• 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" 
• 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 a descendant 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 moon, which simultaneously symbolizes the seal of Alexander's father, King Philippos, and the womb of his mother, Olympias. The golden sphere fits into this: the embryo, the divine seed carrying the spark of Zeus within. 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, which pierce the red arc, fertilizing the female principle. The lightning of the sky here fixes the promise of immortality in the earthly world.

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

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

In this trinity, the mystery of Alexander's origin is formulated: a story that simultaneously carries human fear, divine predestination, 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"
• SOLD

The expressive power of the work truly 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, symbolizing destruction and fate. There is no harmonious transition between the two—on the contrary: the meeting of the two forces creates a 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 marvelous sanctuaries, caught fire. According to the Persian magi's interpretation, 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 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 overlap. Blue shadows emerge from the flames: the ash left behind by the fire, the hue of mourning and the tragedy of the future. The blue stretching into infinity warns: the flame is not only light, but also inevitable destruction.

On the left side of the work, as seen from the front, the fragmented gold and white surface evokes the temple's purity, 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 an allusive visual prophecy: the left side is the divine order, protected by the sanctity of the altar, while the right side is historical violence. The birth of Alexander is a turning point in an era—a fire that changes everything, but also consumes everything.

The work simultaneously documents and foretells: it recalls one of the most dramatic nights of the past, while awakening the question in the viewer: does every great birth also carry the promise of 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"
• SOLD

In the work titled "The Fire," myth and sacred vision merge into a single, vibrant surface. The painting captures not only the destructive and creative nature of the flame, but also one of the primordial elements of the universe: that divine force without which neither birth, nor destruction, nor transformation is possible.

The composition is dominated by two poles: the gilded surface on the left radiates timeless, unbreakable stability, from which the crimson-red square—the absolute—rises like an altar, symbolizing sanctity and judgment. This square is a recurring motif in several cycles, embodying the divine standard placed above human aspirations.

However, on the right side, the fire rages: everything dissolves into shades of red, orange, and glowing hues, while the bursts of blue and white evoke the possibility of purification, striving towards the sky, and ascension. The vertical forms leap skyward like tongues of flame.

The painting simultaneously evokes the interiors of sanctuaries, where the flames of sacrifices to the gods burned, and those military camps where Alexander's soldiers gathered around the fire—as symbols of conquest and destruction. "The Fire" is thus not merely a natural element, but a universal metaphor for history, myth, and human destiny.

The canvas's vibrant energy speaks of how all power, all greatness, and every empire is measured by fire: it rises in the light of divine force, and in the same light falls to dust.

• 81 x 70 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• The artwork is part of the cycle "Alexander the Great 'Imperator Ultimus' – In Pursuit of Myths and Reality"
• SOLD

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

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

The closed composition of the canvas itself embodies the secret: a space constructed from interlocking and impenetrable, quadratic forms, at the center of which the red square shines – 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 only slightly, never fully revealing what lies behind. Behind the cracks of the fractured texture, turquoise colors shimmer: the field of hidden truth, accessible only through myths and beliefs. 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 fleeting moment.

The dark, deep structures of the lower region carry the coded fate. From below, a gigantic force breaks forth, signaling the relentless 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.

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

• 2 x 60 x 60 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• The artwork is part of the cycle "Alexander the Great 'Imperator Ultimus' – In Pursuit of Myths and Reality"
• SOLD

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, here and there unraveling gold and crusty, rust- and earth-brown surfaces, between white, sharp lines: the sharp blades of fate and destiny cut into the fabric of time. Here echoes (336 BC) Aigai, the amphitheater where the people gathered to see and greet their ruler. Philip, the Macedonian king, approached the arena with wounded steps, when Pausanias, his own bodyguard, began to run towards him and stabbed a dagger into the king's chest.

The left panel's darker, deeper tones preserve the shadow of the crime committed. 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 report: the first canvas presents the sweeping force of the moment of the act, the second the uncertainty, the suspicion, and the grave, 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 divine reckoning, and the white, sharp lines as the declarers of preserving grace. Between the two panels stretches the invisible gap where certainty breaks, and where art – like historiography – can only fill the void with conjectures.

• 80 x 80 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• The artwork is part of the cycle "Alexander the Great 'Imperator Ultimus' – In Pursuit of Myths and Reality"
• SOLD

The human brain is coded: it is able to think in boundaries and a single timeline, where everything leads from the past through the present to the future. But what happens if time fractures, or is destined to unfold in a spiral cycle, in repetitions, or in units we cannot decode?

Tamás Náray's painting, 'Time Loop', raises this question in the mirror of Alexander's life path. After all, how do we deal with the paradox that in his brief, only thirty-three years of earthly existence, he condensed 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 sanctity of the altar shines, as the fixed point of the creation story, connecting heaven and the earthly world. From here descends the black-blue-red stripe: the somber black of fate, the blue of divine ordination, and the blood-red of sacrifices entwined, carrying the condensed essence of Alexander's journey.

On the left, deep within the painting, an ultrasound image emerges: the silhouette of a female womb with the outline of a fetus inside. This motif simultaneously refers to the secret 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 moment of his birth.

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

Thus, the work is both a transcendent 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 the footsteps of myths and reality"
• SOLD

The painting entitled '‘The Other Kingdom’ in the '‘Alexander the Great – Imperator Ultimus’ series is a visual formulation of vision and the prophecy of fate: an allegory of Alexander’s spiritual turning point, who already as a child showed exceptional abilities.

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

The golden shards and textures around this form, like a divine seal, indicate the decree 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 fracture holds together the fabric of the universe, designating Alexander’s path, which goes beyond the borders of Macedonia.

The visionary quality of the painting, its opalescent, fragmented surface formation evokes the misty, yet all the more certain feeling of looking into the future. We gaze through a crystal ball as the contours almost become visible.

The story of the Delphi oracle also vibrates in the work: the young king who demands an answer, and the sentence uttered from the priestess’s lips – “You are invincible, my son!” – seems to confirm the vision. The image is thus at once past and future, childish play and imperial plan, human desire and divine prophecy in a swirling blend.

‘The Other Kingdom’ is a vision dreamed onto canvas: a world that was united by the ambition, faith, and fate of a single man, and which, even then, as a child, burned before him in his imagination - by divine decree.

14. In the Footsteps of Aristotle

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

The 'painting titled 'In the Footsteps of Aristotle' 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-shaping band: a flaming column that simultaneously evokes the heat of conquests and the force of Aristotle’s strict teachings. Within this red vibrates the statement: for the Greeks, a leader is needed, for the barbarians, a tyrant – a pragmatic, yet ruthless piece of advice that echoed in the decisions of the battlefields.

Behind and beside the red column, golden surfaces shine: these are symbols of the abilities given by 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 unveiling 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: a tiny turquoise square hidden in the red column. This sacred sign appears here as an altar, which is the gate 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 picture: the exploration of the world and conquest cannot be separated – true strength of a leader lies in knowledge, which survives both time and empires.

• 80 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

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

In the upper, opalescent 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 visibly descends from another dimension, signaling that the relationship between the two men, Alexandros and Hephaistion, has transcended the boundaries of earthly friendship and risen into the realm of ethereal love.

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

Golden lines rising from the foot of the mountain are the channels of divine energies: these are the threads of light moving between heaven and earth, sanctifying the relationship of the two people. These golden threads are signs of approval, the blessings of the gods.

The story preserved by Plutarch here becomes a painterly allegory: "Hephaistion at this moment holds the face of Alexander the Great in his palm, and the king seals the bond of their love with his ring, then with the touch of his lips."

The globe is the planet of passion, the mountain is the divine witness, and the threads of light are the energies of the universe that record the oath.

While “The Seal” goes beyond the symbolic depiction or abstraction of an intimate moment. Here, the seal is a universal testimony: the deepest of human relationships – no matter how secret – always stand in the light of eternity.

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

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 guidance 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 Plutarch's words, "the sanctuary of the nymphs"—but a grove where philosophy and nature united in mystical harmony.

Thus, the work is more than a landscape abstraction: it is also a map drawn in invisible ink of knowledge, friendship, and love.

The color scheme of the pictorial field projects this duality: the deep, lush, yet soft 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, a fracture-like, vertical line runs: the entrance to the cave, that is, the mystical fissure of the nymphaeum, from where 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 other than the symbol of love, desire, and spiritual and emotional energies. This swirling, yet perfect, otherworldly form indicates that this was not merely a place of education: it was here that the intimate bond was woven, which connected Alexander and Hephaestion for their entire lives.

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

The golden spots appearing in the lower right corner evoke the memory of ancient sanctuaries and colonnades: the divine presence hidden in the heart of nature, which also enveloped the mystery of arcades and caves. This golden light is also a sacred frame.

Throughout the painting, the symbolism of colors dominates: green is life, growth, natural lushness; blue is depth and the clarity of thought; gold is divine light; and cyclamen is the hidden core of feelings. The merging layers bring back the pulsating, timeless atmosphere of the garden of Mieza.

This painting is the lyrical station of the cycle: while other works capture the fire of passion, struggle, and tragedy, here the viewer may step 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
• The artwork is part of the cycle "Alexander the Great 'Imperator Ultimus' – in the footsteps of myths and reality"
• AVAILABLE FOR PURCHASE

Request price

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 their place. It tells the story of the meeting between Alexander and his companion, Euxenippus.

In the upper region, a stream playing in sharp, strong green is descended upon by a cascade of gold: at this moment, the lights of the celestial spheres dissolve onto the earth. The greens symbolize youth and fresh strength, which can also be interpreted as a metaphor for the figure of Euxenippus, while the glimmers of gold carry the promise of chosenness – but their fragmented, dissolving light suggests that something is missing from the full radiance here.

In the upper left corner, a flaming red block pulses, capturing the gaze as a patch of passion and desire: it contains strength, light, and true charisma – all that the young Euxenippus was measured by.

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

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 the intimate, fragile human relationships.

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

20.1. The Dream of Hephaistion

• 120 x 80 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 painting titled “The Dream of Hephaistion” is one of the most mysterious pieces of the cycle: where friendship, fate, and destiny's enigmatic interweaving take visual form.

The canvas presents as a mythical vision the inner struggle that accompanied Hephaistion's youth, when his father sent him to Aristotle in Mieza to study. The motif of the dream is both a prophecy and an inner prediction, which already outlined the main stations of his life in advance: the meeting with Alexander and the tragic end brought about by Roxana's betrayal.

In the lower part of the composition, the calm of a white sea bay spreads out, a golden ray heads toward the shore as the herald of the dream, conveying the message. In the background, a rising reddish block – the mystical symbol of the Vermion Mountains – simultaneously evokes the ancient power of the earth and the foreboding of future struggles. The glowing, swirling sphere, in whose colors thousands of shades of red pulse, appears already in the dream as the fiery core of fate: a promise of a meeting, and at the same time as a symbol of destiny.

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

Thus, the painting tells of loyalty and betrayal, the purity of friendship, and the inevitability of fate. “The Dream of Hephaistion” is a vision in which the young friend does not yet know that the sphere shining behind him not only marks the most important meeting of his life, but is also the bearer of the outcome.

22. 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 captures the magic of discovery and foreignness on canvas, as Alexander and his army first encounter the lushness of the eastern world. The image is bursting with color: the vibrant greens and striking pinks evoke the exuberant vegetation of the jungle, where light plays on the petals of hibiscus trees and exotic flowers. The flowers seem to explode from the plane of the painting, as if they themselves were living organisms, revealing the wonders of unknown lands to the eyes of the conquerors.

The plant forms depicted on the canvas are not only botanical sights, but also carry allegorical meaning. The petals of the orchid, shining from pink to purple and violet, symbolize beauty and fragility: they recall those moments when the chronicles of the campaign, written in blood, are interspersed with 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 marvel of natural abundance, but also the conqueror's fleeting peace: that state when, amidst wars, the soul finds rest in the sight of beauty.

The paradox within the work lies in the fact that while the campaign left bitter memories behind, in memory it is still the fairy-tale landscapes and flowers of India that remain. The red hues in the lower region, however, hint at the inescapable presence of sacrifice and struggle, reminding us that the price of beauty always comes with the memory of destruction.

The painting “India” is more than a depiction of a distant geographical world, it is rather an inner mirror: an imprint of Alexander's spiritual world as well, which at once thirsted for conquest and longed for the harmony of beauty. For an idealistic world, where even in the shadow of the sword, divine nature blossoms.

• 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"
• SOLD

The message of the canvas is revealed to its viewer as if the imaginary, pure gold curtain of the gods had been drawn aside: on the left, the parchment-like, perforated texture falls with a metallic sheen, like a theater backdrop, from behind which the stage of myths unfolds.

In the center of the picture field, the endless blue of the sea and the turquoise glow of the sky merge, that is, the two elements of the horizon of the mortal world become one, beyond which only the realm of the gods exists.

As the focal point of the composition, the reddening peak of the mountain rises high: flaming granite, born from the womb of the planet 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 is the meeting of mystery and revelation: the artist depicts the act of passing on knowledge: for here, in the shadow of the sanctuary called Mieza, on the slopes of Mount Vermion, the academy was founded, where Alexander and his contemporaries – Ptolemy, Hephaestion, Cassander – were taught wisdom, strategy, and the conquest of the world. Thus, the mountain simultaneously becomes the source of knowledge and the symbol of power: whoever climbs to its summit is endowed with the protection of the gods.

The entire picture field is essentially a sacred stage: on the left the curtain, in the center the stage itself is the flaming mountain, and around it the infinity of the blue sky can be seen. Although the presence of the gods is not depicted in concrete form, the viewer nevertheless becomes a participant in this mystery: he feels that timeless knowledge awaits on the other side of the canvas, for those who are brave enough to reach the summit of the mountain.

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 upon human fate.

26. The Macedonian Ark

• 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"
• SOLD

Not every victory leads to triumph – sometimes the course of history turns the conqueror back. In the painting, the ark does not tell of advance, but of forced return: of the moment when Alexander no longer controls fate, but becomes a passenger within it. The river’s current sweeps him away, the blazing shores are left behind, and before him appears a golden, yet at that time still uncertain, future.

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

The square, bronze-golden motif floating in the center clearly symbolizes the ark: a fragile yet divinely radiant symbol that bears the decree of fate. The blue and green tones of the water represent the river’s current, the irresistible force of time and history – the necessity that not even a world conqueror can resist.

On the right, the golden field bathed in light signifies both hope and doom. 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 sets up gates: the exit from India, which cannot be fully conquered, only touched.

While the painting recalls a historical event, it also presents a kind of metaphysical lesson: the ark floats on the boundary between human will and divine order. Although Alexander reached the edge of the world, he ultimately became a passenger on the ark of fate, which led him back from the flames of conquest into 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 myth and reality"
• SOLD

The crimson height, rising above the shadows of the night, symbolizes those unfulfilled plans that still burned in Alexander's mind, even as his strength was already waning.

The golden, fragmented forms in the lower and middle parts of the canvas simultaneously allude to the walls of Babylon and the columns of divine commandments, which, however, now stand not whole, but shattered, with cracks and collapses. The once upward-striving force is broken: history itself crushes the columns sanctified by the heavens, which once held Alexander's empire. Here, gold no longer appears as a 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 king of a world surrounded by gold, but now the ethereal space itself becomes the initiator of new creation.

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

This artistic composition is not about a siege, nor is it a tragedy of fate, despite all its dramatic overtones. Rather, it is about the fact that 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 among 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 circular shape of the canvas itself carries a sacred meaning: it appears before the viewer as the symbol of eternity, completeness, and the divine cycle. Within this universal frame unfolds the composition, which is at once earth, fire, and celestial radiation—that is, all elements of the world are united within it.

At the center of the rustic textures, the blaze of red and gold dominates, as if the Sun God himself had stepped forth from the depths of the canvas. The fiery red background evokes not only the heat of battles or the blood of human sacrifice, but 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 radiant shape of the “Golden Mountain”—the sanctuary standing on the border of myth and reality, where Hephaestion and Alexander sealed each other's fate.

The dialogue of opposites can be grasped in the painting: the ecstasy of red and the calm of blue, the earth’s dark-toned body and the divine decree descending from above as gold. 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 a 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 ruling the world.

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

32. Alexander and Poros

• 100 x 100 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• The artwork 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 fought along the Hydaspes River, Alexander stood above his opponent not only as a general but as a demigod: Porus, the brave and steadfast Indian king, was not destroyed, but, his dignity preserved, was raised beside him.

The fiery reds of the canvas evoke the heat of battle, the fierce 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, symbol of altar sanctity, points toward royal dignity and divine order: the seal of the shared historical fate of victor and vanquished. The golden band dividing the horizon highlights the relationship between the two rulers: Alexander's gesture by which he preserved Porus's life and throne, thus giving him a place forever in the pages of history.

While the painting, with dramatic gestures, tells of the triumph by the Hydaspes, it also tells of the two faces of human character: one is the merciless conqueror, the other the king capable of respecting greatness. This duality is what raises Alexander from a famous general to a myth-making force.

• 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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This extremely complex work is a dramatic milestone in the 'Alexander the Great – Imperator Ultimus' cycle: for it captures not only a moment in the life of Alexander, 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 represents not only Roxána, but also 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 suggest a promise, a hope – Roxána'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, the Macedonian and Persian worlds, were united.

Yet the essence of the painting is not hidden in the horizon, but in the darkening chasm of the center, which refers to the depths of the female principle. This black space, which the artist boldly evokes as a symbol of femininity, refers equally to the source of life and the vortex of destruction.

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

In the figure of Roxána, 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 ultimately imprisoned and murdered – thus she herself became a kind of sacrificial cave, the scene of life and death. Yet this darkening depth carries not only Roxána's physicality, but also the dark, jealousy-laden side of the relationship. Around her pulse reddish, crimson tones: the flames of love, signs of Alexander's devotion. This red, however, is not uniform: sometimes it shines, sometimes it fades, showing the pulsation of passion and uncertainty.

Among the reds and blacks, turquoise spots cut through, 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 a general, but also the timeless purity of the intimate bond between men.

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

The color scheme of the painting – the passion blazing in red, the danger plunging into dark depths, and the gold hinting at the promise of the horizon – summarizes an entire life story. Black and red – Roxána: physicality, passion, jealousy; turquoise – Hephaestion: friendship, spiritual community, purity; and gold – Alexander: the king, torn by the two forces, while his own fate is also driven toward destiny.

Thus, the figure of Roxána 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 Pursuit of Myths and Reality"
• SOLD

This small-sized 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 plane: the sky and earth split apart to reveal divine judgment.

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

The ocher, brownish, golden, rock-like structure on the left recalls the Phrygian past: Gordias, the peasant chosen to be king, the fulfillment of the divine prophecy by the decision of the priests. Here, gold is the sign of chosenness, the sacred promise, through which Sabazios, that is, the Phrygian Zeus, shines. The fiery red, flaming patch 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 stretch over 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 determination become one: under the brush of Tamás Náray, the moment 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 grayness 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 Gordium" is not a simple historical illustration, but an archetypal vision: an allegory of overcoming the impossible.

38. The Crown

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

The artwork, through the image of a royal attribute—the crown—becomes an allegory of an era. The process of power and glory, drowned in gold yet doomed to destruction, appears on the canvas.

The dazzlingly radiant gold texture dominating the surface at first glance evokes the brilliance of conquests—the crown that, with an iron will, subdued the world. But upon closer inspection, the cracked, crumbling surface is already the harbinger of decline: the glory slowly worn down by time and human suffering.

At the top of the composition, dark, jagged forms tower like blackened mountain peaks or burnt towers, between which red cascades descend. These red streaks—bold and uncompromising gestures—evoke the price of conquest: human destinies pulsing behind every triumph. The dramatic contrast of the deep blue sky and the black mountain range amplifies the weight of the image, as if the sky itself were witness to the crown's fall.

On Tamás Náray's painting, created with a special technique, we can observe masterful brushwork and refined use of the palette knife: sharp, dripping contours erode the noble surfaces.

Besides recording the transience of power, the work also conveys a timeless truth: only that remains above which is not born from the suffering of others. “The Crown” is both a historical monument and a moral warning—a memento sealed in gold that prompts 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"
• SOLD

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 world's largest dominion. The vastness of Egypt, Syria, Asia Minor, Mesopotamia, and present-day Iran all merge in this golden glow, truly revealing the texture of eternity.

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

Tamás Náray's work presents the essence of his exceptional gilding techniques. The cracks executed on the gilded surfaces, the so-called "aging" effects, and the opalization of the brilliance with pigments all reveal a prepared, masterful knowledge.

The painting takes us back to the era of Darius: to the heyday of the empire, when aqueducts, temples, and writing systems were born, when soldiers crossed on pontoon bridges to conquer new continents. Yet, here and there, the gold surface already cracks and 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, will forever remain in the collective memory of humanity.

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

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

At first glance, the artwork suggests peace: a soft, opalescent sky, the silvery silence of mountains on the horizon. But this calm is deceptive. The golden central band of the painting, spreading out like a divine beam of light, does not merely carry beauty—but the dawn moment of a story. This is the moment when, after a mortal wound and a week of complete unconsciousness, Alexander slowly regains his breath. The whispers of the afterlife accompany his return to existence: the command of the gods to subjugate 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 fortress shrouded in shadow, yet still radiant, which is both a promise and a threat. The red spots, like blood-soaked seals, mark the price of the mission—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 both commemorates the power of human will and warns of the weight of missions: ascension is never free from loss, and the divine message is not one 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 intertwine.

Alexander’s journey to the Siwa Oasis is not simply a geographical movement, but a sacred crossing, a transition of human fate towards divine order. At first glance, the fragmented, restless surfaces of the painting speak of this transition: the red tells of the heat of struggle 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 close to the viewer. As if the canvas itself were drying out, crumbling, like the lips of a wanderer in the hot sand. And yet: the darkness does not engulf, 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 Pursuit of Myths and Reality"
• SOLD

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

The gold-woven surfaces of the painting evoke the vibrant energies of divine presence, which envelop the conqueror like invisible, impenetrable fields. The radiant semicircle appearing in the lower left of the painting is a sun disk, from which golden rays – like laser beams – burst forth, traversing and slicing through the composition. These lines simultaneously evoke the brilliance of sacred light and the ecstatic force field of initiation.

The chalk-colored and soft aqua-green bands are symbols: the limestone-like whiteness recalls the marble slab of the sanctuary, where the conqueror begins to awaken after his initiation, 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 radiance of the golden wing motifs. Thus, the painting becomes an allegory of sacred transformation: here Alexander is not only a conqueror, but a being who accepts his divine sonship, ascending to the truth of a higher order.

The term “sanctuary” designates not only a space, but also an inner state: the encounter with the eternal God, 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
• This work is part of the cycle "Alexander the Great 'Imperator Ultimus' - In Pursuit of Myths and Reality"
• SOLD

The painting titled “The Legacy” is already one of the images of closure: the final, symbolic summary of a life's work and an era. Here, the work does not show the heat of conquest, nor the intoxication of victories, but the duality of permanence and transience.

At the center of the composition, the dark block actually depicts the silhouette of a ship's hull, which simultaneously refers to the arduous journey of earthly existence and to that eternal journey on which every human being – even a ruler considered of divine origin – must travel.

The ship emerging from the mist, as if rising from various buildings: the non-earthly bearer of the soul. A strong vessel, which, although battered by the relentless storms of history, still sails with straight and proud masts on the horizon of the infinite blue. On the crossbars of the masts, in place of the tattered sails, the crimson-red altar shows the divine ordination along which the ship ultimately travels.

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

The deep blue sea symbolizes the infinity of human existence, that all-consuming, timeless medium in which only the traces of heritage may remain.

The red square emerging from the dark structures of the hull is the sanctity of the altar, the ultimate measure: the only point entitled to pass judgment over a person's – a conqueror's, a son of god'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. “The Heritage” thus is not only the epilogue of Alexander the Great’s story, but an allegory of the eternal question of every human being: what do we leave behind when the body crumbles, but the spirit lives on?

• 146 x 96 cm
  
• Oil-gold-canvas
  
• 2025, Sitges/Barcelona
• The artwork is part of the "Alexander the Great 'Imperator Ultimus' - In Pursuit of Myths and Reality" cycle
• SOLD

“The Gate” is the finale of the Alexander the Great - Imperator Ultimus' series, or the climax 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 last moment, but also about that eternal human experience that catches up with every mortal.

The vertical axis of the canvas reveals a gate of light, a symbol of the transcendent dimension. The ethereal radiance, the gold and yellows swirling in a thousand shades, represent the divine force itself: this dynamic gesture permeates every vibration of the space. The metallic cloak of the upper region, where at times the crimson-red altar color seeps through, descends like a baldachin, evoking the presence of the creator. The deep green and the mysteriously opening bluish background stand in strong contrast, evoking the 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 light before his creator. Behind him, the gates of history have already closed, and before him now the gate of eternity opens. On his arm still hangs the shield, the attribute of protection and battle – but now, before the final crossing, it is more a burden than a strength. The shield on the hero’s weakening arm reveals that even the greatest conqueror is human, his journey is finite, and like every son of man, 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; at the Gate, everyone must cross alone.

The concluding work of Tamás Náray’s series is not merely the closure of the series, but also a universal allegory. The gate – the boundary between existence and death, the earthly and the divine – is the fate of every human. Thus, through the story of Alexander the Great, Náray’s work evokes humanity’s oldest question: what awaits us on the other side, when the sluice behind us closes forever?

51. The Conquest of Byzantium

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

The artwork is a painterly metaphor for the encounter, merging, and struggle of civilizations and belief systems, where colors and textures condense a complex drama onto a single plane.

The composition’s two poles – the golden-red on the left and the part dissolving into blue shades on the right – separate two worlds: the earthly and the celestial realms, Western and Eastern spirituality, the earthly brilliance of power and the infinite horizon of faith. The motif of the red crescent is not blood, but a symbol of strength, will, and the desire for conquest. This crescent wedges itself between the sea and the city, floating in the whirlpool of history as a dual symbol of power and faith.

The golden stripe on the left evokes the golden column reaching to the sky, which, according to tradition, was erected by Constantine the Great in the heart of Byzantium, later Constantinople, proclaiming the splendor and divine legitimacy of the imperial city. Here, gold evokes the city’s brilliance, glory, and spiritual light, but at the same time carries the metallic shine of transience – that light which can illuminate just as much as it can blind.

The blue surface on the right, the merging and almost infinite expanse of water and sky, evokes Byzantium’s geographical and spiritual position: the city that stood on the border of two worlds, washed by both the sea and the waves of history. In this movement, in the current of the water, time itself seems to dissolve – Byzantium’s past, Constantine’s god, and the ideals of later conquerors all blend into a single blue radiance.

Thus, “The Conquest of Byzantium” is not an illustration of a historical event, but a visual allegory of the end of an era and the beginning of a new world. The painting does not speak of violence, but of transformation – of how faith, power, and beauty become a single spiritual energy that again and again takes shape in human history.