At the turn of the 14th - 15th centuries, the greatest of masters worked in Moscow ancient Rus' Andrei Rublev, who essentially became the founder of the independent Moscow Art School.
The creative activity of this greatest Russian icon painter contributed greatly to the revival of the crushed Mongol invasion Rus'. The self-awareness of medieval people was largely determined by the church, any historical movement was full of religious meaning for them. In this dark time for Rus', the time of the Asian elements, Christianity is opposed to the gloomy reality as the spiritual rise of overrun Rus'.
The father of the Russian Renaissance, monk Sergius of Radonezh, built the Trinity Church, which became the home of Andrei Rublev, who grew up in this monastery. Andrey Rublev read Sergius of Radonezh as his own father, he shared his views, dreams and hopes.
In 1400, Andrei moved to Moscow, where, together with Theophan the Greek and other masters, he painted first the Annunciation Cathedral in the Kremlin, and then the Assumption Cathedral in Vladimir and other churches. Rublev was very grateful to Theophanes the Greek, who taught him free strokes of the brush, the ability to understand and convey living gestures and gait in an icon. And yet how different Rublev’s apostles are from the formidable elders of Theophanes! So alive, so human. what contradictory characters!
The dramatic, stormy temperament of the Greeks is replaced by a feeling of peace, thoughtful silence. This property is purely Russian. The people depicted by Rublev, while participating in events, are at the same time immersed in themselves. The artist is interested in not the external, but the internal state of mind, thought and feeling in a person. Rublev's color is amazingly joyful and harmonious, its clear, pure glow is an image of light emanating from the icon.
Rublev painted these icons, as they had painted before him for many hundreds of years, but under his brush they were filled with a quiet light, precisely the light of kindness and love for all living things. Every movement of his brush was meaningful and reverent. Behind his concentrated, in-depth work were forever vivid impressions of the exciting days celebrated throughout Rus' from generation to generation. And now, centuries later, peering at these works filled with subtle poetry, we will only understand the great artist’s intention if we turn to the meaning of the images and, first of all, to the plots that formed their basis and which were well known to both artists and viewers - contemporaries Rublev, those for whom they were written.
(To describe the icons, material from the book “Rublev”, author Valery Sergeev, was used)
In icons common in ancient Russian painting, “The Savior on the Throne” and the version “The Savior is in Power” are often depicted. The plot of the icons is very similar.
Rublev's Savior solemnly sits on the throne, against a red and black background. His figure is strictly straightened, the folds of his clothing lie motionless. Concentrated, and in its concentration, an inaccessible gaze is directed straight ahead. The gesture of the blessing right hand raised in front of the chest is restrained, calm and clear. With his left hand, the Savior holds the Gospel on the page where the Law is inscribed, according to which he calmly and firmly carries out his Judgment, a Law that clearly and immutably provides the path of salvation, the opportunity to obtain the blessing that the raised right hand brings.
Gospel text on open page reads: “I am the light of the whole world; whoever follows Me will not walk in darkness but will have everlasting life.”
The Annunciation is an image of the spring March (old style) holiday. March, according to the old Russian calendar, is the first month of the year. It was also considered the first month of creation. It was argued that the earth and waters, the firmament, plants and animals, and the first man on earth began their existence in March. And then, in March, the Annunciation to the Virgin Mary took place about the birth of the savior of the world from her. Since childhood, Andrei heard this story many times, since childhood he remembered familiar sensations - the smell of melting snow, gray. a warm morning and amid the mournful days of Lent, joyful singing, blue smoke from incense, hundreds of burning candles and slowly, chanting words announced by a deacon in the middle of the church.
He now painted this gospel scene on a golden background, as it had been painted since ancient times. Archaeologists date the Roman catacombs, where the oldest surviving image of a messenger kneeling before the Virgin Mary is now located, to the second century AD.
In the icon, the Archangel Gabriel is in motion, with raised wings, with moving folds of clothes, with a blessing hand extended towards Mary. He looks at her with a long, deep gaze. Maria doesn’t seem to see Gabriel, she lowered her head and thinks. In her hands is a scarlet thread of yarn; extraordinary news finds her at work. Lightly shaped chambers, semicircular arches on slender columns. The scarlet cloth falling from the chambers is pierced by a ray of light with a soaring dove in a round sphere - an image of the spirit, unearthly energy sent down by Mary. Free, airy space. Subtle and pure sound of cherry-brown, red, from delicate and transparent, showing through with a slight yellowness, to thick, deep. Golden ochres, flashes of white, even light of gold, cinnabar.
In honor of Sergius of Radonezh, the inspirer of the unification of Russian lands, Andrei Rublev painted his most famous icon, the Trinity, which became a symbol of the resurgent Rus'. Icons of the Holy Trinity were created in those days throughout the Orthodox world.
The basis for Andrei Rublev's Trinity was biblical story about the hospitality shown by the forefather Abraham and his Sarah to God, who visited them in the form of three travelers. Having accepted the treat, God announced a miracle to the spouses: despite their extreme old age, they would have a son, and from him would come a nation, great and strong, and in him all the nations of the world would be blessed.
Before Rublev, icon painters usually sought to convey this story in full detail. Three travelers (and these were God the Father, God the Son and God the Holy Spirit) in the form of beautiful, formidable angels, sit at a table in the shade of the oak grove near which Abraham lived. The forefather brought them food, and Sarah’s wife listened to the conversation of the guests in the tent.
Rublev gave this story his solution. The country is groaning under Mongol yoke, is torn apart by civil strife, and Andrei Rublev bases the plot on the idea of unity, which is what Sergius of Radonezh dreamed of. Neither Abraham nor his wife Sarah are on the Rublev icon, because... It's not the main point of the plot. In the center are three angels - travelers. they do not look like menacing rulers, but sadly and tenderly bow to each other, forming a single circular group around a round bowl. The love emanating from themselves draws them towards each other and binds them together.
For his masterpiece, Rublev took out lapis lazuli, a paint that was valued more than gold, because it was made from turquoise. Its ringing blue turned the cloaks of angels into the likeness of a precious gem embedded in an icon.
Stable rumors about the icon, like ripples on water, spread throughout Rus'. The Russian people keep the heartfelt memory of their famous artist, Andrey Rublev.
Before us is the image of the Apostle Paul, who has a very dramatic fate- At first he was an ardent persecutor of Christians, and then became an apostle - a preacher. Rublev did not show the drama of formation, complexity life path apostle Rublev presented an ideal, perfect image of a contemplative thinker. Peering into this face, into the eyes surrounded by deep shadows, you clearly realize that the apostle sees something inaccessible to the external, physical gaze. The combination of enormous inner power and peace is one of the striking features of the icon.
Blue, with white glimpses, and faded lilac, with a gray tint, clothes are illuminated with a mysterious, slightly cold light. Their folds are complex and not entirely calm. The clothes are unfolded on a plane and contrast with the almost sculptural volumes of the hunched back, powerful neck and superbly sculpted head of the apostle. The pronounced plasticity of the face, the transparency of the pictorial technique of the face soften the sharp features, smoothes them out, highlighting the internal state and thought.
Pavel is not young, but has retained his physical strength. A sign of age - a head bald in front - reveals the wisdom of Paul, revealing the huge dome of his forehead. The folds of the forehead not only highlight the relief, their movement seems to express a high degree of comprehension and knowledge. Rublev shows Paul as a righteous man of high spiritual potential.
Michael, as a formidable commander of the heavenly powers, was always depicted as a stern messenger in the armor of a warrior. In this icon, a meek and self-absorbed light-haired archangel, with a gently bowed curly head, is not involved in evil. In this decision of the image there is a mature thought that has long become close to Rublev: the fight against evil requires the greatest heights, absolute immersion in goodness. Evil is terrible not only in itself, but also because, causing the need to resist it, it gives birth to its germ in good itself. And then, in the shell of truth and under its banner, the same evil is reborn in a different form and “the last is worse than the first.” Here, solving for myself the eternal question of good and evil as incommensurable, incontiguous principles. Rublev, as it were, founded a tradition that has never become scarce in the Russian culture of the future.
Something fresh, youthful, morning permeates the very image of the archangel, mood, color. The bright expression of wide eyes, the tenderness of a softly rounded, pinkish glowing face. Elastic waves of curly hair, soft hands. Sky-azure and pink, like dawn, clothes, warm glow of golden wings. An azure headband holding his wavy, soft hair ends in flowing ribbons behind his head. They were called in the Old Russian language “toroks”, or “rumors”, and denoted the property of angels - constant hearing of the higher will, connection with it. The archangel’s right hand is stretched forward, and its hand is barely noticeably rounded, as if in this hand he is holding something round and completely transparent, which is not an obstacle to the view. This “mirror” outlined with a light line is an image of the constant contemplation of Christ.
There is a famous icon of the “Vladimir Mother of God” from the 12th century, painted by an unknown Constantinople artist. At first it was in the Assumption Cathedral in Vladimir, and later it was transported to Moscow. But Vladimir also did not want to be left without such an icon, and Andrei Rublev, being in Vladimir in 1408, created his own “list” from that icon. (It should be said that there was such a tradition then - icon painters made lists of various icons beloved by the people.)
The Rublevskaya icon of the “Vladimir Mother of God” is one of its most famous repetitions, created in order to replace the ancient shrine in the Assumption Cathedral of Vladimir.
Naturally, the artist, when creating this icon, tries not to deviate from the original, preserving, according to the ancient Russian expression, the “measure and likeness” of the ancient icon, repeating its size and everything characteristics. Indeed, even now, looking at Rublevskaya’s “Vladimirskaya”, we recognize in it an ancient prototype: the beautiful Mother of God and her mysterious infant Son, endowed with childish wisdom, appear in the same poses caressing each other, and her hand is also extended in a gesture of prayer to him. But compared to ancient icon here the beautiful recognizable features of the Mother of God are softer, the pupils of her elongated eyes are more transparent, the thin eyebrows above them are lighter, the oval of her face shining with pink light is more rounded and softer. And the immeasurable maternal feeling that animates these features takes on a different shade: pure, tender and enlightened is the all-encompassing, concentrated love with which the face of the Mother of God is filled here.
The holiday "Lazarus Saturday" falls on the Saturday before Palm Sunday, always in the spring, in April or May. In nature, everything seems to be waiting. It seems that winter has passed, and the snow has almost melted, and the first drops are ringing, but there are still frosts in the mornings. And only in the afternoon, when the sun comes out, will the thawed earth smell excitingly. On the forest edges there are modest Central Russian primroses, fluffy balls of blossoming willow...
Jesus and a few disciples wander through the rocky deserts and villages of Palestine. He does many good deeds, heals the sick and crippled. More and more definitely in his words there are recognitions of his heavenly messenger. But the Jews were not waiting for such a “messiah” - a savior. Many would agree to consider him both a teacher and a prophet, but he preaches patience and meekness, calls to give one’s own and not to take someone else’s. And completely strange, unbearable thoughts are sometimes heard by the crowd that he attracts with his speeches. Not only one people on earth has been chosen by God, there are others, and the honor of being chosen will soon be taken away from “stiff-necked Israel.”
The Jewish authorities and scribes are looking for a way to seize Christ and kill him. But there are also those who understand, are grateful, and thirsty for learning. And yet times come true, his death hour is near. But Jesus is still evading the hands of his pursuers and goes to Transjordan, to those places where his predecessor, the “forerunner” John, had recently called the people to cleansing and repentance. During Jesus' absence in Bethany, a village near Jerusalem, his friend Lazarus dies. When Jesus, returning back, passed this village, the sisters of the deceased, Martha and Mary, reported that their brother had been dead for four days...
And now Andrei Rublev paints the icon “The Return of Lazarus”. Human figures and chambers have already been outlined... At the entrance to the burial cave, Jesus, his disciples, and a crowd. On the right, in grief, he outlines a figure with swaddled legs and arms...
“Throw away the stone,” says Jesus, and already in a loud voice cries out: “Lazarus, come!” And the dead man came out, wrapped hand and foot in burial shrouds...
He writes out details with quick strokes. The last strokes...Here the grateful Martha and Mary fall at the feet of Jesus. This swiftness is emphasized by Rublev and the bent figures of young men moving in the opposite direction, carrying a heavy slab rolled away from the cave. Lazarus moves slowly and awkwardly, but is already outside the grave. The young man to the right of Lazarus turned in a lively movement towards the resurrected one, in his hand the end of the ribbon with which the burial shrouds were wrapped.
The whole action takes place against the backdrop of golden, softly glowing hills, between which in the distance a building of almost the same color is visible, obviously abandoned house Lazarus. This warm glow imparts a mood of festive joy and peace to the entire image.
This is a celebration of the victory of light, life over the theme of death.
The action takes place on Earth. The horse slides at the entrance to the cave, the soft hilly roundness at the bottom of the icon, small trees and bushes scattered here and there - all this is an image of the earthly space, along which the sages of the East gallop for a long time following the mysterious star moving across the sky to the place of the Nativity, to Bethlehem - Magi (they are depicted in the upper left corner of the icon). These are also the peaks from which the shepherds hear the singing of angels. And that part of the path across the earth, which the shepherds, informed by the wonderful angelic singing, made, is also depicted by these forested hills and hills.
Here in the upper right corner, three angels in shining robes are highlighted from the singing angelic host. The first of them holds his hands in the folds of his clothes. Covered hands - ancient symbol reverence, respect. Here it is a sign of admiration for what is happening. The middle angel, talking with the first, seems to learn about the event... The third of them, bowing down, turns to the two shepherds, telling them the good news. They listen attentively, leaning on their knobby staffs. They were the first on earth to discover the wondrous birth.
These shepherds, guarding their cattle day and night in an area remote from the village, “were purified by solitude and silence.” Here is one of them - an old man in clothes sewn from skins with the fur on the outside, which was called a mantle among the Greeks and Slavs and was the clothing of the poorest, poorest people, standing. bowing with benevolent attention before Joseph, Mary’s betrothed. Joseph is depicted by Rublev thinking about miraculous events. Behind the shepherd, under the shade of a tree, lie several animals - sheep, goats. They, like people, plants, the earth itself, are participants in an event that is so significant that it concerns the entire creation, every single creature.
And in the center of the icon, in accordance with tradition, Andrei depicted a scarlet bed on which Mary, wrapped in crimson-brown clothes, reclines, leaning on her hand. Her figure is outlined by a flexible, melodious line. She is not shocked or tired, the extraordinary birth is painless. But it is difficult to accommodate in human consciousness. Therefore, Maria realizes what happened in deep thought. She is located in a cave, but according to the laws of space inherent in icon painting, her bed is “brought” to the foreground by the artist and is shown against the background of the cave in a larger form than the other figures. The viewer sees everything at once: the mountain, the entrance to the cave, and what is happening inside it. Behind Mary’s bed, in a manger-feeding trough for animals, lies a swaddled baby, and above him stand animals - an ox and a horse-like donkey. Nearby is another group of angels, bent over, with covered hands.
Downstairs, the maids bathe the newborn "otracho mlado". One of them, bending over, pours water from a jug into the font, the other holds a half-naked baby on her lap, who is reaching out to her with his childish little hand...
Personal. a lively and touching experience of the event, deep poetry are characteristic of this Rublevsky creation.
About it outstanding work, where not only the style, but also the worldview of the great artist is most clearly visible, perhaps more has been written than about all other festive images from the Annunciation Cathedral. “The “Transfiguration” is especially good, designed in a cold silvery tones. One must see in the original these silvery-green, malachite-green, pale green and white colors, subtly harmonizing with the strokes of mauve, pinkish-red and golden ocher, so that to appreciate the exceptional... gift of the artist" (V.I. Lazarev).
In August, Transfiguration Day is celebrated in Rus' - since ancient times it has been celebrated publicly and joyfully. Early, on a cold morning, people hurried to the blessing of the first ripened apples. Hence the colloquial name for the holiday - “apple” saved. Baskets, clean linen bundles with selected, best fruits. Light, almost floral scent. The blue sky is still summer, but it gives off a pre-autumn chill. The green foliage turns silver in the wind. The grass begins to wilt slightly and turn yellow. Autumn is showing its first signs. Time to reap the fruits of the year's labors on earth...
But this is not an ordinary holiday. Legend says it's like a holiday apple savior The Savior with three of his disciples, his closest and trusted ones, John, Peter and James, one day went from a noisy city to a distant, secluded place, to Mount Tabor. And there the students were given the opportunity to see something strange, mysterious... The teacher’s body before their eyes suddenly shone with an extraordinary light. Many considered this phenomenon to be a manifestation of the deity in Jesus Christ. (Although later researchers thought, argued, and did not come to a consensus about this wonderful light, about its meaning, and most importantly, about its origin, nature).
Rublev's icon shines with a light and even light from the inside. We do not see the rays from which the apostles hid. They contemplate the light within themselves. It is diffused throughout creation, quietly and almost invisibly enlightening people, the earth, and plants. People's faces are not turned to the external, they are concentrated, in the movements of the figures there is more thoughtfulness than instant shock. Mysterious light everywhere. In the icon, Rublev very subtly conveyed the image of summer nature on the day of the holiday itself, when the colors fade barely noticeably, the reflections of summer become more transparent, colder and silverier, and even from afar one can feel the beginning of the movement towards autumn. This insight into the meaning of the holiday in the images of nature itself is a national, Russian trait.
In the center of the icon on the blue waters of the Jordan stands Jesus Christ, to whom a desperate hand points, towards whom a dove flies. And according to a tradition dating back to ancient times, in the waters of the Jordan the figures of an old man and a young man are the personification of the river, and fish splash next to them.
The appearance of Christ here so clearly reveals his miraculous nature that, comprehending the miracle, the gaze of all participants in the event - both the Forerunner and the angels on the other side - is turned not to heaven, but to him. John reverently touches it with his hand while performing the ritual, and this reverence is all the more touching because not only has the traditional power of Christ the Forerunner not lost here, but it is also emphasized by the broad outline of his figure.
The entire icon is flooded with light, illuminating all the figures on the icon, filling the tops of the hills behind Christ with gold.
The Epiphany of the Lord is celebrated on January 6 (18). This holiday follows 12 days after Christmas. Since ancient times, this has been the most fun and joyful time of the year - Christmastide. Christmas joys, fun and merriment are still known to us from numerous descriptions in Russian literature. Both in the images of the Nativity of Christ and in the images of the Baptism of the Lord in Russian art the motif of joy that both birth and the appearance of God for its sake brings to the world has never disappeared.
The holiday "Candlemas" was known already in the 4th century. In Rome, in the Church of Mary the Great, the oldest surviving image, dating back to the 5th century, has survived to this day. The meaning of the Meeting is closely related to Christmas. It was celebrated on the fortieth day after the Christmas celebrations. In Rus' in the first days of February (now it is February 15), according to the old folk superstition, after windy, snowy days the frost intensified. It was deep winter. But preparations began for spring field and other work. The days are still short. A quiet time conducive to reflection. The holiday itself is strict, and the mood of repentance grows in its chants. You look at Rublev’s icon, and the first impression is that it depicts a ceremony full of triumph and significance. Mary and Joseph bring the forty-day-old Jesus to the temple. Here, at the temple, the prophetess Anna lives. She predicts an extraordinary fate for the newborn. They are met in the temple itself, hence the name of the event "meeting" - meeting, Elder Simeon, to whom the promise had long been given that he would not taste death until he saw and accepted into his arms the savior of the world born on earth. And now he recognizes, clearly feels that this moment has come...
In the icon, walking steadily towards Simeon, at the same distance from each other, a mother with a baby in her arms, Anna, followed by the betrothed Joseph. Rublev depicted their tall, slender figures in such a way that they appear connected, flowing into one another. Their measured movement, solemn, steady and irrevocable, as if indicating its significance, is echoed by the easily curving wall that depicts the vestibule of the temple. And the old servant of the Old Testament temple stretches out his hands, reverently covered with robes, towards the baby in a deep, humble bow. Now he accepts in his arms...His own death. His work on earth is finished: “Now send thy servant away, O lord, according to thy word, in peace...” The old, ancient one is replaced by a new world, a different covenant. And he, this new one, such is the universal and all-encompassing law of life, will have to take root in the world only through sacrifice. The young “adolescent” will face shame, reproach, and torture on the cross. In Christianity, the “Descent into Hell” completed the redemptive mission of Jesus Christ and was the limit of Christ’s humiliation and at the same time the beginning of his glory. According to Christian doctrine, Jesus, with his free suffering and painful death on the cross, redeemed original sin ancestors and gave the power to fight its consequences to their descendants.
Standing on the crossed doors of the gates of hell, Christ took the hand of Adam, represented on the right kneeling in his stone tomb. Little Eve in a red robe stood up behind Adam. The forefathers are crowded behind them, behind them is the son of Simeon the God-Receiver, on whose behalf the event is told in the apocrypha.
On the left are Kings David and Solomon. Above them stands the large figure of John the Baptist, turning to the prophets following him.
The light blue glory of Christ circles against the background of a black cave. Above rises a wide, gentle rock with two peaks reaching into the upper corners of the icon. Rublev used golden and greenish ocher for his painting, Blue colour, cabbage roll and bright cinnabar. The icon creates a mood of joy and hope.
The ascension into heaven of Jesus Christ, God incarnate and the Son of God, is the great, final event of gospel history. one of the greatest Christian holidays was established in his honor. Even in Byzantine art, a canon of depicting the Ascension was formed in those details and details that were inherited by ancient Russian icon painters. filling the images of the Ascension with the joy that his holiday seeks to reveal to people.
Here in Rublev’s icon the Ascension appears before us. The white hills, flooded with light, represent both the Mount of Olives and the entire land abandoned by the ascended Jesus Christ. The ascended One himself hovers above her; his human clothing has already been transformed into garments pierced with gold, and the shining turquoise circle of mandorola - glory - surrounds him with a sign of divine light.
Jesus Christ, according to the Gospel, ascended himself, but here angels carry his mandorola, eternal companions God, giving him honor. Jesus Christ appears here as the true Almighty, who conquered the suffering and death inherent in human nature. And therefore such joy and hope are brought by the blessing that he sends from the shining light, raising his right hand, to the land he leaves, to the witnesses of his Ascension standing on it. Directly below Jesus Christ stands the Mother of God. She rejoices at the victory of the Son and the light of this joy permeates her clothes with light, thin strokes. The Apostles surround the Mother of God on both sides. Their gestures are filled with joyful shock, light fills their scarlet, dark pink, and soft yellow clothes. Between the Mother of God and the apostles on both sides, two angels who appeared at the place of the Ascension solemnly look at her. Their figures in snow-white robes and shimmering golden halos enhance the feeling of light and joy emanating from the icon. And their raised hands point to the ascending Jesus Christ as a source of joy not only for the apostles, but also for everyone who looks at this icon.
Rublev's "Savior" amazed his contemporaries. The Russian person highlighted the most important thing that he saw in the Savior - love, readiness to suffer for one's neighbor, even to the point of painful death. The same idea was clearly expressed in the inscription that was once drawn by Rublev on the open pages of the book in the hands of Jesus. This inscription has been lost, since only the head and a small part of the clothes have survived from the icon. Presumably the words were: “Come to me, all you who labor and are heavy laden, and I will give you rest.”
Since ancient times, the descent of the Holy Spirit on the apostles has been revered as a most important event: in it the Spirit of God descended into the world manifested itself, sanctifying the beginning of the preaching of Christ’s teaching, the beginning of the Church as a community of people united by one faith. The descent of the Holy Spirit on the apostles is commemorated 50 days after Easter. On the second day of this holiday, which is called the Spiritual Day, special veneration is given to the Holy Spirit, who apparently descended on the disciples of Christ.
They began to depict the Descent of the Holy Spirit on the Apostles from ancient times. For this purpose, a very simple and expressive composition was developed in Byzantine art.
In the center of the composition there are closed doors - a sign of the closed upper room in which the apostles remained in essence on the day of Pentecost - they sit here as if on the sides of a semi-oval turned towards the viewer. As a sign that the Holy Spirit had descended on them, there were golden halos around the apostles, golden light was poured around, giving the apostles strength. A sign of their high, world-facing teaching are the scrolls in the hands of the four apostles and the hands of the saints raised in blessing.
Biography and creativity of Andrei Rublev
Andrei Rublev (+ c.1430), icon painter, student of Theophanes the Greek, reverend.
At first he was a novice with St. Nikon of Radonezh, and then a monk in the Spaso-Andronikov Monastery in Moscow, where he died and was buried.
Trinity Old Testament
Andrey Rublev
Moscow school
1422 - 1427
142 x 114 cm
lime board. Matting weave, gesso, tempera
icon. Temple image from the iconostasis of the Trinity Cathedral of the Trinity-Sergius Monastery
In room XIV - AD. XV century Rublev created his masterpiece - the “Trinity” icon (located in the State Tretyakov Gallery, on the subject of “Abraham’s hospitality”. He filled the traditional biblical plot with deep poetic and philosophical content. Moving away from traditional canons, he placed a single cup (symbolizing sacrificial death) in the center of the composition. , and its outlines were repeated in the contours of the side angels. The central (symbolizing Christ) angel took the place of the victim and is highlighted by the expressive contrast of spots of dark cherry and blue colors, orchestrated by an exquisite combination of golden ocher with delicate “cabbage roll” and greenery. The composition inscribed in a circle is permeated with deep. circular rhythms, subordinating all the contour lines, the consistency of which produces an almost musical effect.
“Trinity” is designed for long and short range points of view, each of which differently reveals the richness of shades and virtuosic brushwork. The harmony of all elements of the form is an artistic expression of the main idea of the “Trinity” - self-sacrifice as highest condition spirit that creates harmony in the world and life. In 1405, together with Theophan the Greek and Prokhor from Gorodets, he painted the Annunciation Cathedral of the Moscow Kremlin (the frescoes have not survived), and in 1408, with Daniil Cherny and other masters, he painted the Assumption Cathedral in Vladimir (the painting has been partially preserved) and created icons for its monumental three-tiered iconostasis, became important stage formation of a system of high Russian iconostasis.
Annunciation
Andrey Rublev
1405
81 x 61 cm
icon. Festive rite
In the ancient life of St. Sergius of Radonezh, compiled by his disciple Epiphanius, decorated with numerous miniatures (16th century copy), Andrei Rublev is depicted in three forms: sitting on the stage and painting the image of the Savior Not Made by Hands on the wall of the temple; coming to the stone church newly built in the Lavra and being buried by the Lavra brethren.
Most major works Andrei Rublev - icons, as well as frescoes in the Cathedral of the Assumption in Vladimir (1408). The Deisis by Theophanes the Greek and Andrei Rublev, as well as the entire golden-domed Church of the Annunciation in the royal courtyard, near the royal treasury, burned down during a great fire in Moscow in 1547.
Epiphany
Andrey Rublev (?)
first half of the 15th century
81 x 62 cm
icon. Festive rite
Annunciation Cathedral of the Moscow Kremlin
The greatest masters Old Russian painting, including Dionysius, were deeply influenced by his work. At the Stoglavy Cathedral (1551), Rublev’s icon painting was proclaimed a role model: it was directly ordered that “the painter should paint icons from ancient images, as the Greek painters wrote, and as Andrei Rublev and other notorious painters wrote.”
Much work on the restoration of his works and clarification of his artistic biography, done in the 20th century, led to the formation of the romantic “Rublev legend”, extracting the heroized figure of the artist from the anonymous, ascetic, supra-individual environment of medieval creativity.
Locally revered as a saint since the 16th century, Andrei Rublev has now become one of the all-Russian saints: he was canonized by the Russian Orthodox Church in 1988; the church celebrates his memory on July 4 (July 17 n.st.).
Savior Almighty
Andrey Rublev
1410 - 1420s
158 x 106 cm
(the right board of the icon “Spas” is pine, added during later restoration
icon. The central part of the iconographic deesis from Zvenigorod
Moscow, State Tretyakov Gallery
The works of Andrei Rublev
The works of Andrei Rublev belong to highest achievements Russian and world spiritual art, who embodied a sublime understanding of the spiritual beauty and moral strength of man in Holy Rus'. These qualities are inherent in the icons of the Zvenigorod rank (“Savior”, “Apostle Paul” (located in the Russian Museum), “Archangel Michael”, all from the turn of the 14th-15th centuries), where laconic smooth contours and a broad brushwork style are close to the techniques of monumental painting.
Transfiguration
Andrey Rublev
Moscow school
1405
80.5 x 61 cm
lime board, ark, shallow husk. Pavoloka, gesso, tempera
icon. Festive rite
Annunciation Cathedral of the Moscow Kremlin
Of Rublev’s frescoes in the Assumption Cathedral, the most significant composition is “ Last Judgment”, where the traditionally formidable scene turned into a bright celebration of the triumph of Divine justice. The works of Andrei Rublev in Vladimir indicate that by that time he was a mature master who stood at the head of the school of painting that he created.
In 1425 - 1427 Rublev, together with Daniil Cherny and other masters, painted the Trinity Cathedral of the Trinity-Sergius Monastery and created the icons of its iconostasis. The time when new internecine wars were brewing in Rus' and the harmonious ideal of man, which had developed in the previous period, did not find support in reality, also affected Rublev’s work. The coloring of later icons is more gloomy; in some icons the decorative principle is enhanced, in others archaic tendencies appear. Some sources call the painting of the Spassky Cathedral of the Andronikov Monastery (c. 1427) last job Rublev. A number of works are also attributed to him, the attribution of which to Rublev’s brush has not been definitely proven: frescoes of the Assumption Cathedral on the “Gorodok” in Zvenigorod (late 14th - early 15th centuries), icons - “Our Lady of Vladimir” (c. 1409, Assumption Cathedral, Vladimir ), “Savior in Power” (1408), part of the icons of the festive rite (“Annunciation”, “Nativity of Christ”, “Candlemas”, “Baptism”, “Resurrection of Lazarus”, “Transfiguration”, “Entry into Jerusalem” - everything is ok . 1399) Annunciation Cathedral of the Moscow Kremlin, part of the miniatures of the “Gospel of Khitrovo”.
Savior is in power
Andrey Rublev
Moscow school
10th years of the 15th century
18 x 16 cm
icon
Moscow, State Tretyakov Gallery
Archangel Gabriel
Moscow school
1425 - 1427
189.5 x 89.5 cm
icon. Deesis rank
Dmitry Solunsky
Andrey Rublev and his follower
Moscow school
1425 - 1427
189 x 80 cm
icon. Deesis rank
Trinity Cathedral in the Trinity-Sergius Lavra. Sergiev Posad
Nativity
Andrey Rublev
1405
81 x 62 cm
icon. Festive rite
Annunciation Cathedral of the Moscow Kremlin
Presentation of the Lord
Andrey Rublev
1405
81 x 61.5 cm
icon. Festive rite
Annunciation Cathedral of the Moscow Kremlin
Entry of the Lord into Jerusalem
Andrey Rublev
1405
80 x 62.5 cm
lime board, ark, shallow husk. Pavoloka, gesso, tempera
icon. Festive rite
Annunciation Cathedral of the Moscow Kremlin
Ascension of the Lord
Andrey Rublev
1408
125 x 92 cm
linden board, pavoloka, gesso, tempera
icon
Moscow, State Tretyakov Gallery
Saint John the Baptist
Andrey Rublev with assistants
Tver school
1408
313 x 105 cm
linden board, pavoloka, gesso, tempera
icon. Deesis rank
archangel Michael
Moscow school
1408
314 x 128 cm
linden board, pavoloka, gesso, tempera
icon
Saint Gregory the Theologian
Andrey Rublev, Daniil Cherny and workshop
Moscow school
1408
314 x 106 cm
linden board, pavoloka, gesso, tempera
icon. From the Deesis rite ("Vasilievsky rite") of the Assumption Cathedral in Vladimir
Saint John Chrysostom
Andrey Rublev, Daniil Cherny and workshop
1408
313 x 105 cm
linden board, pavoloka, gesso, tempera
icon
Annunciation
Andrey Rublev, Daniil Cherny and workshop
1408
125 x 94 cm
linden board, pavoloka, gesso, tempera
icon. Festive rite
Descent into Hell
Andrey Rublev, Daniil Cherny and workshop
1408
124 x 94 cm
linden board, pavoloka, gesso, tempera
State Tretyakov Gallery
Apostle Andrew the First-Called
Andrey Rublev, Daniil Cherny and workshop
Moscow school
1408
313 x 105 cm
linden board, pavoloka, gesso, tempera
Archangel Gabriel
Andrey Rublev, Daniil Cherny and workshop
Moscow school
1408
317 x 128 cm
linden board, pavoloka, gesso, tempera
Art critic M.V. Alpatov wrote: “Rublev’s art is, first of all, the art of big thoughts, deep feelings, compressed within the framework of laconic images-symbols, the art of great spiritual content,” “Andrei Rublev revived the ancient principles of composition, rhythm, proportions, harmony, relying mainly on his artistic intuition."
In the ancient life of St. Sergius of Radonezh, compiled by his disciple Epiphanius, decorated with numerous miniatures (16th century copy), Andrei Rublev is depicted in three forms: sitting on the stage and painting the image of the Savior Not Made by Hands on the wall of the temple; coming to the stone church newly built in the Lavra and being buried by the Lavra brethren.
The largest works of Andrei Rublev are icons, as well as frescoes in the Cathedral of the Assumption in Vladimir (1408). The Deisis by Theophanes the Greek and Andrei Rublev, as well as the entire golden-domed Church of the Annunciation in the royal courtyard, near the royal treasury, burned down during a great fire in Moscow in 1547.
The greatest masters of ancient Russian painting, including Dionysius, were deeply influenced by his work. At the Stoglavy Cathedral (1551), Rublev’s icon painting was proclaimed a role model: it was directly ordered that “the painter should paint icons from ancient images, as the Greek painters wrote, and as Andrei Rublev and other notorious painters wrote.”
Much work on the restoration of his works and clarification of his artistic biography, done in the 20th century, led to the formation of the romantic “Rublev legend”, extracting the heroized figure of the artist from the anonymous, ascetic, supra-individual environment of medieval creativity.
Locally revered as a saint since the 16th century, Andrei Rublev has now become one of the all-Russian saints: he was canonized by the Russian Orthodox Church in 1988; the church celebrates his memory on July 4 (July 17 n.st.).
The works of Andrei Rublev
The works of Andrei Rublev belong to the highest achievements of Russian and world spiritual art, which embodied a sublime understanding of the spiritual beauty and moral strength of man in Holy Rus'. These qualities are inherent in the icons of the Zvenigorod rank (“Savior”, “Apostle Paul” (located in the Russian Museum), “Archangel Michael”, all from the turn of the 14th-15th centuries), where laconic smooth contours and a broad brushwork style are close to the techniques of monumental painting.
In the period XIV - AD. XV century Rublev created his masterpiece - the “Trinity” icon (located in the State Tretyakov Gallery, on the subject of “Abraham’s hospitality.” He filled the traditional biblical plot with deep poetic and philosophical content. Moving away from traditional canons, he placed a single cup (symbolizing sacrificial death) in the center of the composition. , and its outlines were repeated in the contours of the side angels. The central (symbolizing Christ) angel took the place of the victim and is highlighted by the expressive contrast of spots of dark cherry and blue colors, orchestrated by an exquisite combination of golden ocher with delicate “cabbage roll” and greenery. The composition inscribed in a circle is permeated with deep. circular rhythms, subordinating all the contour lines, the consistency of which produces an almost musical effect.
“Trinity” is designed for distant and near points of view, each of which differently reveals the richness of shades and masterly work of the brush. The harmony of all elements of the form is an artistic expression of the main idea of the “Trinity” - self-sacrifice as the highest state of spirit that creates harmony in the world and life. In 1405, together with Theophan the Greek and Prokhor from Gorodets, he painted the Annunciation Cathedral of the Moscow Kremlin (the frescoes have not survived), and in 1408, with Daniil Cherny and other masters, he painted the Assumption Cathedral in Vladimir (the painting has been partially preserved) and created icons for its monumental three-tiered iconostasis, which became an important stage in the formation of the system of high Russian iconostasis.
Of Rublev’s frescoes in the Assumption Cathedral, the most significant is the composition “The Last Judgment,” where a traditionally formidable scene turned into a bright celebration of the triumph of Divine justice. The works of Andrei Rublev in Vladimir indicate that by that time he was a mature master who stood at the head of the school of painting that he created.
In 1425 - 1427 Rublev, together with Daniil Cherny and other masters, painted the Trinity Cathedral of the Trinity-Sergius Monastery and created the icons of its iconostasis. The time when new internecine wars were brewing in Rus' and the harmonious ideal of man, which had developed in the previous period, did not find support in reality, also affected Rublev’s work. The coloring of later icons is more gloomy; in some icons the decorative principle is enhanced, in others archaic tendencies appear. Some sources call the painting of the Spassky Cathedral of the Andronikov Monastery (c. 1427) Rublev’s last work. A number of works are also attributed to him, the attribution of which to Rublev’s brush has not been definitely proven: frescoes of the Assumption Cathedral on the “Gorodok” in Zvenigorod (late 14th - early 15th centuries), icons - “Our Lady of Vladimir” (c. 1409, Assumption Cathedral, Vladimir ), “Savior in Power” (1408), part of the icons of the festive rite (“Annunciation”, “Nativity of Christ”, “Candlemas”, “Baptism”, “Resurrection of Lazarus”, “Transfiguration”, “Entry into Jerusalem” - everything is ok . 1399) Annunciation Cathedral of the Moscow Kremlin, part of the miniatures of the “Gospel of Khitrovo”.
Since 1959, the Andrei Rublev Museum has been operating in the Andronikov Monastery, demonstrating the art of his era.
Art critic M.V. Alpatov wrote: “Rublev’s art is, first of all, the art of big thoughts, deep feelings, compressed within the framework of laconic images-symbols, the art of great spiritual content,” “Andrei Rublev revived the ancient principles of composition, rhythm, proportions, harmony, relying mainly on his artistic intuition."
There are many icon painters in the calendar of the Russian Orthodox Church, but the most famous, of course, is Andrei Rublev. Probably everyone in our country knows this name, even not the most educated person, and outside of Russia it is well known, especially after Tarkovsky’s film, but what do we know about the great icon painter? The famous historian of Christian art Irina YAZYKOVA talks about this.
Andrei Rublev paints the Spassky Cathedral of the Andronikov Monastery (miniature late XVI V.)
Happy fate of Andrei Rublev
We can say that his fate was happy: he was famous already during his lifetime, chronicles and lives of saints mention him, princes and monasteries ordered icons for him, he worked in Moscow, Vladimir, Zvenigorod. He was not forgotten even after his death; Rublev’s glory as the first icon painter in Rus' was preserved for centuries. The Stoglavy Council (1551) recognized Rublev's work as a role model. Joseph Volotsky in his “Message to the Icon Painter” also cites the example of Andrei Rublev and his associates, who “zealously applied themselves to icon writing and were extremely careful about fasting and monastic life, as they were vouchsafed Divine grace and so in Divine love to succeed, as never to exercise about earthly things, but always to raise the mind and thought to the immaterial light, as even on the very feast of the Holy Resurrection of Christ, sitting on the seats and having Divine and honest icons in front of you and steadily looking at them, being filled with Divine joy and lordship. And not just on that day I do this, but also on other days, when I don’t devote myself to painting. For this reason, the Lord Christ glorified them at the final hour of death.”In the 17th century manuscript “The Tale of the Holy Icon Painters,” Andrei Rublev is called a holy ascetic and a seer of God. The Old Believers valued Rublev very much; collectors sought to acquire his works; in their eyes, he was the embodiment of canonical iconography and ancient piety. Thanks to this, even in the 19th century, when it would seem that icon painting was consigned to oblivion, the name of the ascetic icon painter was preserved as a standard of church art.
Andrei Rublev was not forgotten in Soviet times, despite the godless and iconoclastic pathos of Soviet science, his name was a symbol of ancient Russian culture. By decision of UNESCO in 1960, a worldwide celebration of the 600th anniversary of Rublev was organized. A museum of ancient Russian culture named after Andrei Rublev was opened in Moscow. And his works, collected mainly in the Tretyakov Gallery, became the object of close attention of scientists.
Life collected bit by bit
Many books and articles have been written about the Rev. Andrei Rublev, his work has been thoroughly studied. But, if you think about it, what do we know about the life of the icon painter as a holy ascetic? Biographical information is extremely scarce; his life has to be collected literally bit by bit.He was born in the 1360s. It is difficult to determine more precisely the date of his birth. But the date of death is known: January 29, 1430. This date was established by the famous restorer P. D. Baranovsky based on a copy of the 18th century. from the inscription on the tombstone of the Spaso-Andronikov Monastery. The slab itself was lost in the 1930s, when the monastery cemetery was destroyed. It is known that Rublev died at an old age, he was about 70 years old, which means he was born between 1360 and 1370.
This was a terrible time: the Tatars ruled Rus', they ravaged cities, plundered churches and monasteries, and took people captive. At the same time, there was a constant internecine struggle between the princes, it was especially bloody between Moscow and Tver, which laid claim to the grand ducal label. Twice - in 1364 and 1366. - in Moscow and Nizhny Novgorod the plague has passed. In 1365 Moscow burned, in 1368 it survived the invasion of the Lithuanian prince Olgerd, and in 1371 there was famine.
Among this chaos and turmoil, the future creator of images of heavenly harmony grew up and was educated. Unfortunately, we know nothing about his parents or the environment from which he came. True, his last name may suggest something. Firstly, in those days only noble people had surnames. Secondly, she can point to the hereditary craft that his father or a more distant ancestor was engaged in. Rublev most likely comes from the verb “to chop” or from “rubel”, which was the name of a long pole or roller, a tool for tanning leather.
Nothing is known about how early Andrei Rublev took up icon painting, where and with whom he studied. We don't know anything about him either early works. The first mention of it is contained in the Chronicle of 1405, where it is reported that, by order of Grand Duke Vasily Dmitrievich, the Annunciation Cathedral of the Moscow Kremlin was painted by an artel headed by three masters: Theophanes the Greek, Prokhor the Elder of Gorodets and the monk Andrei Rublev. The fact that Rublev’s name is mentioned suggests that he was already a completely respected master. But his name comes third, which means Andrei was the youngest of the named icon painters.
Rublev was a monk, that is, a monk. And the name Andrei, apparently, is not a generic or baptismal name, but a monastic one. Most likely, he took monastic vows at the Trinity Monastery, under Nikon of Radonezh, the disciple and successor of St. Sergius of Radonezh. There are records of this in manuscripts from the 18th century. Perhaps he found Sergius himself, who died in 1392. Many of the master’s works will also be associated with the Trinity Monastery. Last years Andrei lived in the Spaso-Andronikov Monastery, also founded by a disciple of Sergius, Venerable. Andronik. In this monastery he ended his earthly journey.
The standard of church art
Andrei Rublev was involved in the circle of Rev. Sergius of Radonezh, the great teacher of monasticism, who played a huge role in the spiritual awakening of Rus'. Sergius or his students were able to convey to Andrei the experience of deep prayer and silence, that contemplative practice that is usually called hesychasm, and in Rus' was called “smart doing.” Hence the prayerful depth of Rublev’s icons, their deep theological meaning, their special heavenly beauty and harmony.The second time the name of Rublev is mentioned in the Chronicle under 1408 in connection with the painting of the Assumption Cathedral in Vladimir. He carried out this work together with the icon painter Daniil Cherny, who was called his “friend and fellow priest.” Daniel was also a monk, possibly Greek or Serbian, as evidenced by the nickname - Black. The chronicler calls him first, which means that Daniel was the eldest: by age or rank. Everything will be connected with this person further fate Andrei Rublev, until his death.
The Assumption Cathedral in Vladimir was considered the cathedral of the Russian Church, and its painting was a responsible matter. The cathedral was built in the 12th century, under Andrei Bogolyubsky, but its paintings were destroyed in 1238, during the Tatar-Mongol invasion. By order of Grand Duke Vasily Dmitrievich, the temple is being painted anew. An iconostasis was also erected and a list of ancient miraculous works was created. Vladimir icon Our Lady. Both masters - Andrei and Daniel - act here not only as icon painters, but also as genuine theologians: the surviving composition “The Last Judgment” speaks of a deep mystical experience and a surprisingly bright understanding of eschatology, as the aspiration of the Church towards the coming Savior.
In the mid-1420s. Andrei Rublev and Daniil Cherny are supervising the work in the Trinity Cathedral of the Trinity-Sergius Monastery. The paintings of the temple have not reached us, but the iconostasis remains. For the same temple, Rev. Andrei paints his famous Trinity icon, in which the Trinitarian dogma finds its highest pictorial embodiment. According to the Chronicle, the image of the Trinity was commissioned by Nikon of Radonezh “in memory and praise of St. Sergius,” whose relics rest in the Trinity Church. This icon embodies the pure prayer of the monk Andrew, which he taught spiritual teacher- Sergius, who bequeathed “to conquer the hated discord of this world by looking at the Holy Trinity.” In the form of three angels, the Trinitarian God appears before us: Father, Son and Holy Spirit, and in their silent conversation the mystery of Christ’s sacrifice, offered for the salvation of mankind, is revealed. Truly, Andrei Rublev was a visionary of God: only a person who had repeatedly contemplated this mystery of Divine Triune Love in prayer could paint the image of the Trinity in this way.
Universal Master
Book miniatures are also attributed to the master. For example, sheets and screensavers of the “Gospel of Khitrovo”. Old Russian artists very often illuminated books. Copying and decorating books was one of the common monastic obediences. In general, the book culture of ancient Russian monasteries was extremely high, the reading range of the monks was very diverse. Andrei Rublev was also a bookish man, who read a lot and was very educated for those times. In any case, it is clear that the miniatures of the “Khitrovo Gospel” were made by a master who has a keen sense of beauty and a deep understanding of the meaning of what is depicted.Andrey Rublev was universal master: he painted icons and frescoes, studied book miniature. It is likely that, together with Metropolitan Cyprian and Theophan the Greek, he was involved in the development of the high Russian iconostasis, which, in line with Cyprian’s liturgical reform, was a harmonious, deeply thought-out theological system that created the image of the Heavenly Church.
The last years of Andrei Rublev's life were associated with the Spaso-Andronikov Monastery. Unfortunately, the paintings of the Spassky Cathedral made by him have not survived. But the life of the icon painter even in this monastery was feat and service, prayer and creativity, for this is how he always lived.
Rublev is a recognized icon painter, but, first of all, he was a monk, his life was completely devoted to serving the Church. His holiness was already obvious to his contemporaries. Immediately after his death, in the 15th century, local veneration of St. Andrew the icon-maker was established in the Trinity-Sergius and Spaso-Andronikov monasteries, of which he was a monk. The Rev. Andrei Rublev was canonized by the general church only in 1988. The Church celebrates his memory on July 17 (4).
Text: Irina YAZYKOVA
Andrei Rublev (+ c.1430), icon painter, student of Theophanes the Greek, reverend.
At first he was a novice with St. Nikon of Radonezh, and then a monk in the Spaso-Andronikov Monastery in Moscow, where he died and was buried.
In the ancient life of St. Sergius of Radonezh, compiled by his disciple Epiphanius, decorated with numerous miniatures (16th century copy), Andrei Rublev is depicted in three forms: sitting on the stage and painting the image of the Savior Not Made by Hands on the wall of the temple; coming to the stone church newly built in the Lavra and being buried by the Lavra brethren.
The largest works of Andrei Rublev are icons, as well as frescoes in the Cathedral of the Assumption in Vladimir (1408). The Deisis by Theophanes the Greek and Andrei Rublev, as well as the entire golden-domed Church of the Annunciation in the royal courtyard, near the royal treasury, burned down during a great fire in Moscow in 1547.
The greatest masters of ancient Russian painting, including Dionysius, were deeply influenced by his work. At the Stoglavy Cathedral (1551), Rublev’s icon painting was proclaimed a role model: it was directly ordered that “the painter should paint icons from ancient images, as the Greek painters wrote, and as Andrei Rublev and other notorious painters wrote.”
Much work on the restoration of his works and clarification of his artistic biography, done in the 20th century, led to the formation of the romantic “Rublev legend”, extracting the heroized figure of the artist from the anonymous, ascetic, supra-individual environment of medieval creativity.
Locally revered as a saint since the 16th century, Andrei Rublev has now become one of the all-Russian saints: he was canonized by the Russian Orthodox Church in 1988; the church celebrates his memory on July 4 (July 17 n.st.).
The works of Andrei Rublev
The works of Andrei Rublev belong to the highest achievements of Russian and world spiritual art, which embodied a sublime understanding of the spiritual beauty and moral strength of man in Holy Rus'. These qualities are inherent in the icons of the Zvenigorod rank (“Savior”, “Apostle Paul” (located in the Russian Museum), “Archangel Michael”, all from the turn of the 14th-15th centuries), where laconic smooth contours and a broad brushwork style are close to the techniques of monumental painting.
In the period XIV - AD. XV century Rublev created his masterpiece - the “Trinity” icon (located in the State Tretyakov Gallery, on the subject of “Abraham’s hospitality.” He filled the traditional biblical plot with deep poetic and philosophical content. Moving away from traditional canons, he placed a single cup (symbolizing sacrificial death) in the center of the composition. , and its outlines were repeated in the contours of the side angels. The central (symbolizing Christ) angel took the place of the victim and is highlighted by the expressive contrast of spots of dark cherry and blue colors, orchestrated by an exquisite combination of golden ocher with delicate “cabbage roll” and greenery. The composition inscribed in a circle is permeated with deep. circular rhythms, subordinating all the contour lines, the consistency of which produces an almost musical effect.
“Trinity” is designed for distant and near points of view, each of which differently reveals the richness of shades and masterly work of the brush. The harmony of all elements of the form is an artistic expression of the main idea of the “Trinity” - self-sacrifice as the highest state of spirit that creates harmony in the world and life. In 1405, together with Theophan the Greek and Prokhor from Gorodets, he painted the Annunciation Cathedral of the Moscow Kremlin (the frescoes have not survived), and in 1408, with Daniil Cherny and other masters, he painted the Assumption Cathedral in Vladimir (the painting has been partially preserved) and created icons for its monumental three-tiered iconostasis, which became an important stage in the formation of the system of high Russian iconostasis.
Of Rublev’s frescoes in the Assumption Cathedral, the most significant is the composition “The Last Judgment,” where a traditionally formidable scene turned into a bright celebration of the triumph of Divine justice. The works of Andrei Rublev in Vladimir indicate that by that time he was a mature master who stood at the head of the school of painting that he created.
In 1425 - 1427 Rublev, together with Daniil Cherny and other masters, painted the Trinity Cathedral of the Trinity-Sergius Monastery and created the icons of its iconostasis. The time when new internecine wars were brewing in Rus' and the harmonious ideal of man, which had developed in the previous period, did not find support in reality, also affected Rublev’s work. The coloring of later icons is more gloomy; in some icons the decorative principle is enhanced, in others archaic tendencies appear. Some sources call the painting of the Spassky Cathedral of the Andronikov Monastery (c. 1427) Rublev’s last work. A number of works are also attributed to him, the attribution of which to Rublev’s brush has not been definitely proven: frescoes of the Assumption Cathedral on the “Gorodok” in Zvenigorod (late 14th - early 15th centuries), icons - “Our Lady of Vladimir” (c. 1409, Assumption Cathedral, Vladimir ), “Savior in Power” (1408), part of the icons of the festive rite (“Annunciation”, “Nativity of Christ”, “Candlemas”, “Baptism”, “Resurrection of Lazarus”, “Transfiguration”, “Entry into Jerusalem” - everything is ok . 1399) Annunciation Cathedral of the Moscow Kremlin, part of the miniatures of the “Gospel of Khitrovo”.
Since 1959, the Andrei Rublev Museum has been operating in the Andronikov Monastery, demonstrating the art of his era.
Art critic M.V. Alpatov wrote: “Rublev’s art is, first of all, the art of big thoughts, deep feelings, compressed within the framework of laconic images-symbols, the art of great spiritual content,” “Andrei Rublev revived the ancient principles of composition, rhythm, proportions, harmony, relying mainly on his artistic intuition."
