Tibetan sketch (2) Roerich N.K. (Part 4)

The composition presents a landscape dominated by imposing mountains that fill nearly the entire upper portion of the frame. These peaks are rendered in varying shades of blue and grey, suggesting both distance and atmospheric perspective. The artist employed broad brushstrokes to delineate the contours of the range, creating a sense of ruggedness and scale. A distinct line drawing outlines the mountain ridges, adding definition against the softer watercolor washes.
Below the mountains, a sloping plain occupies the lower third of the image. This area is painted in a vibrant yellow hue, which contrasts sharply with the cool tones above. The artist has used a similar technique of broad strokes and outlining to depict what appears to be a rocky or grassy terrain. A cluster of dark shapes – possibly buildings or rock formations – is situated near the foreground edge of this plain.
The overall effect is one of stark simplicity and isolation. The limited palette, combined with the stylized rendering of forms, conveys a sense of remoteness and perhaps even austerity. The high horizon line emphasizes the vastness of the landscape and the smallness of any human presence within it. One might interpret this as an exploration of the relationship between humanity and nature, or a meditation on the power and indifference of the natural world.
The sketch-like quality – the visible brushstrokes and outlines – suggests a rapid observation or preliminary study. This immediacy lends a sense of authenticity to the depiction, implying that the artist was attempting to capture an essential impression rather than create a highly polished representation. The presence of what appears to be handwritten script in the lower portion of the plain adds another layer of intimacy, hinting at personal notes or observations made during the creation of the work.