The legend of Shambhala incorporated in the Tibetan Canon, has been one of the favourite motives of Tibetan Buddhism throughout the centuries. High lamas and laity alike venerated the legend connecting their innermost aspirations with it. For some it represents a mystical millennial country revealing itself only to the chosen ones, while others perceive it as a symbol of the hidden treasures of the mind. This way or the other, the legend of Shambhala remains a living belief for many. The present hardships of Tibet made the legend with its leitmotif of future victory of Buddhism, especially viable. / When the legend reached the West in the beginning of this century, it inspired many westerners including political leaders, and acquired diverse and innovative interpretations. / Conveying the ever cherished human dream of a better world beyond ours, the legend of Shambhala proved to be a ubiquitous symbol surpassing its original Buddhist framework.

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The 4th Generation of Warfare, with its wars among the people, confronts soldiers with complexities, challenges and demands, which they are not adequately prepared for. We see this in the increasing level of mental health issues and operational stress injuries, and in the entrenchment and attrition of modern operations that struggle to achieve strategic goals. Given this, the training of soldiers needs to be adapted: mental and emotional capacity needs to be built and maintained. The Shambhala Buddhist tradition has developed a complete practice integrating meditation and mindfulness awareness training with Western military culture and forms, called the Dorje Kasung. Practices, principles, techniques, and insights, from this and other Eastern military traditions can be adapted and applied to the Canadian Forces. Answering a need to enhance, reinforce, and develop the understanding and embodiment of the military ethos and professionalism of CF members throughout their career.

Nicholas Roerich, the well-known Russian artist, writer and mystic from the early twentieth century is best known in the West for his theatrical design work, above all for the sets of the celebrated ballet The Rite of Springs. The goal of this thesis is to provide a fuller understanding of Roerich’s art and literary works within the historical context of his time. In particular, I have sought to illuminate Roerich’s focus on depiction of nature, especially mountains, in relation to his fascination with the mythical Shambhala. In the first chapter of this thesis I analyze Roerich’s early career, as well as his personal and professional relationship with the World of Art, the leading art group at the turn of the twentieth century in Russia. Roerich’s early interest in the history of ancient Russia, archeology and geology, which I discuss, was central to the meaning of his landscape depictions in both his stage designs and paintings. The second chapter of this work investigates how these interests evolved into the artist’s quest for Eastern wisdom and mystical revelations. Although Roerich is often treated as an oddity, his concerns with occult ideas were not unique in his time. The third chapter focuses on Roerich’s activities abroad and his international success as a promoter of ancient wisdom. I discuss the Russian émigré art scene in New York in the 1920s and Roerich’s place within it. I also offer an examination of the artist’s correspondence with his family and colleagues, which sheds light on Roerich’s beliefs in his mysterious “Teachers” and their role in leading him to the East. / text