In 1874-1876, the years 1882-1883 Vereshchagin visits India, where he has traveled, climbed the Himalayas and studied the habits and life of the local population, as well as the extraordinary beauty of the surroundings. The result is a more than one hundred and fifty works. The best of which are – 'Buddhist temple in Darjeeling' (1874-1875), 'Glacier on the way from Kashmir to Ladakh' (1875), 'The Mausoleum of the Taj Mahal' (1874-1876). And in India, he leaves out the main themes of his works – the wars. He full of plans to create paintings that reflect the process of turning powerful country in the British colonies. So there is a picture of the 'Procession of the English and the native authorities in Dzheypure' (1875-1879). In Russia, the Russian-Turkish erupts War (1877-1878) and the artist goes back to the front.
He desperately fought and almost killed in one battle. To create his paintings, he considers it possible only after all the hardships he Experience life at the front. The pain and bitterness experienced losses are reflected in paintings of the artist, unvarnished scenes were written by him in hospital and mercilessly depicted the atrocities the Turks. In his paintings reflected the careerism and crime royal command that put on senseless loss of Russian soldiers. This painting, "Dug for Shipka ',' Battery for Shipka ',' All Quiet on the Shipka '(1878-1879)," Shipka-Sheinovo' (1878-1879), 'Attack' (1881), 'After the attack' ( 1881).
Pictures of 'winners' (1878-1879), "Conquest. Requiem for the murdered '(1878-1879). Pictures are sustained in the harsh tones of cloudy, amplifying the effect of the tragic events. In 1880 and 1883 is an exhibition of works in this series, the success of which was very large. Success inspires the artist, and he again went to India (1882 – 1883) and then to Syria and Palestine (1883-1884). The result is a 'Palestinian series', reflecting mainly the ethnographic aspects of Palestinian life.