• 40 x 40 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• This work is part of the cycle "Alexander the Great 'Imperator Ultimus' – in the footsteps of myths and reality" series
• SOLD

The work evokes a story born on the border of myth and reality: the legend according to which Alexander was not only the son of the king of Macedonia, but also the offspring of Zeus, a demigod whose fate was determined by divine power from the moment of his conception.

At the center of the composition appears a glowing red arc – a crescent that simultaneously symbolizes the seal of Alexander's father, King Philip, and the womb of his mother, Olympias. The golden sphere fits into this: the embryo, the divine seed carrying the spark of Zeus. The radiance of gold conveys the purity of new life and the light of chosenness.

The diagonally crossing golden lines pierce the picture field like spears, like lightning: the forces of divine conception that penetrate the red arc, fertilizing the female principle. The lightning bolts of the sky here fix the promise of immortality in the earthly world.

The deep blue of the background evokes the infinity of the universe: the stage where the story truly unfolds. In this dark, eternal space, the legend becomes reality: Philip's dream, Zeus appearing in the form of a serpent, and the storm-accompanied birth all condense into a single cathartic drama.

Red is the color of human desire and the body, gold is the color of holiness and innocence, and blue is the color of the quietly resting eternity.

In this trinity is expressed the mystery of Alexander's origin: a story that simultaneously carries human fear, divine ordination, and myth-making power.

• 100 x 100 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• This work is part of the cycle "Alexander the Great 'Imperator Ultimus' - In the Footsteps of Myths and Reality"
• AVAILABLE FOR PURCHASE

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The expressive power of the work literally sets the canvas ablaze. The composition is divided into two main units: the left, golden structure, evoking the sacred, timeless purity of the temple, and the right side's hypnotic waves of red and deep blue, which also carry the symbolism of destruction and fate. There is no harmonious transition between the two—on the contrary: the meeting of the two forces generates sparkling, explosive energy.

The starting point of the painting is a historical moment: in 356 BC, on the night of Alexander the Great's birth, the Temple of Artemis at Ephesus, one of antiquity's most wondrous sanctuaries, caught fire. According to the interpretation of Persian magi, the fire was no accident: someone was born who would bring destruction to empires and peoples, and redraw the map of history. Legend has it that the temple could burn because its goddess was assisting at Alexander's birth—thus, the child's arrival into the world became the shadow of a sacred place's destruction. This mythical symbolism echoes in every vibration of the canvas.

The red field on the right—the color of living, raging flames—can also be read as an attack against divine order: human birth and the destruction of the divine temple are superimposed. Blue shadows emerge from the flames: the ash left by the fire, the shade of mourning and the tragic hue of the future. The blue expanse stretching into infinity warns: the flame is not only light, but inevitably destruction as well.

On the left side of the work as seen from the front, the fragmented gold and white surface evokes the purity of the temple, as well as the presence of Artemis. The gold preserves the last remnants of sanctity, and the red square embedded in the center of the composition—the motif of the altar— protects the sacred space: everything remains in the memory of history.

The work is essentially a visual prophecy with overtones: the left side is divine order, protected by the sanctity of the altar, while the right side is historical violence. The birth of Alexander marks a turning point in an era—a fire that changes everything, but at the same time consumes everything.

The creation simultaneously documents and foretells: it recalls one of the most dramatic nights of the past, while awakening in the viewer the question of whether every great birth inherently carries the promise of destruction as well?

• 81 x 70 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• This work is part of the cycle "Alexander the Great 'Imperator Ultimus' - In the Footsteps of Myths and Reality"
• AVAILABLE FOR PURCHASE

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The painting emerges from the fabric of legends and silence. Olympia, who remained a woman of mysteries both in life and death, never answered the question that would have determined the future of her son and his empire: was Alexander truly fathered by Zeus?

According to tradition, even Roxana questioned her about this while fleeing, trying to save the young Alexander IV, but Olympia took the secret with her to the grave.

The closed composition of the canvas embodies the secret itself: a space built from mutually embracing and impenetrable, quadratic forms, at the center of which shines the red square—the sanctity of the altar, the seal of divine origin. This square simultaneously refers to the power of invisible gods and the unspoken truth that never became certainty.

In the upper right part of the painting, pierced golden surfaces appear, like a theater curtain that opens just a crack, but never fully reveals. Behind the cracks of the pierced texture turquoise colors vibrate: the field of hidden truth, which only myths and beliefs can approach. The symbolism of the golden curtain appears here for the first time in the cycle: the veil between gods and mortal humans, which only legends can lift for a few fleeting moments.

The dark, deep structures of the lower region carry coded fate. From below emerges a gigantic force, signaling the merciless logic of history: the light of myths is always accompanied by shadow, and the promise of glory is always threatened by the possibility of destruction.

“The Secret of Olympia” thus simultaneously alludes to the mystery of birth, the divine origin of power, and the merciless presence of fate. Silence and secrecy are present in every layer of color in the painting: history does not give a clear answer, only symbols that hint at the unutterable.

• 2 x 60 x 60 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• This work is part of the cycle "Alexander the Great 'Imperator Ultimus' – In Pursuit of Myths and Reality"
• The left piece is SOLD, the right piece is AVAILABLE FOR PURCHASE

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These two canvases – placed side by side – lead the viewer to an imaginary courtroom. The witnesses and accused of the past stand before the observer.

On the right panel, the blows of history swirl: whirling, fraying here and there gold and bark-like, rust- and earth-brown surfaces, between white, sharp lines: the sharp blades of fate cut into the fabric of time. Here echoes (336 BC) Aegae, the amphitheater where the people gathered to see and welcome their ruler.  Philippos, the Macedonian king, approached the arena with wounded steps, when Pausanias, his own bodyguard, started running toward him and stabbed a dagger into the king's chest.

The left panel's darker, deeper tones preserve the shadow of the committed crime. The upper red field, a sky filled with blood, weighs heavily on the composition. Here, the narrative is no longer about the facts, but about the question that has haunted historians for two thousand years: is it possible that Alexander, one of history's brightest conquerors, was complicit in his father's death?

Thus, the diptych is a double diagnosis: the first canvas presents the sweeping force of the moment of the act, the second the uncertainty, suspicion, and the heavy, unanswered question of history. The symbol of the infinite cycle of time also appears in the upper right region of the composition, this time in the sign of judgment: gold as the divine reckoning, the sharp white lines as the declaration of sustaining grace. Between the two panels stretches the invisible gap where certainty breaks, and where art – just like historiography – can only fill the void with conjectures.

• 80 x 80 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• This work is part of the cycle "Alexander the Great 'Imperator Ultimus' – In the Footsteps of Myths and Reality"
• AVAILABLE FOR PURCHASE

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The human brain is coded: it is able to think in boundaries and along a single timeline, where everything leads from the past through the present to the future. But what happens if time breaks, or is destined to unfold in a spiral cycle, in repetitions, or in units that are undecipherable to us?

Tamás Náray's painting, 'Time Loops', raises this question through the life journey of Alexander. For what can we make of the paradox that in his short, only thirty-three years of earthly existence, he accomplished deeds that transcend a human life? Where did he come from, what forces shaped him, and did he truly walk among us as the son of the gods?

At the center of the canvas, the altar sacrament shines as the fixed point of the creation story, connecting heaven and earth. From here descends the black-blue-red stripe: the somber black of fate, the blue of divine ordination, and the blood-red of sacrifices intertwined, which carry the condensed essence of Alexander's journey.

On the left, deep in the painting, an ultrasound image emerges: the silhouette of a female womb with the contour of a fetus inside. This motif refers both to the mystery of beginnings and to the divine legends surrounding his birth, which hinted at Zeus's presence in Olympia's bedchamber. The golden crescent moon arching above is the symbol of divine will, which marked Alexander's path from the very moment of his birth.

On the right side of the image, the layered planes of broken gold and white structures appear, like the time layers of earthly existence, which flow unstoppably, yet always lead to the same endpoint. The structure of the image suggests: time is not linear, but circular, and in this circle, Alexander's figure appears again and again, yet for different ages, always with different meanings.

Thus, the work is at once a supernatural vision and a human drama of fate. A vision that there are lives so extraordinary that they can only truly be understood in a recurring time spiral.

• 80 x 80 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• This work is part of the cycle "Alexander the Great 'Imperator Ultimus' - In Pursuit of Myths and Reality"
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The painting entitled 'The Other Kingdom’ is a visual expression of the vision and prophecy of fate in the series 'Alexander the Great – Imperator Ultimus': an allegory of the spiritual turning point of Alexander, who already as a child showed exceptional abilities.

On the surface of the canvas, the blue depth, the infinity of the Universe forms the background. In this blueness, a pink, sometimes translucent shape emerges: as if we were seeing the outlines of a map – the silhouettes of Europe and Asia appear, as the promise of a world yet to be conquered. The mysterious pink glow simultaneously suggests the purity of childhood dreams and the feverish desires of the growing ruler.

The golden shards and textures around this form, like a divine seal, indicate the ordination of fate. Here, gold is not merely a decorative element, but the radiance of destiny: the approval of the gods, which connects continents, seas, and oceans. The golden texture holds together the fabric of the universe, marking Alexander's path, which leads beyond the borders of Macedonia.

The visionary nature of the painting, its opalescent, fragmented surface formation evokes the hazy yet certain sense of looking into the future. We look through a crystal ball, as the contours almost come into view.

The work also vibrates with the story of the Oracle of Delphi: the young king who demands an answer, and the sentence uttered from the priestess’s lips – “You are invincible, my son!” – as if confirming the vision. The image is thus at once past and future, child’s play and imperial plan, human desire and divine prophecy swirling together.

In the Footsteps of Aristotle

• 120 x 120 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• This work is part of the cycle "Alexander the Great 'Imperator Ultimus' - in the footsteps of myths and reality"
• AVAILABLE FOR PURCHASE

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The 'In the Footsteps of Aristotle' painting is an allegory of the intellectual foundations of knowledge, logic, and conquest. It evokes not only the relationship between master and disciple, but also the intellectual heritage that became the breeding ground for Alexander's world-shaping deeds.

At the center of the composition dominates a vertical red, force-forming band: a blazing column that simultaneously evokes the heat of conquests and the strength of Aristotle's strict teachings. In this red vibrates the statement: for the Greeks, a leader is needed, for the barbarians, a tyrant – a pragmatic, yet ruthless advice that echoed in the decisions of the battlefields.

Behind and beside the red column, golden surfaces shine: these are symbols of the abilities received from the gods and of knowledge. Gold, as an eternal value, covers the canvas in timeless radiance, in which thoughts and divine inspiration merge into one. The surface fragmented by gold suggests: knowledge is not easily accessible, but becomes visible through struggle and the uncovering of layers.

The black and off-white line structures suggest architectural rigor: the image of a mathematical construction, a logical order emerges. These forms are symbols of strategic thinking - the foundations of tactics, foresighted planning, and psychological warfare.

The homogeneous, yet vibrant space of the canvas is completed by the timelessness of quartz-like beige shades: knowledge is eternal, unchanging, and solid, like a diamond. In this structure appears one of the most mysterious elements of the painting: the tiny turquoise square hidden in the red column. This sacred sign appears here as an altar, which is the gateway to the celestial world. The gold within it symbolizes turning towards the divine, the freedom and elevation of the soul.

The painting speaks at once of the discipline of human intellect and the power that comes from knowledge. The message of the image: the understanding of the world and conquest cannot be separated from each other – true strength of a leader lies in knowledge, which survives both time and empires. alike.

• 80 x 120 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• The artwork is part of the cycle "Alexander the Great 'Imperator Ultimus' - in the footsteps of myths and reality"
• AVAILABLE FOR PURCHASE

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The painting is an allegory of intimacy, fidelity, and sacred love. It is not merely the depiction of a historical episode, but a timeless gesture in which love, friendship, and divine order are intertwined in a single movement.

In the upper region of the canvas, a globe glows in cyclamen, fuchsia, and red tones: a planet-like body, the celestial symbol of emotions. This floating sphere seems to descend from another dimension, indicating that the relationship between the two men has transcended the boundaries of earthly friendship and has risen into the realm of cosmic love.

Below it stretches the strict horizon of gray, icy mountains. Yet in the middle of the barren landscape, a golden mountain peak rises, with a mysterious, all-seeing eye on its side: the transcendental witness, the divine gaze before which nothing can remain hidden. This eye is the silent witness of history: the lovers' bond is recorded not only by the earth but also by the sky.

From the foot of the mountain, golden lines rise upward, channels of divine energies: as if they were beams of light moving between heaven and earth, sealing the bond between the two men. These golden threads are signs of approval, the invisible blessings of the gods.

The story preserved by Plutarch here becomes a painterly allegory: Hephaestion holds the face of Alexander the Great in his palm, and the king seals their bond of love with his ring and then with the touch of his lips. The globe is the planet of passion, the mountain the divine witness, and the beams of light are the energies of the universe that record the oath.

The “The Seal” is not merely a symbolic depiction of an intimate moment, but a universal testimony: that the deepest human relationships – no matter how secret – always stand in the light of eternity.

• 100 x 100 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• This work is part of the cycle "Alexander the Great 'Imperator Ultimus' – In the footsteps of myths and reality"
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The viewer stands before one of the most lyrical pieces of the cycle, namely the painting titled Mieza – The Temple of the Nymphs , which evokes the sanctuary of youth and the roots of the spirit.

Mieza, where the young Alexander was educated under the wings of Aristotle, and where, alongside his friend Hephaestion, he experienced the deepest moments of childhood and youth. According to history, Mieza was not merely a school – in the words of Plutarch, "the sanctuary of the nymphs" – but a grove where philosophy and nature united in mystical harmony.

For this reason, the work is not just a landscape abstraction, but also a map drawn in invisible ink of knowledge, friendship, and love.

The color palette of the picture reflects this duality: the deep, lush tones of green evoke the eternal life of nature and the invisible presence of the nymphs, while the ethereally pure surface shining on the right symbolizes innocence. Between the two runs a fracture-like, vertical line: the entrance to the cave, that is, the mystical fissure of the nymphaeum, from which divine inspiration springs. This fracture is also a boundary: the white, pure field lies between the innocent world of childhood and the garden of spiritual, emotional, and physical awakening.

The cyclamen-colored sphere, floating timelessly in the greenish-blue space, is nothing less than the symbol of love, desire, and spiritual and emotional energies. This formless, yet perfect, otherworldly shape indicates that not only education took place here: it was here that the intimate bond was woven that connected Alexander the Great and Hephaestion throughout their lives.

The sphere carries both the light of knowledge and the warmth of love, the shared essence of philia and eros in the Platonic sense.

The golden patches appearing in the lower right corner recall the memory of ancient sanctuaries and colonnades: the divine presence hidden in the heart of nature, which also surrounded the mysteries of arcades and caves. This golden light is a kind of sacred frame, highlighting the special role of Mieza: it was not simply a school, but a spiritual garden where knowledge and emotion were shaped in balance.

Throughout the entire painting, the symbolism of colors dominates: green is life, growth, natural abundance; blue is depth and the clarity of thought; gold is divine light; and cyclamen is the hidden seed of feelings. The intermingling layers evoke the pulsating, almost timeless atmosphere of Mieza's garden.

This painting is one of the most lyrical stations of the cycle: while other works capture the fire of passion, struggle, and tragedy, here the viewer steps into the sacred place of beginnings, where knowledge and love, philosophy and youth, were born together in light and shadow.

• 100 x 81 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• This artwork is part of the cycle "Alexander the Great 'Imperator Ultimus' - in the footsteps of myths and reality"
• AVAILABLE FOR PURCHASE

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The painting titled “Consiliatus Imperius” captures the duality of power and intimacy: the tension when, on the stage of history, human emotions, attachment, and beauty also take on a role.

In the upper region, a cascade of green and gold descends, celestial spheres' lights dissolve onto the earth. The green symbolizes youth and fresh strength, evoking the figure of Euxenippus, while the golden gleams carry the promise of chosenness—but their fragmented, dissipating light suggests that something is missing from the full brilliance.

In the upper left corner, a blazing red block pulses, capturing the gaze as a spot of passion and desire: it contains strength, light, and true charisma—all that the young Euxenippus was measured against.

In the center of the composition, a marble-like band of sensual delicacy runs across, bordered above and below by heavy gold inlays, framing it: a dividing line between earthly reality and relationships ordained by the heavens. The gold evokes the presence of divine order: reminding us that even the most personal bonds are part of history's grand tapestry.

In the title, “Conciliatus” evokes the friend, the intimate lover, while “Imperius” denotes the imperial perspective. Thus, the work connects two spheres: the public world of power and intimate, fragile human relationships.

The canvas simultaneously recalls the personal stories hidden in the shadow of triumphs and the mystery in which history and emotion are inextricably intertwined.

Hephaestion's Dream

• 120 x 80 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• This artwork is part of the cycle "Alexander the Great 'Imperator Ultimus' - in the footsteps of myths and reality"
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The painting titled “Hephaestion's Dream” is one of the most mysterious pieces of the cycle, where the enigmatic intertwining of friendship, fate, and destiny takes visual form. The canvas unfolds as a mythical vision, presenting the inner struggle that accompanied Hephaestion's youth, when he was sent to Mieza to study with Aristotle. The motif of the dream is both a prophecy and an inner premonition, which had already outlined the main stations of his life: the meeting with Alexander and the tragic end brought by Roxana's betrayal.

In the lower part of the composition, the calm of the white seashore spreads out, with the golden ray as the messenger of the dream, conveying the message. In the background, the rising red block—the mystical symbol of the Vermion Mountains—evokes both the ancient power of the earth and the foreboding of future struggles. The glowing, swirling orb, in whose colors thousands of shades of red pulse, appears as the fiery core of fate: the figure of Alexander, the promise of the meeting, and at the same time the symbol of destiny.

The upper region covered in green represents the boundless, almost timeless forces of nature, over which the golden glow of light spreads. Here, the dream is not merely Hephaestion's personal experience, but a mythical vision that connects human existence with divine forces.

Thus, the painting tells of loyalty and betrayal, the purity of friendship and the inevitability of fate. “Hephaestion's Dream” is a vision in which the young friend does not yet know that the orb shining behind him not only marks the most important meeting of his life, but also hides the seed of destruction.

India

• 140 x 140 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• This work is part of the cycle "Alexander the Great 'Imperator Ultimus' - In Pursuit of Myths and Reality"
• SOLD

The painting titled “India” in Tamás Náray's series pours the magic of discovery and foreignness onto canvas, as Alexander the Great and his army first encounter the lushness of the Eastern world. The image is bursting with colors: the vibrant greens and bright pinks evoke the jungle's abundant vegetation, where the light plays on the petals of mallows and exotic flowers. The flowers burst out from the plane of the painting as if they were living organisms themselves, revealing the wonders of the unknown land to the eyes of the conquerors.

The plant forms appearing on the canvas offer not only a botanical spectacle but also carry allegorical meaning. The petals ranging from pink to orchid shades symbolize beauty and fragility: they recall those moments when the chronicles of the campaign, written in blood, are interrupted by the awe-inspiring generosity of nature.

For Alexander's armies, India was both an earthly paradise and a cruel ordeal. The vibrant floral cavalcade at the center of the painting shows not only the wonder of natural wealth but also the conqueror's fleeting peace: that state when, amid wars, the soul finds rest in the sight of beauty.

The paradox within the work can be grasped in the fact that while the campaign left bitter memories behind, in recollection, it is still India's fairy-tale landscapes and flowers that remain. The red shades in the lower region, however, suggest the inescapable presence of blood, sacrifice, and struggle, reminding us that the price of beauty always comes with the memory of destruction.

Thus, “India” is not just a depiction of a distant geographical world, but also an inner mirror: an imprint of Alexander the Great's spiritual world, which simultaneously thirsted for conquest and longed for beauty. A world where divine nature blooms even in the shadow of the sword.

• 100 x 100 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• The artwork is part of the cycle "Alexander the Great 'Imperator Ultimus' – in the footsteps of myths and reality"
• AVAILABLE FOR PURCHASE

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The message of the canvas unfolds before the viewer as if the gods had drawn aside an imaginary, pure gold curtain: on the left, the parchment-like, perforated texture cascades down with a metallic sheen, like a theater backdrop from behind which the scene of myths emerges.

At the center of the composition, the endless blue of the sea and the turquoise radiance of the sky merge, meaning the two elements of the mortal world's horizon become one, beyond which only the realm of the gods exists.

As the focal point of the composition, the mountain's crimson peak rises high: blazing granite, born from the planet's core as a mysterious shockwave: Mount Vermion, the sacred summit, which, according to ancient tradition, was raised from the depths of the earth by the hands of the gods. Its red is the color of fire, blood, and divine energy—a magical sign that promises refuge to sailors from afar, and which was sung about in the Homeric epics.

The tension created by the painterly gestures between the monumental golden band and the red mountain peak represents the meeting of mystery and revelation: the artist depicts the act of passing on knowledge. For it was here, in the shadow of the sanctuary called Mieza, on the slopes of Mount Vermion, that the academy was founded, where Alexander the Great and his contemporaries—Ptolemy, Hephaestion, Cassander—were taught wisdom, strategy, and the conquest of the world. Thus, the mountain simultaneously becomes a source of knowledge and a symbol of power: whoever climbs to its summit is endowed with the protection of the gods.

The entire pictorial field is essentially a sacred stage: on the left the curtain, in the center the playing area itself—the blazing mountain—while around it the infinite blue sky can be seen. Although the presence of the gods is not depicted in concrete form, the viewer nevertheless becomes part of this mystery: they feel that timeless knowledge awaits on the other side of the canvas, for those brave enough to reach the mountain's summit.

“The Legend of Mount Vermion” is not merely an abstract depiction of an imaginary landscape, but a visual invocation: an allegory of the birth of Hellenism, the mystery of knowledge, and the divine touch on human destiny.

The Macedonian Barge

• 146 x 96 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• This work is part of the cycle "Alexander the Great 'Imperator Ultimus' – In Pursuit of Myths and Reality"
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Not every victory leads to triumph – sometimes the current of history turns the conqueror back. In the painting, the barge does not tell a story of advance, but of a forced return: that moment when Alexander no longer controls fate, but becomes a passenger within it. The river's current sweeps him away, the flaming shores are left behind, and before him the golden, yet still uncertain future appears.

The red block evokes the rebellious army's passion and the bloody sacrifices: the rage of the soldiers who halted on the banks of the Hyphasis, broken by the monsoon rains, immeasurable losses, and the endless Indian landscape, and rebelled against their ruler. The wall of flames on the left side of the composition marks the irreversibility of this point – there is no further, here the road ends that would have led to the edge of the world.

The motif floating in the center, square-shaped and glowing bronze-gold, clearly symbolizes the barge: a fragile yet divinely radiant symbol, bearing the decree of fate. The blue and green tones of the water represent the river's current, the irresistible power of time and history – that compulsion which not even a world conqueror can resist.

On the right, the golden field bathed in light signifies both hope and destiny. It is the path of the Macedonian ruler's return, which closes the Indian campaign but opens a new era in the Hellenistic world. The mountain-like blueness of the rocks forms gates: the exit from India, which cannot be fully conquered, only touched.

While the painting recalls a historical event, it also shows a kind of metaphysical lesson: the barge floats on the boundary between human will and divine order. Although Alexander reached the edge of the world, in the end he himself became a passenger on the barge of fate, which led him back from the flames of conquest to the light of passing away.

• 100 x 81 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• This work is part of the cycle "Alexander the Great 'Imperator Ultimus' - In the footsteps of myths and reality"
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The composition of the painting radiates dark drama: at the top of the canvas, a depth turning into black stretches, which is suddenly cut by blood-red bands as a sharp horizon. Here, red is not merely a color, but an omen: the projection of fate, of imperial dreams tending toward death.

The crimson height, rising above the shadows of the night, symbolizes those unfulfilled plans that still burned in Alexander's mind, while his body was already drifting toward the end.

The golden, fractured forms on the lower and middle parts of the canvas refer simultaneously to the walls of Babylon and the columns of divine light, which now stand not whole, but broken, with cracks and collapses. The former upward-striving force is broken: history itself crushes the columns sanctified by the sky, which once held Alexander's empire. Here, gold no longer appears as triumphant radiance, but as a slowly fading light, gently yielding its place to the eternally coming renewal.

The vertical axis of the composition – the white sacred column – splits the space, drawing a boundary between sky and earth, between human will and divine judgment. Once, Alexander was the center of a world surrounded by gold, but now the center itself becomes the initiator of a new creation.

The red rectangle, the steadfast altar of crimson, stands unshakably at the center of divine will.

This artistic composition is not about a siege, nor about a tragedy of fate, despite all its dramatic overtones. Rather, it is about how, although human existence is finite, renewal is eternal,

Before the walls of Babylon, Alexander saw not only his own mortality, but also the future.

Thus, the gold-black-red dialogue of the canvas becomes a memento: we are all but travelers passing through the walls of history.

• 92 cm ⌀
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• The artwork is part of the cycle "Alexander the Great 'Imperator Ultimus' - In the Footsteps of Myths and Reality"
• SOLD

The round shape of the canvas itself carries a sacred meaning: it appears before the viewer as a symbol of eternity, completeness, and the divine cycle. Within this universal frame, the composition unfolds, which is at once earth, fire, and celestial radiance—that is, all the elements of the world unite within it.

At the center of the painting, the blaze of red and gold dominates, as if the sun god himself had emerged from the depths of the canvas. The fiery red background not only evokes the heat of battles or the blood of human sacrifices, but also the divine presence that elevated Alexander above all human fate. The blue streak crossing the color is the water found in the desert, the path of existence and purification, which, splitting in two, reveals the shining form of the "Golden Mountain"—the sanctuary standing on the border of myth and reality.

The dialogue of opposites can be grasped in the painting: the ecstasy of red and the calm of blue, the dark-toned body of the earth and the divine decree descending as gold from above. This dramatic tension evokes Alexander's inner quest: the general who shattered empires here reveals himself before the Sun God.

The painting preserves the secret of the Siwa oasis: the moment when the mortal man is elevated to divinity. The protection of the Sun is not merely a blessing but an empowerment: it makes the son of Amun-Ra part of the divine order that rules the world.

Thus, the round shape of the canvas is not only a frame but also a cosmic seal: the fate designated by the Sun God, which forever closes around the figure of Alexander.

This painting does not simply recall a historical event, but the moment when human greatness finds its own eternity in divine protection.

Alexandros and Poros

• 100 x 100 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• This work is part of the cycle "Alexander the Great 'Imperator Ultimus' - In Pursuit of Myths and Reality"
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Some triumphs are not fulfilled in the destruction of the defeated; sometimes the true brilliance of victory shines in the recognition of the greatness of the other person.

After the battle along the Hydaspes River, Alexander stood above his opponent not only as a general but as a demigod: Poros, the brave and unyielding Indian king, was not destroyed, but, preserving his dignity, was raised to Alexander's side.

The fiery reds of the canvas evoke the heat of battle, the struggle soaked in blood and sweat. The golden streams emerging from the blazing colors open up another dimension: the flow of divine energies that guided Alexander's decision. Poros appears as a gray, rocky mass: immovable, proud, his strength not broken even by defeat.

The square appearing on the right side of the composition, the symbol of altar sanctity, points toward royal dignity and divine order: the seal of the shared historical fate of the victor and the vanquished. The golden stripe dividing the horizon highlights the relationship between the two rulers: Alexander's gesture, by which he preserved Poros's life and throne, thus granting him a place forever in the pages of history.

While the painting, with its dramatic gestures, tells of the triumph by the Hydaspes, it also tells of the two faces of human character: one is the ruthless conqueror, the other is the king who can respect greatness. This duality is what elevates Alexander from a mere general to a creator of myths.

• 100 x 100 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• This work is part of the cycle "Alexander the Great 'Imperator Ultimus' – in the footsteps of myths and reality"
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This extremely complex work is a difficult, dramatic station in the Alexander the Great cycle: for it not only captures a moment in Alexander's life, but also the ancient archetype of the female fate: the eternal intertwining of love and death, desire and destiny.

At the same time, the work visualizes an emotional triangle, evoking both a love drama and a sacred iconography: the painter elevates earthly emotions to the level of timeless myth. The triangle does not close, but remains open – indicating that the dynamics of relationships never found peace, and ultimately ended in tragic closure – and with this triangle symbolism, the work not only presents Roxana, but unfolds Alexander's emotional universe: the eternal tension between the three peaks of passion, friendship, and power.

In the upper register, the yellowish-golden horizon and the swirling bright sky above it suggest a promise, a hope – Roxana's fate at first truly carried the promise of triumph and ascent. The Bactrian girl, whose beauty became legendary, captured Alexander's heart: in their marriage, East and West, Macedonian and Persian worlds, were united.

Yet the essence of the painting does not lie in the horizon, but in the darkening chasm at the center, which refers to the depths of the feminine principle. This black space, which the creator boldly evokes as a symbol of female sexuality, refers equally to the source of life and the vortex of destruction.

A mother, with the possibility of life, also grants the inevitability of death.

In the figure of Roxana, fertility, love, and tragedy are embodied at once. The life-giving mother who brought Alexander IV into the world, and at the same time the woman who was eventually imprisoned and became a victim of murder – thus she herself became a kind of sacrificial cave, the scene of life and death. But this dark depth not only symbolizes Roxana's sexuality, but also carries the dark, jealousy-laden side of the relationship. Around it pulse reddish, crimson tones: the flames of love, signs of Alexander's devotion. Yet this red is not uniform: it sometimes flares, sometimes fades, showing the pulsation of passion and uncertainty.

The turquoise spots splitting the reds and blacks, like celestial lights flashing into a wound: they symbolize both the brief flare of hope and the merciless turns of fate, but also connect to the spiritual and emotional presence of Hephaestion. The cold lights evoke not only rational thinking and the companionship of the commander, but also the timeless purity of the intimate bond between men.

In Roxana's story, power and love formed a fatal mixture: the initial divine gift ultimately became the prey of political intrigues and the power struggles of men.

The color world of the painting – the passion blazing in red, the danger plunging into dark depths, and the gold suggesting the promise of the horizon – sums up an entire life story. The black and red – Roxana: sexuality, passion, jealousy, the turquoise – Hephaestion: friendship, spiritual community, purity, and the gold – Alexander the Great: the king torn by the two forces, while his own fate is also driven toward destiny.

Thus, the figure of Roxana is not only a historical character, but also an archetype: beauty that elevates and leads to ruin; the mother who gives and loses life; the queen who embodies both triumph and destruction.

• 50 x 50 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• This work is part of the cycle "Alexander the Great 'Imperator Ultimus' – in the footsteps of myths and reality"
• AVAILABLE FOR PURCHASE

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The painting is one of the most powerful and dramatic pieces of the cycle, in which the meeting of myth and history erupts as geological forces on the surface of the canvas.

The composition is dominated by a sharp blue and black stripe running down the center of the picture field: the sky and earth split open to reveal divine judgment.

This chasm is nothing other than the visual metaphor of the Gordian knot – the inextricable tangle that Alexander's intellectual strength and strategic ingenuity unraveled, not by the legendary sword stroke, but by understanding divine secrets.

The ocher, brownish, golden, rock-like structure on the left recalls the Phrygian past: Gordias, the peasant chosen as king, that is, the fulfillment of the divine prophecy by the decision of the priests. Here, gold is the sign of being chosen, the holy promise, through which Sabazios, the Phrygian Zeus, himself shines. The fiery red, flaming piece of earth on the right signals Alexander's energy, the heat of his future conquests: from here begins the empire that, by the will of a single man, will cover Asia.

The work simultaneously bears the marks of drama unfolding in both earthly and cosmic space. The clash of colors and textures evokes a sky torn by lightning: it is no coincidence that, according to legend, Zeus confirmed his satisfaction with thunder and lightning after the knot was solved.

Here, divine will and human initiative become one: under the brush of Tamás Náray, the time appears when the threads of fate converge in the hands of a single man. The contrast of red and gold carries the promise of future conquest, while the whitish gray is the scene of timeless prophecy. Before the viewer's eyes unfolds that mythical moment when a man became a ruler – and which forever changed the fate of the world.

"Alexander in Gordion" is not a simple historical illustration, but an archetypal vision: an allegory of overcoming the impossible.

The Crown

• 80 x 80 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• This work is part of the cycle "Alexander the Great 'Imperator Ultimus' – In the Footsteps of Myths and Reality"
• AVAILABLE FOR PURCHASE

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The artwork is not merely the depiction of an object, but an allegory of an era—a moment of power and glory drowned in gold, yet doomed to decay. The dazzling golden texture dominating the surface of the painting at first glance evokes the brilliance of conquests—the crown that, with blood and iron will, subdued the world. But upon closer inspection, the cracked, crumbling surface is already the harbinger of decline: the glory slowly eroded by time and human suffering.

At the top of the composition, dark, jagged shapes tower like blackened mountain peaks or burnt-out towers, between which blood-red cascades descend. These red streaks—bold and uncompromising gestures—recall the price of conquest: the spilled blood pulsing behind every triumph. The dramatic contrast between the deep blue sky and the black mountain range amplifies the weight of the painting, as if the sky itself were witness to the fall of the crown.

Thus, the work not only records the transience of power, but also an eternal truth: only that which does not arise from the suffering of others endures above. “The Crown” is both a historical monument and a moral warning—a memento sealed in gold, prompting the viewer to self-reflection.

• 100 x 100 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• This work is part of the cycle "Alexander the Great 'Imperator Ultimus' - In the footsteps of myths and reality"
• AVAILABLE FOR PURCHASE

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At first glance, the canvas captivates the viewer: the dazzling brilliance of gold dominates the space, and the myth of the empire rises before us. This all-encompassing, timeless light evokes the wealth and power of the Persian Empire, which was once the largest dominion in the world. The vastness of Egypt, Syria, Asia Minor, Mesopotamia, and present-day Iran all merge in this golden radiance; we truly see the texture of eternity.

The deep red stripe symbolizes the price of blood that this power paid again and again. This band not only carries the memory of wars and battles but also of the sacrifices that are inscribed in the fate of every great empire. Next to it, the flash of turquoise recalls Egypt and the Nile, the life-giving river that was at once a road, a boundary, and a divine symbol.

The painting takes us back to the era of Darius: the heyday of the empire, when aqueducts, temples, and writing systems were born, when soldiers crossed pontoon bridges to conquer new lands. Yet the surface of the gold here and there already cracks, wears away, and the subtle shadows of transience penetrate the all-encompassing splendor.

And then Alexander steps onto the stage, crossing the Hellespont to confront this world bathed in light. The spoils, the treasures, the capture of Darius's family all symbolize the transfer of power. But Tamás Náray's canvas does not merely evoke history: the eternity of gold proclaims the immortality of the Persian Empire, which, though it fell, nevertheless remains forever in the collective memory of humanity.

This image, besides the conquests, shows that empires are not only political entities but also the fabrics of culture, knowledge, divine power, and immortality, which shine as golden light through all ages.

• 100 x 120 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• This work is part of the cycle "Alexander the Great 'Imperator Ultimus' – In the Footsteps of Myths and Reality"
• SOLD

At first glance, the canvas suggests peace: a soft, opalescent sky, the silvery silence of mountains on the horizon. But this calm is deceptive. The central golden band of the painting, spreading out like a divine beam of light, does not merely convey beauty—but the dawn moment of a story. This is the moment when Alexander the Great, revived from a mortal wound, slowly regains his breath after a week of total unconsciousness. The whispers of the afterlife accompany his return to existence: the command of the gods to subdue Constantinople before he closes his eyes again.

On the right side of the painting, the city silhouette built from black and red shades is already Constantinople itself, a shadowed yet radiant fortress, both a promise and a threat. The red spots, like blood-soaked seals, mark the price of the mission—the conquest is never pure. The cold blue and gray tones emerging from behind the mountains carry the frozen silence of the hero's past, while the golden field represents the ecstatic yet fleeting light of rebirth.

This painting is both a tribute to the power of human will and a warning about the burden of missions: ascent is never free from loss, and the divine voice is not a messenger of peace, but of trial. “The Awakening” is thus not only a historical scene, but a visual hymn to the eternal duality of power and mortality.

• 100 x 81 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• This work is part of the cycle "Alexander the Great 'Imperator Ultimus' - In the footsteps of myths and reality"
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In the painting titled “The Pilgrimage”, the canvas itself becomes a stage where myth and history converge. Alexander’s journey to the Siwa Oasis is not simply a geographical movement but a sacred crossing, a human destiny stepping towards divine order. At first glance, the painting’s fragmented, restless surfaces tell of this transition: the red speaks of the heat of struggles and the torment of the body, the yellow of the promise of divine light, while the whitish, rock-like base evokes the timeless face of the eternal, solid desert.

The black, downward-dripping lines bring the experience of the nearness of death, the exhaustion of the body, and the uncertainty of existence closer to the viewer. It is as if the canvas itself is drying out, crumbling, like the wanderer’s lips in the hot sand. And yet: the darkness does not swallow, but leads through – serving as a gate, behind which shines the golden light of the Sun God, the goal, the promise of initiation.

In the pilgrimage, reality and vision, human weakness and divine support intertwine. There are no sharp boundaries in the painting either: the colors blend, flow, and blur into each other. This dissolution is itself the sacred experience, where man loses his earthly coordinates to find his place in the order of the gods.

Thus, “The Pilgrimage” becomes an allegory of perseverance and inner strength: for Alexander – and for every viewer – the message of the journey is that the greatest victory is not the conquest of the world, but the discovery of harmony between oneself and destiny.

• 50 x 50 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• This work is part of the cycle "Alexander the Great 'Imperator Ultimus' - In the footsteps of myths and reality"
• SOLD

The painting titled “Sanctuary of Amun-Ra” is a visionary imprint of the mystery of initiation. It is not merely a historical reference to Alexander’s journey to the Siwa Oasis, but also a stage evocation of the transcendent encounter: the moment when the mortal becomes the son of the Sun God.

The golden-woven surfaces of the image evoke the vibrating energies of divine presence, which envelop the conqueror like invisible, impenetrable fields. The radiant semicircle in the lower left part of the painting is like a solar disc, from which golden rays – like laser beams – break forth, traversing and slicing through the composition. These lines simultaneously evoke the brilliance of holy light and the ecstatic force field of initiation.

The white and green bands are symbols of purification and renewal: the limestone-like whiteness evokes the marble slab of the sanctuary where the conqueror regains himself, while the lagoon green shade brings the water of life, rebirth. The black and gold cracks symbolize the trials of initiation: the tensions of the human body and soul, without which the divine connection could not be established.

The tension present throughout the canvas – the fragmented structures, the violent breakthrough of the rays – nevertheless merges into harmony in the all-encompassing brilliance of gold. Thus, the painting becomes an allegory of sacred transformation: here Alexander is not merely a conqueror, but a being who accepts his divine sonship, rising into the truth of a higher order.

Thus, the “sanctuary” is not merely a space, but an inner state: the encounter with the eternal, in which the king becomes a sacred ruler, and the mortal becomes the bearer of divine will.

• 100 x 120 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• The artwork is part of the cycle "Alexander the Great 'Imperator Ultimus' - In the Footsteps of Myths and Reality"
• AVAILABLE FOR PURCHASE

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The painting entitled "The Heritage" is the closing image, the final, symbolic summary of a life's work and an era. Here, the artwork no longer depicts the fervor of conquest or the euphoria of victories, but rather the duality of permanence and transience.

At the center of the composition stands a ship's hull, appearing as a silhouette, simultaneously alluding to the arduous journey of earthly existence and the eternal voyage that every person—even a ruler believed to be of divine origin—must undertake. The ship, as if created from buildings, is not merely a means of transport, but the carrier of the soul: a symbol battered by the storms of history, yet still standing with upright masts.

The golden mist of the picture field recalls the divine origin of Zeus's son—the rays of the Sun God illuminate the space of creation. Gold evokes both glory and the illusion of transience: what is tangible crumbles, but spiritual light shines forever.

The deep blue sea symbolizes the infinity of human existence, that all-consuming, timeless medium in which only traces of heritage may remain. The red square emerging from the dark structures of the ship's hull represents the sacredness of the altar, the ultimate standard: the only point that claims the right to pass judgment over a person's—over a conqueror's, a demigod's—earthly deeds.

Yet the peculiar tension of the canvas dissolves into peace: gold and blue, the transient and the eternal, the earthly and the divine meet within it. Thus, "The Heritage" is not only the epilogue to the story of Alexander the Great, but also an allegory of humanity's eternal question: what do we leave behind when the body turns to dust, but the spirit lives on?

• 146 x 96 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• The artwork is part of the cycle "Alexander the Great 'Imperator Ultimus' - In the Footsteps of Myths and Reality"
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“The Gate” - the endpoint of the series, the culmination of the story, where conquests, dreams, and victories fade, and only one question remains: what awaits on the other side? Tamás Náray's monumental painting is not only about Alexander the Great's final moment, but also about that eternal human experience that overtakes every mortal.

The light gate unfolding along the vertical axis of the canvas is a symbol of the transcendent dimension. The ethereal radiance, unfolding in gold and yellow hues, as if divine power itself were pouring down, permeating every vibration of space. The upper region's golden, cascading cloak—almost like a heavenly baldachin—proclaims the presence of the Creator. In contrast, the deep green and blue background evokes the infinite, dark, unknown realm of earthly existence, from which the hero finally steps out.

The solitary figure—Alexander the Great—stands as a tiny silhouette in the cosmic beam of light. Behind him, the gates of history close; before him, the gate of eternity opens. On his arm is still the shield, symbolizing protection and battle—but now, before the final crossing, it is more a burden than a strength. The gesture of the shield seems to reveal: even the greatest conqueror is human, and like all sons of men, he too fears the unknown.

The reflections of light on the floor suggest duality: they evoke both the glitter of earthly triumphs and the promise of otherworldly lights. The immeasurable monumentality of the space, the fragility of the figure, and the dramatic harmony of the colors all emphasize: greatness ultimately turns into solitude, and everyone must cross the gate alone.

This painting is not merely the closure of the series, but also a universal allegory. The gate—the boundary between life and death, between the earthly and the divine—is the fate of every human being. Through the story of Alexander the Great, Náray's work thus evokes humanity's oldest question: what awaits us on the other side, when the sluice finally closes behind us?