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A monumental work of the "The Dreams of Wisdom" suite is dedicated to India and is rich in elements with a decorative texture, reminiscent of woven fabric — velvet hills whose strips blend with the patterns of the clothes and ornaments in the hair of the heroine with lotus flowers, patterned rocks and clouds, looking like a theatrical curtain, multicolor mountains and streams. The artist consciously uses traditional iconography, rightly believing that the image of an Indian character can only be adopted from India. In his essay "The Joy of Art", he argues that we should use the primary sources only, rather than alter in our own way "the original expression of the antiquity".
The primary source for the heroine of this work was the image of the companion of bodhisattva Padmapani (Avalokitesvara) of the 5th century, in whom some researchers see his female incarnation. She is also known as Tara, a goddess or a person of royal blood wearing a crown, draped on hips in a light fabric that hides hers legs to the ankles, decorated with bracelets, necklaces and sashes, standing in the position of tribhanga on the left of the bodhisattva. The graceful tilt of her figure repeats the posture of Padmapani. Each of them holds a lotus flower in the right hand, which, among other things, symbolizes the creative powers of the universe.

In "The Song of the Stream" N. Roerich, along with the image of a heroine of Indian painting, uses some elements of the Far East painting style, creating a landscape that is reminiscent of scrolls with bodhisattva Guan-yin (Kannon – Jap.) on the Mount Potalak, surrounded with waterfalls and streams. It may be that in the character from Ajanta, the artist saw a counterpart of Guan-yin, especially since he the Chinese equivalent of bodhisattva Avalokitesvara.
As early as in 1906, creating his first image of the Queen of Heaven, Roerich painted her not as Maria, Mother of Jesus, but as a generalized female deity of planetary scale. This suggests that in the paintings "The Song of the Morning" and "The Song of the Stream", the artist begins to comprehend the image of divine femininity in a theosophical sense, on the way to his "Mother of the World". This suggestion is additionally supported by the fact that in this period Nikolay Roerich joined the Theosophical Society and began to actively study theosophy and to meet theosophists.