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Alexander Isachev began his own philosophical search with a rethinking of biblical subjects, which in itself, to put it mildly, was not mainstream in Soviet art of the 1970s. In his early paintings (no matter how strange it may sound in relation to the artist, who died at the age of 32, not having lived 37 days before the age of Christ), he returned again and again to the dramatic scenes that constitute the original archaic trauma of the entire Christian civilization: the last sermon The Savior, carrying the Cross, Crucifixion, visions of the Apocalypse. In most of Isachev's works of this period, there is no pacification, peace, harmony, which radiates from his later — better known to the public, more "replicated" — works. There is also no riot of bright, shining local colors, characteristic of the artist's work in the 1980s and which became one of his "trademarks". In his early works there is a lot of frightening, tense, twilight, shaky. Such Isachev surreal and disturbing — not everyone knows.. In the late 1970s, the artist became seriously interested in studying ancient civilizations. The cultures of Egypt, Mesopotamia, India, China, and European antiquity became a new source of inspiration for him. "Pantheon Isacheva" expanded, and the images in his paintings acquired a special ambiguity, additional semantic dimensions. Gradually , the painter came to a kind of "syncretism", based, apparently, on an inner sense of community And identity of the deep meaning of all religions and cultures. Such ideas are consonant with the teachings of Blavatsky and the Roerichs, as well as with various New age trends that have spread since the 1960s and 1970s thanks to youth subcultures, primarily hippies. So, Alexander Isachev began to boldly combine images and symbols related to different cultural traditions in his paintings. Like an alchemist, he mixed heterogeneous, sometimes seemingly incompatible elements in search of his own "philosopher's stone" — Perfection. This is the pentaptych "Seasons". In its central part, the biblical foremother Eve is depicted, leaning, however, on a statuette resembling Hindu sculptures on canvases. The other components of the pentachtych are images of goddesses personifying the four seasons of the year: the ancient Greek Persephone (spring), Sumerian Ishtar (summer), Indian Parvati-Uma (autumn) and Egyptian Isis (winter). These five paintings, united stylistically and meaningfully, involuntarily make us recall the "Sunset of Europe" by Oswald Spengler, who proceeded from the idea of the nonlinearity of the development of civilization and also associated individual "spiritual epochs" with the seasons — although, of course, in a different way than the Belarusian artist.