschheit! Und Nikolai Konstantinovich Rerih hat seiner{ihr} vom Leben diese der Festung zusammen, geschaffen einheitlich, несокрушимую die Macht des Lichtes{Welt} verbunden!
Die Macht des Lichtes{Welt} des Roerichs ist auf der Schönheit, der Kultur und die Zusammenarbeit gegründet. Gerade sind diese Werte in das Programm des internationalen Projektes{Entwurfs} « die Parade des schöpferischen Erbes Russlands und Indiens » gekommen. Laut diesem Projekt{Entwurf} wird umfangreich rossijsko-indisch культурно-просветительская das Programm vorgesehen, in deren Lauf{Gang} das Festival des volkseigenen Schaffens « die Welt{Frieden} der Traditionen gehen{vergehen} wird. Russland - Indien », in der werden коолективы des volkseigenen Schaffens Moskaus, Sankt Petersburgs, Twers, Barnauls teilnehmen. In diese und die Reihe anderer Städte Russlands wird geplant, die Ausstellungen der russischen Künstler zu leiten, wessen Schaffen mit Indien und ihre Kultur eng verbunden war. Zum Beispiel, wird die fahrbare Fotoausstellung « Махатма Ганди - Lew Tolstoj », gewährt den Denkfonds Gandi{Denkbestand Gandi} (Indien) arbeiten.
In die Tage der feierlichen Eröffnung des Denkmales N.K.Rerihu sind verschiedene folkloristischen Festivale und die Ausstellungen eingeplant, insbesondere werden die Kunstgemäldeausstellungen Nikolais Reriha an vorbeikommen{durchnehmen}. Barnaul und im Haus - Museum N.K.Rerihas, der das wichtige kulturelle Zentrum Region Altai wurde. Die Durchführung der Stafette des Festivales des kulturellen Erbes « die Welt{Frieden} der Tradition. Russland und Indien » wird, eigentlich, der schöpferischen Expedition nach den Stellen{Orten} des Folgens und den Leben A.Nikitinas und N.Reriha zwecks der Suche der neuen Wege des Verkehres{Umgangs} Russlands und Indiens auf dem Gebiet der Kultur und der Kunst, der Erhaltung und der Entwicklung der nationalen Traditionen beider Länder.
Niedriger für die Leser unserer Web-Seite wird die offizielle Information über das Projekt{Entwurf} « die Parade des schöpferischen Erbes Russlands und Indiens » gewährt.

* * *

Die Hauptziele{Hauptzweck} und die Aufgaben
Des Projektes{Entwurfs} « die Parade des schöpferischen Erbes Russlands und Indiens »

- Die weitere Entwicklung und die Festigung der diplomatischen, interparlamentarischen, geschäftlichen und schöpferischen Verbindungen zwischen Russland und Indien auf der Basis{Station} sie культурно-просветительского des Verkehres{Umgangs};
- Die Wiedergeburt und die Erhaltung der besten nationalen Traditionen im Schaffen der Länder - die Teilnehmer des Projektes{Entwurfs};
- Die Popularisierung des schöpferischen Erbes Russlands in Indien und Indiens in Russland als Ergebnis des kulturellen gegenseitigen Austausches;
- почтить das Gedächtnis{Speicher} des russischen Reisenden Afanasija Nikitina, der Indien öffnete{entdeckte};
- Der Bau in Region Altai des Denkmales « dem Roerich - vom Volk Altais », gewidmet dem Künstler, dem Reisenden, dem Schriftsteller, dem Philosophen Nikolai Konstantinovichu Rerihu. Die Durchführung der Tage des Gedächtnisses{Speichers} Н.К. Des Roerichs.
- Die Bekanntschaft mit den modernen{gegenwärtigen} literarischen Produkten der russischen Schriftsteller über Indien.

* * *

Die Teilnehmer
Des Projektes{Entwurfs} « die Parade des schöpferischen Erbes Russlands und Indiens »

- Das Komitee der Staatsduma für die Kultur;
- депутатская die Gruppe nach den Verbindungen mit den Parlamenten der Länder Südlichen Asiens in der Staatsduma;
- Das Ministerium Der ausländischen Sachen{Dinge} russischer Föderation (das 2. Departement Asiens);
- Die Botschaft Der volkseigenen Republik Indiens in Russischer Föderation;
- Die Botschaft Russischer Föderation in Der volkseigenen Republik Indiens;
- Die Verwaltung Region Altai;
- Die Verwaltung Gebietes Tver;
- Die Verwaltung Sankt Petersburgs;
- Die föderale Agentur für die Sachen GuS, die Landsmanner, die im Ausland wohnen, und nach der internationalen humanitären Zusammenarbeit («Россотрудничество», geschaffen auf die Basis{Station} «Росзарубежентр» das Außenministerium Russlands);
- Die Vertretung Rossotrudnichestva in Indien;
- Das internationale Zentrum der Roerich und das Museum des Namens Н.К. Des Roerichs an. Moskau;
- Die Schriftstellerin, die Persönlichkeit des öffentlichen Lebens - Maria Arbatov;
- Das Ensemble der volkseigenen indischen Tänze Des kulturellen Zentrums des Namens Джавахарлала Неру der Botschaft Indiens in Russland;
- Folkloristische Akademie " Карагод ";
- Die Qualen{Mehle} « das Bezirkszentrum angewandt und des Kunstschaffens des Bezirkes Kimrskogo Gebietes Tver »;
- Die nicht kommerzielle Partnerschaft « die Welt{Frieden} der Traditionen ».

* * *

Das Organisationskomitee
Des Projektes{Entwurfs} « die Parade des schöpferischen Erbes Russlands und Indiens »

ᄋ der Vorsitzende - Alexander Aleksandrovich Tjagunov. Der Abgeordnete der Staatsduma, der stellvertretende Vorsitzender des Komitees der Staatsduma nach der Kultur, der Koordinator депутатской der Gruppe nach den Verbindungen mit den Parlamenten der Länder Südlichen Asiens in der Staatsduma.

ᄋ der Kovorsitzende - Natalia Afanas'evna Ermakova. Der Abgeordnete der Staatsduma, das Mitglied{Glied} депутатской der Gruppe nach den Verbindungen mit den Parlamenten der Länder Südlichen Asiens in der Staatsduma

ᄋ der Kovorsitzende - Andrey Nikolaevich Zhil'tsov. Der ältere Berater des 2. Departements Asiens des Ministeriums Der ausländischen Sachen{Dinge} Russischer Föderation.

ᄋ der Kovorsitzende - Маниш Прабхат. Der erste Sekretär, der Direktor Des kulturellen Zentrums von ihm. Джавахарлала Неру der Botschaft Indiens in Russland.

Die Mitglieder{Glieder} des Organisationskomitees

ᄋ Элеонора Митрофанова - das Ex-Oberhaupt{Ex-Kapitel} Росзарубежцентра, der ständige{konstante} Vertreter Russischer Föderation bei der UNESCo in Paris.
ᄋ Maria Arbatov - die Schriftstellerin, die Persönlichkeit des öffentlichen Lebens.
ᄋ Сумит Датта Гупта - der Finanzanalytiker.
ᄋ Ljudmila Sekacheva - der Autor und der Koordinator des Projektes{Entwurfs}, der Organisator der Maßnahmen{Veranstaltungen}, der Direktor der nicht kommerziellen Partnerschaft « die Welt{Frieden} der Traditionen ».

Andrej
 
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Re: Nachrichten der Roerich-Bewegung

Beitragvon Andrej » Mi 22. Jul 2009, 13:51

Zusätzliche Information über Bildhauer Wladimir Wojtschischin (siehe unten)
Seine Werke kann hier anschauen: http://ay-forum.net/viewtopic.php?p=35895#35895
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Andrej
 
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Re: Nachrichten der Roerich-Bewegung

Beitragvon Andrej » Di 11. Aug 2009, 22:56

http://arttheftcentral.blogspot.com/2009/08/more-on-roerich-museum-art-theft.html

Monday, August 10, 2009

More on Roerich Museum Art Thefts

While many reports on the Roerich Museum art thefts have described Roerich as an artist, ethnographer, costume and set designer, none have discussed the significant role he had in the field of cultural heritage preservation. The museum dedicates large portions of its website to archived materials and information related to his many contributions. In Illicit Antiquities (eds. Neil Brodie and Kathryn Walker Tubb, London: Routledge, 2002), Patrick J. Boylan says the following on Roerich's involvement in cultural property protection and preservation:
As early as 1904 Roerich had developed proposals for an international pact for the protection of educational, scientific and artistic insitutions and missions. In 1931 the first international conference was held in Bruges on the proposed 'Roerich Pact' and his proposal for a 'Banner of Peace' [pictured in image above] to be displayed to identify protected buildings and institutes of cultural importance. Soon afterwards the Monetvideo conference of the Pan-American Union (the forerunner of the present-day Organization of American States) passed a unanimous resolution urging all American states to sign the Pact. Roerich soon had the patronage and support of both Eleanor Roosevelt and US Secretary of Agriculture (and future presidential candidate) Henry Wallace. The result was the signing of the Roerich Pact as the Treaty of Washington on 15 April 1935 by representatives of 21 American governments, and the adoption of Roerich's Banner of Peace as the official symbol of cultural protection. In presenting the Pact to the International Conference, President Roosevelt stated that 'This treaty possesses a spiritual significance far deeper than the text of the instrument itself' (Elbinger 1992) (52).
Unfortunately, "despite the high ideals and explicit commitments of the Pact, most States adopting the Washington Treaty did little or nothing to implement its provisions at the practical level (53)." However, the spirit of the Roerich Pact lived on in the articles adopted under the the 1954 Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict.

Posted by Mark at 5:33 PM

Labels: art crime, cultural property, illicit antiquities, Nicholas Roerich, Nicholas Roerich Museum, Roerich Banner, Roerich Pact


Andrej
 
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Re: Nachrichten der Roerich-Bewegung

Beitragvon Andrej » Di 11. Aug 2009, 23:00

http://arttheftcentral.blogspot.com/2009/08/art-theft-new-york-city-nicholas.html
Sunday, August 9, 2009

Art Theft New York City: Nicholas Roerich Museum UPDATED

Last week, the New York Post published an article on a slew of art thefts from the Nicholas Roerich Museum - located on Manhattan's Upper West Side. The Post reported that on June 24 a visitor to the museum noticed a blank space on a gallery's wall where Roerich's "The Himalayas" a 10-by-14 inch pencil-on-paper drawing should have hung. Four days later, a museum employee noticed Roerich's "Talung Monastery," a 12-by-16 inch oil-on-canvas painting was also missing from a wall in the same hallway. A comparison of news reports published by the media and a closer analysis of these art thefts reveal the importance of effective museum security twenty-four hours a day and how the growing market for Russian art may have inspired the thieves.


Regarding the first theft, the Post's article stated, "a cop who happened to be visiting the museum was the first to notice a work missing." From my experiences in museum security, I have found that a blank space on a wall where art should hang does not necessarily signal theft because a work can be on loan, in the conservation labs, or even with curators. Often, those individuals who temporarily remove works of art from their galleries do not leave behind notes addressing why they have done so. Also, I have found when works of art are missing any visitor - regardless of their profession - will take notice.


Initially, the Post reported the works of art were valued at $20,000 and $70,000, respectively; however, a day later the NYTimes' City Room blog said the total value was closer to $30,000. The Times' conservative figure seems to be the more accurate valuation because according to the Museum's 2007 990 Non-Profit Tax Return their paintings and sketches total book value was estimated at $295,125. I presume that two paintings could not make up nearly a third of the collection's total value, but as I am not a Roerich expert this is only speculation. It is also very likely the museum reported a conservative valuation for its painting and sketches collection as it was for tax purposes.


If "Talung Monastery" was a more expensive painting in the collection, then investigators may be dealing with a thief educated in Roerich's. In 2006, a collector spent $2.2 million for Roerich's "Lao-Tse," setting a new record for the artist at auction. Additionally, this past April at Christie's Russian art auction, a five-foot tall portrait of Roerich, by his son Svetoslav sold for $2.99 million - more than twice its high estimate of $1.1 million. Evidently, Roerich as both a subject and an artist is very popular in the Russian art market.


After Sotheby's hugely successful Russian art auction in April 2008, Bloomberg published an article on the rising market for Russian art fueled predominantly by rich Russians and Ukrainians. In the article Bloomberg's John Varoli said, "Russia's economy has grown for nine consecutive years, creating a pool of art collectors willing to spend lavishly. In 2007, Sotheby's reported a 24 percent rise in Russian art sales to $190.9 million. That's more than a 31-fold increase since 2000, when its annual total was $6 million." Accordingly, it is very possible the recent exponential growth in the Russian art market is fueling demand for it in the underground and black markets as well.


Surprisingly, investigators have said the Roerich Museum was burglarized during visiting hours. If this was indeed the case, then thieves had a short window of time to commit the theft; the museum is open only three hours a day, six days a week. Possibly, they chose to commit the crime in broad daylight because they were familiar with the museum's security system. It appears the museum's security was more geared towards preventing intruders after hours rather than securing the collection while it was open. According to the City Room blog, "the museum has relied on secure doors, windows and entryways to prevent break-ins," and only now is "installing security cameras and motion detectors."


Perhaps, the museum has not been able to update its security systems for financial reasons in addition to the fact that they believed they had "what was always considered a very secure place." The Roerich Museum's tax returns reveal that over the past three years they have struggled to break even (as far as total revenue v. total expenses are concerned), and that they rely heavily on an annual contribution from the Katherine C. Stibbe Charitable Trust (for each of the past three years the Trust's gift has accounted for on average 88% of the museum's total revenue). Campbell-Stibbe was a former president of the museum's board of directors.


Why has it taken two art thefts for the museum to finally upgrade its security? Also, why are the police only publicizing the thefts now? If the museum receives only approximately 35 visitors a day, then have investigators attempted to track who visited on Wednesday, June 24 and Sunday, June 28? Finally, if the thieves attempt to sell these works of art then should they expect to make 10% of their value on the black market?

Posted by Mark at 9:55 PM
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Re: Nachrichten der Roerich-Bewegung

Beitragvon Andrej » Do 20. Aug 2009, 23:57

http://www.artmarketmonitor.com/2009/08/20/roerich-returned/
Thursday, August 20th, 2009

Roerich Returned

One of the two Nicholas Roerich works stolen in June and reported by Art Loss Register were returned to New York’s Roerich Museum by mail, according to the Associated Press:

The director of the Nicholas Roerich (ROE-rich) Museum says the painting, “Talung Monastery,” will be examined Monday by detectives looking into the thefts. It was sent back in a manilla envelope between two pieces of cardboard. Director Daniel Entin says it had a return address. He won’t say who sent it because the investigation is ongoing. The other stolen artwork was a pencil sketch, titled “The Himalayas.” It was stolen June 24. The returned work was discovered missing about four days later.

Painting Nabbed from NYC Museum Returned by Mail (Newsday)

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Re: Nachrichten der Roerich-Bewegung

Beitragvon Andrej » Do 27. Aug 2009, 16:31

http://www.icr.su/rus/news/icr/index.php?news=413
26.08.2009

Die Ausstellung der Reproduktionen der Bilder N.K.Roerichs in Parlament Rigas

Auf Initiative Der lettischen Abteilung Des internationalen Zentrums der Roerich im Foyer des Gebäudes Rigaduma ab 25. Juni hat die Ausstellung der Reproduktionen der Bilder Nikolais Reriha bis 17. August vorbeigekommen{durchgenommen}. Die Eröffnung der Exposition hat nach der Zeit mit dem Anfang der Tätigkeit des neuen Bestandes{Zusammensetzung} der Duma nach den nächsten Wahlen zu den lokalen Machtorganen übereingestimmt.

Auf der Eröffnung der Ausstellung der Vorsitzende Der lettischen Abteilung MTSR hat Marianne Ozolinja betont, dass im Gebäude des repräsentativen Organs der Macht Lettlands die Malerei Nikolais Reriha zum ersten Mal - früher die Reproduktionen der Leinen{Bänder} vorgestellt ist wurden in kulturell und die Ausbildungsinstitutionen{Ausbildungsgründungen} des Landes ausgestellt. Die Ausstellung ist zu Rigaduma aus Der baltischen Internationalen Akademie angekommen, wo sie hundert Studenten dieser bekannten lettischen Hochschule angeschaut haben.

Die Exposition stellt 39 Arbeiten des Künstlers aus Serien « Sein Land », « die Banner Ostens », "Himalaja", «Армагеддон», und auch einer slawischen Serie vor. Jetzt reist sie in Валмиеру - mit dem Schaffen Nikolais Konstantinovicha Reriha ab es werden die Besucher städtisch краеведческого des Museums kennenlernen.
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Re: Nachrichten der Roerich-Bewegung

Beitragvon Andrej » Fr 11. Sep 2009, 23:59

New York Post
Bild

http://www.nypost.com/p/news/local/manhattan/couple_busted_with_stolen_painting

NABBED: Denis Ryjenko (left, in artist's rendition) pleads guilty yesterday to possession of this stolen painting, "Himalayas" by Nicholas Roerich.

Couple busted with stolen painting

By JAMIE SCHRAM, LAURA ITAUANO and LUKAS I. ALPERT

There was nothing artful about this crime.
A Brooklyn couple was busted trying to sell a painting stolen off the wall of a Manhattan museum to an undercover cop, authorities said.
Denis Ryjenko, 35, and his girlfriend, Natella Croussouloudis, 42, were arrested Sept. 3 as they tried to unload a small masterpiece, "Himalayas," by the prolific early 20th-century Russian artist Nicholas Roerich.
One of them even told the "buyer" the painting was hot and warned him not to hang it on his gallery wall.
The $125,000 painting had disappeared along with a second work by Roerich on June 24.
The second piece — titled "Ta-lung Monastery" and worth $70,000 — was mysteriously returned by mail to the Nicholas Roerich Museum on West 107th Street on Aug. 14.
But investigators caught wind that the couple had "Himalayas" when an informant told them the pair had been showing it off in their Midwood apartment, saying they were hoping to sell it for $40,000.
The informant told the couple he would help introduce them to a buyer, who was actually an undercover officer posing as an art collector.
On Sept. 3, Ryjenko and Croussouloudis — carrying the painting in a blue paper shopping bag traveled to a Lower East Side Starbucks to meet with the detective, police said.
While Ryjenko waited outside, Croussouloudis met with the phony collector and asked for $20,000 for the painting. She even warned him that the work of art had been stolen and that he would be unable to freely display it in his gallery, police said.
The cop then asked her to come with him to his gallery where he would give her the money. As she and Ryjenko walked with him up Allen Street, they were arrested.
A law-enforcement source said the couple denied having stolen the painting.
But Ryjenko, who has a long criminal record, pleaded guilty in Manhattan Criminal Court yesterday to criminal possession of stolen property in return for four months in jail.
"I knew it was stolen," he told Judge Anthony Ferrara. "I didn't know if it was real or not."
Croussouloudis, who is a German national, according to Correction Department records, waived her appearance and was held on $20,000 bail.
The landlord of the building where the two had been living said they owed $7,500 back rent and had recently had their power and gas shut off for failure to pay their bills.

Additional reporting by Can-dace Amos

jamie.schram@nypost.com

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Re: Nachrichten der Roerich-Bewegung

Beitragvon Andrej » Mi 16. Sep 2009, 23:25

http://www.altairegion22.ru/rus/region_news/?news_id=52706

Region Altai ist eine Harmonie des menschlichen Potentials und der natürlichen Reichtümer


13. September 2009 17:27

Das hat der erste stellvertretende Vorsitzender des Ratschlages{Rates} der Föderation Der föderalen Versammlung russischer Föderation Alexander Torshin erklärt. Diese Wörter haben während des feierlichen Feiertages, der der Eröffnung des Denkmales Nikolai Rerihu gewidmet ist, getönt. « Wenn gerätst Du in Region Altai, man darf die Harmonie des natürlichen Reichtumes und des menschlichen Potentials nicht nicht bezeichnen{begehen}. Die nicht leichte Finanzlage, die nicht nur unseres Landes berührt hat, sondern auch ganzer Welt{Friedens}, scheint Region Altai, ist entgangen. Vor allem, ist es ein Verdienst der Bewohner der Region. Hier lebt{wohnt} jede der Mensch in das Maß{Maßnahme} seiner{ihrer} Kräfte und der Möglichkeiten, hier soviel der selbstausreichenden Leute, die helfen, diesen zerstörenden Erscheinungen entgegenzustehen! », - hat Alexander Torshin bezeichnet{begangen}.

Er hat die qualitativen Umgestaltungen{Transformation} hoch bewertet, die zur Zeit in der Region geschehen{stammen}. Während der Reise zur Stelle{Ort} der Eröffnung des Denkmales einige Zeit war der erste stellvertretende Vorsitzender des Ratschlages{Rates} der Föderation Der föderalen Versammlung russischer Föderation am Territorium{Gebiet} 6 Bezirke Region Altai. Seinen Worten nach, wird überall die Hand{Arm} und die unverwandte Aufmerksamkeit des Leiters, und auch die stetige Arbeit gefühlt. « Kann{Darf}, es мелочи sein, aber, wie bekannt, gerade nach ihnen kann man über das allgemeine Bild richten. Während der Reise habe ich des Mülls{Schutts}, weder der geworfenen Felder, noch anderer неприглядных der Tatsachen bemerkt. Ich rechne, dass es уникальность dieser Region - insgesamt трудолюбия der Leute, ihrer Eigenart und der sachkundigen Führung{Anleitung} », - Alexander Torshin betont hat.

Seinen Worten nach, ist die logische Verbindung in der Bildung{Schaffung} des Denkmales und die Stelle{Ort} seiner Anordnung offensichtlich. Es eine Art von der Hymne jenen Leuten, die sich mit dem täglichen Werk{Arbeit} auf der Erde lernen{beschäftigen}, die Nikolais Reriha begeisterte. « Wird несокрушимый des Optimismus gefühlt, während die ganze Welt{Frieden} von den ökonomischen Kennziffern{Ergebnissen} besorgt ist. Die Eröffnung des Denkmales bekommt die noch grosse Bedeutung, da auf den Fordergrund andere Werte - ewig, geistig herauskommen. Im allgemeinen, kann man es nach dem Recht für eine der grössten Antikrisenmaßnahmen{Antikrisenveranstaltungen} am Territorium{Gebiet} des Landes rechnen. Ich erinnere mich an andere Regionen nicht, in die die ähnlichen{solchen} Aktien » gehen{vergehen} würden, - hat Alexander Torshin betont.

Die Verbannungen{Hinweis} zum Thema:

Am Territorium{Gebiet} туристско-рекреационной der Zone{Gebiets} « Türkis-Катунь » ist das Denkmal Nikolai Rerihu offen{geöffnet}

In Region Altai auf « Türkis-Катуни » haben das Denkmal Nikolai Rerihu aufgestellt{eingeführt}

Am Territorium{Gebiet} « Türkis-Катуни » wird die Präsentation des Denkmales Nikolai Rerihu vorbeikommen{durchnehmen}

In Region Altai wird die Vorbereitung auf das Feiern 135-летия Nikolais Reriha beendet

Im September in Region Altai съедутся die Anhänger des Schaffens Nikolais Konstantinovicha Reriha

Die Redaktion der Web-Seite hat den Bildbericht über die Eröffnung des Denkmales Н vorbereitet. Dem Roerich.

Foto A. Koshkina

Die offizielle Web-Seite Region Altai
Das Telefon: (3852) 22-63-12
E-mail: altairegion22@gmail.com


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Quelle (Photo): http://ay-forum.net/viewtopic.php?p=37465#37465
Andrej
 
Beiträge: 244
Registriert: Sa 28. Feb 2009, 01:57
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Re: Nachrichten der Roerich-Bewegung

Beitragvon Andrej » Di 22. Sep 2009, 20:19

http://www.mongolia-web.com/history/2634-cafe-amsterdam

Cafe Amsterdam: Glenn Mullin on the new Nicholas Roerich Museum in Mongolia

Tuesday, 22 September 2009 16:09

This Wednesday's Cultural evening at 8 PM in Cafe Amsterdam we have a lecture by Glenn H. Mullin titled "Roerich and the Mongolian Contribution".

Canadian Glenn H. Mullin is one of the world's foremost Tibetologists and has published approximately twenty books on Tibet and Tibetan Buddhism. He is an internationally renowned Buddhist scholar, an acclaimed translator of Tibetan classics and a well-known speaker on the international lecture circuit.

The lecture will be about the Russian born New York artist Nicholas Roerich, the first Buddhist nominated for the Nobel Peace Prize. He was a student of the Mongolian lama Agwan Dorjeff in the early 1900s and his travels through Mongolia in the 1920s and 30s inspired many of his greatest paintings. His dozens of essays and books on Mongolian-related subjects, and his hundreds of Mongolian paintings, where a major factor introducing Mongolia to the international community.

The house in Ulaanbaatar in which Roerich lived and worked during 1926 an 1927 was saved from demolition several years ago by the distinguished Mongolian academic professor Bira, the last living student of Nicolas Roerich's son George Roerich.
Glenn H. Dunn has been assisting professor Bira in the work of restoring the house and transforming it into a museum, which opened recently in July.

Wednesday night we will also have the opening of a new exhibition "Limitless Word" by Mongolian artist J. Gursenge, who was awarded "Best Young Artist 2009" by the Nicholas Roerich Museum in a competition for Mongolian artists to make art inspired on Nicholas Roerich.

So come for an interesting evening this Wednesday evening to Cafe Amsterdam.
Andrej
 
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Registriert: Sa 28. Feb 2009, 01:57
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Re: Nachrichten der Roerich-Bewegung

Beitragvon Andrej » So 4. Okt 2009, 16:32

http://www.washingtonpost.com

By Blake Gopnik
Washington Post Staff Writer
Sunday, October 4, 2009

Nicholas Roerich's Different Strokes
Painter's a Footnote Today, but a Little Museum Reveals His Epic Story

NEW YORK -- Hail a cab to the Nicholas Roerich Museum, and the driver has to ask for the address.

Stand at the busy corner of Broadway and 107th Street, half a block from the museum, and ask 10 locals about it, and you hear basically the same answer 10 times. "Never heard of it." "Don't know it." "Nope."

Talk to cultured friends who've lived for years near the museum -- ask experts across the length and breadth of the art world -- and you still don't score a hit.

Buried in a little mansion that's seen better days, this may be the most obscure art museum in a city of obscure museums. Eighty years ago, however, this man whom no one's heard of was one of the most famous artists in the country. He rated a purpose-built, 29-story skyscraper, with whole floors for his museum, and a Roerich institute and lodgings for disciples.

"Nicholas Roerich is an international figure. Not only is he a painter, but a scientist, a writer, poet and an archaeologist as well. . . . Beauty, which is the unifier of all nations, is the warp and woof of his paintings, too." That was how things stood on Sept. 7, 1930, when Ada Rainey, this newspaper's art critic, wrote about the 55-year-old Russian emigre. She was reviewing a show of more than 1,000 of Roerich's paintings, on display in the newly opened Roerich tower.

That same day, Rainey gave rather less space to another interesting new museum. It was called the Museum of Modern Art.

The gorgeous art deco skyscraper is still there, at Riverside Drive and 103rd Street, though it has been turned into an apartment building. Its museum is now tucked into the middle of a block at the far west end of 107th Street, in a Victorian pile with linoleum-covered stairs and scruffy carpet over patches of its old oak floors. The museum's 200 works by Roerich -- of the 7,000 or more he made -- splash gaudy color across the cracking plaster, with images of wild mystic lands as far apart as Everest in Tibet and Mount Hira in Arabia, by way of Sinai and the Russian woods. Roerich used them as backdrops for Krishna, Muhammad and Saint Sergius the Builder, along with most of the world's other stars of otherworldliness. The museum has a staff of four. Its 82-year-old director, Daniel Entin, has had the job since 1983. For his appointment with a journalist, he wears chunky old sandals and socks, black chinos and a safari vest. The museum is hardly a thriving concern, but somehow Entin has a kind of Zen-like -- or maybe Roerichian -- peace about matters.

How many people visit? Pause. "We've never worked up a number for that -- maybe 200 a week." What are his ambitions for the museum? Deep thought. "To reach out to people outside of a narrow class of museum-goers." Where does the funding come from? More contemplation. "We've learned to live on very little -- which is almost un-American." There's a small Roerich foundation that pays the basic bills, Entin says, and then there are occasional gifts from members around the globe -- as little as a dollar, sometimes as much as several thousand. "For them it's a kind of tithing."

Roerich's pull on his latter-day supporters has become as much religious as aesthetic. "Most of the people who are interested in Roerich are not art lovers -- for them, these are all message paintings," Entin says. "And because the message is great, the paintings are great. . . . I've seen people walk in here and burst into tears."

All these decades after Roerich's death in 1947, Agni Yoga, the mystical movement he founded in the 1920s with his wife, Elena -- under the guidance of long-dead masters from the theosophical Beyond -- still promises to let acolytes "penetrate beyond the limits of the physical realm into the worlds of fine energies, into other dimensions of multidimensional psychospiritual space." At least that's how it's explained in a recent academic essay by two Russian devotees, Lev Mironovich Gindilis, a "full member of the Russian Academy of Space Travel," and Viktor Vasilevich Frolov, "head of the philosophy department at the Moscow State Forestry University."

Of course, those two scholars go deeper than that easy overview: "At the beginning of each cycle of manifestation," they helpfully explain, "the interaction of fire (Spirit) with Unmanifest Pregenetic Matter (or Prefiery Substance) gives rise to the Prime Fiery Substance, Spiritualized Matter, or spirit-matter."

Entin claims that a couple of figures on Capitol Hill are also "deeply interested in Roerich and his spiritual teachings -- but they'd rather go unmentioned."

Roerich's popularity started out a bit less spiritually, with pigments spread on canvas or wood. Hanging out in Paris about 1901, the young Russian artist, son of a successful czarist civil servant, was picking up a style that approached the cutting edge, out there with Matisse and the other fauves. A bit later, back in Russia, he hit it even bigger: He came up with the story for Stravinsky's "Rite of Spring" and did the designs for that and other Ballets Russes productions. That was the high point for Roerich as an artist, and it has earned him a footnote or two in mainstream scholarship.

But by 1920, when the anti-Bolshevik artist first arrived in the United States, Roerich the painter was well on his way to becoming a guru. The guru, in fact.

When Franklin Roosevelt ran for a third term in 1940, his party had to suppress a trove of "Dear Guru" letters once written to Roerich by the president's running mate, Secretary of Agriculture Henry A. Wallace. They said such things as "I have thought of the New Country going forth to meet the seven stars under the sign of the three stars." Wallace hadn't only written goofy letters. He had led the nomination of his guru for the Nobel Peace Prize.

He also assigned real duties to Roerich. During the Dust Bowl, Wallace let Roerich lead an American expedition to look for drought-resistant grasses in the Gobi Desert. Roerich seemed to have his own agenda, including founding some kind of mystical Roerichian state. He was described by a foreign-service officer as having put the United States in "an embarrassing if not ludicrous position" before his mission was canceled.

Roerich hadn't only ticked off his government sponsors. He had lost private ones, too. Louis Horch, a major player in foreign exchange, had funded Roerich's skyscraper, as well as an earlier Asian expedition during which Roerich claimed to discover proof that Christ had preached in India.

By June 1935, Horch decided that his relationship with Roerich had been embarrassing and ludicrous, broke off contact, sued his former guru for $200,000 dollars in what he said were outstanding loans, took over the skyscraper and its art and evicted Roerich's disciples. (Seven decades later, the details of the Roerich "scandal" are still in play. In an interview last year, art and dance historian Kenneth Archer, the author of a recent book about Roerich, said he believes that Roerich's activities in Asia may have been on the up-and-up and that he could have been "swindled" by Horch. Archer says it would take a fully bilingual scholar, with access to archives in Russia and the United States, to get to the bottom of matters.)

By the time Roerich's American reputation took its worst body blows, the painter was safely ensconced in a compound in the Kullu Valley in far northern India. When Roerich died there Jawaharlal Nehru gave the eulogy, speaking of how the artist had "touched and lighted up so many aspects of human endeavor." The house is now a flourishing museum.

Roerich's stock has also been rising elsewhere. "We get visitors from places where I wonder how they even know about Roerich -- like from Africa," Entin says. He explained that in the artist's native Russia -- source of many of his museum's members -- the fall of communism led to Roerich associations springing up in almost every city. "All the underground Roerichites crawled out of their dark caves -- and haven't shut up since," Entin says, in a rare moment of lost cool. (There are tensions, apparently, between propagators of the Roerich faith and the New York museum devoted to his art.)

Nowadays, Roerich paintings that might once have fetched a few thousand dollars are going for a hundred times more. That, says Entin, may have been the cause of the museum's first-ever thefts. On two days in June, thieves walked in during open hours, nabbed a picture -- a small painting one time, a drawing the other -- and walked out. A New York paper gave the thefts a few inches during the August doldrums, but the Russian media jumped on it. "TASS picked it up, and I got a call from Mongolia," says Entin. That seems to have scared the thief who stole the painting into mailing it back, in a plain manila envelope. Entin got his other picture, the drawing, back in September, when police set up a sting and caught a man and a woman who were trying to fence it.

Joseph R. Wolin, the New York critic and curator who first introduced this writer to Roerich's museum, admits that you tend to head to it "because it's a curiosity. It's weird and cultish and unfashionable. . . . [Roerich] is a cross between Matisse and Maxfield Parrish." But Wolin, who's as with-it as they come -- he wears garish Italian running shoes and listens to obscure Turkish pop -- also insists that there's something more substantial to be said for the museum's paintings. Like the mythic worlds of J.R.R. Tolkien, he says, Roerich's paintings can "fill that need for the epic" that has been slighted by secular culture. Wolin goes further: "I think that if they were cleaned and put in nice frames and hung in MoMA, people would love them . . . . They're like high art and borderline kitsch at the same time -- and we're soaking in that. John Currin is the most famous painter of our time. And John Currin rejected modernism for Norman Rockwell."

Even Wolin may be late in waking up to Roerich. On Oct. 28, 1990, in the Roosevelt Hotel in New York, it seems that big-time mystic and theosophist Elizabeth Clare Prophet, known as "the Messenger," was contacted from the Beyond by "Beloved Ascended Master Nicholas Roerich," with the following message for us all:
"Remember to call for my Cup of Light. I will give it you each day, beloved, as long as you are on the wavelength of the ascending one, the aspiring one, as long as you fear not to follow the Mother of the World up the mountain."

But if you can't make it up the mountain, grab a cab up Broadway and take a look at Roerich's art.

Visit the museum's Web site, http://www.roerich.org for more Roerich images and information.
Dateianhänge
The Nicholas Roerich Museum's unassuming facade on West 107th Street.jpg
The Nicholas Roerich Museum's unassuming facade on West 107th Street. (Helayne Seidman - Helayne Seidman Ftwp)
The Nicholas Roerich Museum's unassuming facade on West 107th Street.jpg (22.53 KiB) 15942-mal betrachtet
Roerich's paintings.jpg
Roerich's paintings -- "a cross between Matisse and Maxfield Parrish," according to one critic -- only begin to tell the artist's story. (Photos By Helayne Seidman For The Washington Post)
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The Roerich Museum's Director Daniel Entin.jpg
The Roerich Museum's Director Daniel Entin, with a bust of the museum's namesake. (Helayne Seidman - Helayne Seidman Ftwp)
The Roerich Museum's Director Daniel Entin.jpg (23.49 KiB) 15955-mal betrachtet
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