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The sacred mountain for Indians has been depicted by the artist many times. Carrying out an expedition to Tibet, he could not resist its charm, each time opening a new viewing angle to Kanchenjunga.
Simple colors create an atmosphere of calm, making it clear to the viewer that the picture is morning. Mountains just wake up, looming out of the haze and fog. But contrary to expectations, Roerich depicted mountain ranges in the foreground not blue, but white.
The foreground is represented in purple and blue. Both of them are saturated, but not bright. But Kanchenjunga itself is located in the background. She attracts with her snow-white. And in order not to distract the attention of the audience from it, the mountain range located in front of the mountain is completely shaded. It seems that the fog has not yet managed to leave the mountains, as evidenced by the white haze dividing the picture into foreground and background.
Translated from Hindi, the name of the mountain means "five treasures of great snow." The greatness of the name inspired Roerich to display it on the canvas: the untouched and pristine Kanchenjunga rises above the world. But she does not suppress her strength or greatness, but brings peace and harmony with her presence here.
The morning light playing on the snowy slopes of the mountain conveys the grandeur of all the Himalayas, extolling it to cosmic dimensions. Mankind seems worthless against the backdrop of rocky snow massifs, but the whole world feels immense. It is full of contradictions and so little ideal, but this is where its beauty lies. In the same way, soft curls of fog that swirl in the gorges and distinct, even slightly sharp, shapes of mountains and ridges harmoniously combine.
Only Roerich's such contrasts can create a sense of harmony of the world. So the viewer can be made to understand and relive what he saw himself: the mountains are full of mystery and divinity, but they are completely real.
Girl on the Ball