The name of Andrei Rublev became the personification of ancient Russian art.
Andrey Rublev- perhaps the most famous artist of medieval Rus'. His name is still heard today, but we know very little about his life.
Where and when he was born is unknown. They call his birthplace Moscow (1360?), and his place of residence is the Trinity Monastery.
The first chronicle mention of the “monk Andrei Rublev” dates back to 1405: at that time he, together with Theophan the Greek and Prokhor from Gorodets, decorated the Annunciation Cathedral of the Moscow Kremlin with icons and frescoes. These frescoes have not survived.
Icon "Reverend Andrei Rublev"
Some information about him can be gleaned from chronicles. For example, the chronicle indicates that in 1408 he, together with Daniil Cherny, painted the Assumption Cathedral in Vladimir, the Church of the Holy Trinity in the Trinity Monastery. The frescoes have not survived. According to Epiphanius the Wise, Andrei Rublev painted this temple in the 1420s. After the death of Daniil Cherny, Andrei Rublev worked in the Moscow Andronikov Monastery, where he painted the Church of the Savior (his last work). But only small fragments of the ornament have survived to this day.
Most of Rublev's documented works have not reached us, except for two icons from the Deesis and seven icons from the festive row in the iconostasis of the Kremlin Annunciation Cathedral; part of the frescoes of the Vladimir Assumption Cathedral; the famous Trinity icon from the Trinity Church of the monastery of the same name.
Miniatures and initials of the Khitrovo Gospel are also attributed to Rublev (early 15th century, Russian State Library, Moscow); Our Lady of Tenderness from the Assumption Cathedral of Vladimir (c. 1408-1409); Zvenigorod rite, from which three icons have survived: with Christ the Savior, Archangel Michael and Apostle Paul (c. 1410-1420); fragments of frescoes on the altar pillars of the Assumption Cathedral in Gorodok (Zvenigorod) and on the altar barrier of the Nativity Cathedral in the Savvino-Storozhevsky Monastery near Zvenigorod.
But many more icons are attributed to the “Rublev circle,” although there is no way to confirm their authorship.
Andrei Rublev died in the Andronikov Monastery on January 29, 1428 (?). The Andrei Rublev Museum has been operating here since 1959, where you can get acquainted with the art of his era.
At the Stoglavy Cathedral in 1551, Rublev’s iconography was recognized as a model. In the 20th century Much attention was paid to this painter, his works were studied and restored, the minimal information about his life that was already known was clarified, his name was covered with a haze of romanticism. And after A. Tarkovsky’s famous film “Andrei Rublev,” the image of this artist attracted close attention even from those people who were far from both faith and icon painting. In 1988 he was canonized by the Russian Orthodox Church in the face of the venerable saints.
The works of Andrei Rublev
Hall of Andrei Rublev in the Tretyakov Gallery
Second half of the 14th – beginning of the 15th centuries. were noted in Rus' by their interest in moral and spiritual problems. Andrei Rublev embodied in his painting a new, sublime understanding of the spiritual beauty and moral strength of man. Therefore, his work is one of the pinnacles of Russian and world culture. The greatest masters of ancient Russian painting, including Dionysius, were deeply influenced by his work.
Assumption Cathedral in Vladimir
The Assumption Cathedral in Vladimir is an outstanding monument of white stone architecture of pre-Mongol Rus' (1158).
At the beginning of the 15th century. Andrei Rublev and Daniil Cherny were invited to decorate the temple. From their paintings, individual images of the large composition of the “Last Judgment”, which occupied the entire western part of the temple, and fragmentary images in the altar part of the cathedral have been preserved. Most of the frescoes that have survived to this day were painted in the 19th century.
This is the only surviving fresco painted by Andrei Rublev. Mention of her is in the Trinity Chronicle; it is also the only documented, accurately dated and preserved monument in the artist’s creative heritage.
Icon of Our Lady of Vladimir “Tenderness” from the Assumption Cathedral in Vladimir (c. 1408)
The authorship of the icon is attributed to Andrei Rublev. I. E. Grabar, V. N. Lazarev, G. I. Vzdornov, O. S. Popova agree with this opinion.
M.V. Alpatov and E.S. Smirnova reject his authorship.
The “Tenderness” icon is one of the most ancient copies of “Our Lady of Vladimir”.
Our Lady of Vladimir
Icon "Trinity" (1411-1425/27)
This icon is the standard of Rublev’s work, his authorship is undoubtedly. One of the famous Russian icons.
Andrey Rublev "Trinity". Wood, tempera. 142 x 114 cm. State Tretyakov Gallery (Moscow)
The icon depicts three angels. They sit at a table on which stands a bowl with the head of a calf. The figures of angels are arranged so that the lines of their figures form, as it were, vicious circle. The compositional center of the icon is the bowl. The hands of the middle and left angels bless the cup. Angels are motionless, they are in a state of contemplation, their gaze is directed to eternity.
In the background there is a house (the chambers of Abraham), a tree (the oak of Mamre) and a mountain (Mount Moriah).
Mamre oak (oak of Abraham)- the tree under which, according to the Bible, Abraham received God.
Mount Moriah (Temple Mount)- a rectangular square surrounded by high walls, towering above the rest of the Old City of Jerusalem at a height of 774 m above sea level.
The appearance of three angels to Abraham is a symbol of the consubstantial and trinitarian God (Holy Trinity). It was the Rublev icon that corresponded to these ideas. In an effort to reveal the dogmatic teaching about the Holy Trinity, Rublev minimized the details preceding the meal. The angels are talking, not eating, and in the icon all attention is focused on the silent communication of the three angels.
Above the angel symbolizing God the Father, Rublev placed the chambers of Abraham. The Mamvrian oak symbolizes the tree of life and reminds death on the cross The Savior and His resurrection (center). The mountain is a symbol of spiritual ascent, which is carried out through the action of the third hypostasis of the Trinity - the Holy Spirit.
Gospel Khitrovo
This is a handwritten Gospel from the late 14th century. It is called so by the name of its owner, boyar Bogdan Khitrovo. The manuscript was decorated with a precious frame and donated to the Trinity-Sergius Lavra, where it was kept in the altar until 1920. Currently, the Gospel is in the collection of the Russian State Library.
The Gospel is richly decorated (headpieces, initials, miniatures and symbols of the evangelists). The origin of the manuscript is attributed to the Moscow school of Theophanes the Greek, and the authorship of a number of miniatures is attributed to his student, Andrei Rublev.
"Rublev's Angel"
Icons from the iconostasis of the Trinity Cathedral of the Trinity Monastery (c. 1428)
All researchers are unanimous in the opinion that the iconostasis belongs to the Rublev era and that, to one degree or another, Rublev and Daniil Cherny participated in its creation. The iconostasis is still poorly studied and not published in its entirety.
This is the only one of the first high iconostasis of the early 15th century that has been preserved almost completely (only some of the icons have been lost).
Zvenigorod rank (c. 1396-1399)
“Zvenigorod rite” - three icons depicting the Savior, Archangel Michael and Apostle Paul (from the collection of the State Tretyakov Gallery).
Presumably from the iconostasis of the Assumption Cathedral in Gorodok. For a long time was attributed to the brush of Andrei Rublev, but in 2017 the attribution was given on the basis of high-tech comparisons with Trinity.
Nativity Cathedral in Savvino-Storozhevsky Monastery (frescoes)
Savvino-Storozhevsky Monastery (Zvenigorod)
Founded at the end of the 14th century.
Images of the hermits Paul of Thebes and Anthony the Great. Some scientists attribute the authorship of the frescoes to Andrei Rublev.
Icon “John the Baptist” (mid-15th century)
The icon comes from the Nikolsky Pesnoshsky Monastery near the city of Dmitrov. It belonged to the Deesis half-figure rank of the Zvenigorodsky type. Attributed to Andrei Rublev.
Icon “The Savior is in Power” (beginning of the 15th century)
Attributed to Andrei Rublev or the "Rublev circle".
Andronicus Gospel (Moscow, first quarter of the 15th century).
The miniature “Savior in Glory” was made by an artist from the Rublev circle. The manuscript does not contain direct dating, but its design is similar to such famous manuscripts as the Khitrovo Gospel.
Conclusion
Rublev's work is distinguished by two traditions: Byzantine harmony, sublime asceticism and the softness of style characteristic of Moscow painting of the 14th century. It is this softness, as well as concentrated contemplation, that distinguishes his works from other paintings of that time. Rublev's characters are most often depicted in a state of peaceful rest or prayerful state. This distinguishes his work from the expressive Theophanes the Greek. An atmosphere of quiet contemplation and goodness flows from the icons of Andrei Rublev. This silence is also present in the coloring - dim, calm; and in the roundness of figures; and in the harmony of lines, like a quiet melody. All of Andrei Rublev’s work is permeated with light. Therefore, it is not at all surprising that Rublev’s art is perceived as the ideal of church painting.
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 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 of the late 16th century)
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 cared so much about fasting and monastic life, as if they were vouchsafed Divine grace and thus thrive in Divine love, as never before.” practice about earthly things, but always raise your mind and thought to the immaterial light, just as on the very holiday of Svetlago Christ's Resurrection sitting on the seats and having Divine and honorable icons in front of him and steadily looking at them, 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.
They didn’t forget Andrei Rublev in Soviet era, 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. - a plague swept through Moscow and Nizhny Novgorod. 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 know nothing about his early works either. 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. Recent 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. The entire future fate of Andrei Rublev will be connected with this person, right up to his death.
The Assumption Cathedral in Vladimir was considered cathedral Russian Church, and his 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 Andrei, which was taught to him by his 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.Andrei Rublev was a universal master: he painted icons and frescoes, and was engaged in book miniatures. 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 the liturgical reform of Cyprian, 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 is a famous ancient Russian icon painter, famous for his paintings of the cathedrals of Moscow, Vladimir and the monastery in the Trinity-Sergius Lavra. Little biographical information about his life has been preserved; they are described in his biography, which we will present to you below. His most famous icon, kept in the Tretyakov Gallery, is “Trinity”.
Andrey Rublev: biography and creativity (briefly)
- 1360s - born in Radonezh into the family of a craftsman.
- 1405 - participates, together with other artists, in work on frescoes and icons of the Annunciation Cathedral (Moscow).
- 1408 - work in the Assumption Cathedral of Vladimir together with D. Cherny, already in these years he had his own style and taught students.
- 1420 - creation of the iconostasis of the Trinity Cathedral in Sergiev Posad, including the famous “Trinity”, considered a masterpiece of world icon painting.
- 1425 - participation in the construction and painting of the Andronikov Monastery (Moscow).
- 1428 - death from plague.
Childhood, adolescence, monasticism
Andrei Rublev was born in the 60s of the 14th century; the exact place of birth is also unknown. According to some sources, he was born in the town of Radonezh, located next to the Trinity-Sergius Lavra, according to others - in Nizhny Novgorod. His father was a craftsman, as can be judged by his last name, because in those days a ruble was called a tool for working with leather. According to some sources, in his youth he became a novice of the Trinity-Sergius Monastery, and then a monk, receiving the name Andrei upon tonsure (his exact name is unknown).
The biography of icon painter Andrei Rublev originates within these walls, where he begins to learn the art of icon painting and studies the works on philosophy of Sergius of Radonezh, the founder of the monastery. There, visiting the monastery library, he carefully and with great zeal studies the works of the masters and artists of antiquity who painted icons.
The end of the 14th century became Russian state a difficult time: in 1364-1366 the plague raged in Moscow, and in 1365 there was a fire that destroyed almost the entire city. Then, in 1371, Moscow was besieged by Prince Olgerd, after which famine came to these lands.
The beginning of a creative journey
In the biography of Andrei Rublev, creativity and his first works as an artist are mentioned for the first time in 1405, when he, having moved to Moscow, together with Theophan the Greek, began painting the Annunciation Cathedral. The fate of the cathedral was tragic: 9 years later it was destroyed and then rebuilt several times. But some works were miraculously preserved: these are 2 tiers of the iconostasis, in which there are 7 icons made by Andrei Rublev, and 6 by Elder Prokhor from Gorodets, a famous master of icon painting of those times.
Already in these works, the hand of the master is noticeable, freer and lighter compared to Elder Prokhor, but already highly professional. This series of holiday icons is the first in Rus': “Annunciation”, “Nativity of Christ”, “Baptism”, “Transfiguration”, etc.
During these years, Rublev also painted an icon-copy of “The Mother of God of Vladimir” from a famous Byzantine image, as well as a drawing from the book “The Gospel of Khitrovo”, which received its name from the name of the boyar, in whose belongings it was found in the 17th century. According to art historians, this manuscript, which has no value, in those years could only have been created with the money of either the Metropolitan of Rus' or one of the great princes.
Murals of the Vladimir Assumption Cathedral
The following reliable facts from the biography of Andrei Rublev indicate a mention of him as an artist and occur in May 1408, when the Moscow prince ordered new frescoes to be painted on the site of the lost 12th-century paintings in the Assumption Cathedral in Vladimir. Andrei Rublev and Daniil Cherny came here at the invitation of the prince to do wall paintings, and Rublev was still working on several icons, including with his students. These works are now exhibited at the Tretyakov Gallery and the Russian Museum in St. Petersburg.
Frescoes on western wall Vladimir Cathedral, which have survived to this day, are parts of a large composition " Last Judgment" It clearly identifies images belonging to the hand of A. Rublev, which have an unusual and strong emotional mood. In the figures of an angel with a trumpet, the Apostle Peter and the court scenes themselves, there are no emotions of fear of heavenly punishments, but an enlightened mood and the idea of forgiveness rise.
Icons in Zvenigorod
In 1918, in the town of Zvenigorod near Moscow, 3 icons dating back to 1410 were discovered in an old wooden barn. According to some sources, they were painted for the iconostasis of a local church, but according to the conclusion of modern researchers, none of the churches are suitable in size. Conventionally, they were called “Zvenigorod Chin”, “Apostle Michael”, “Savior”, “Apostle Paul”, and, undoubtedly, they can belong exclusively to the hand of A. Rublev.
These icons in the biography of Andrei Rublev became a new confirmation of his talent, capable of collecting into a single whole and subordinating lilac-pink-blue colors into complete harmony, which remained unique for several centuries. Bright moods as the completion of Rublev’s creative quest were embodied in the various images of these creations, in which the master of icon painting summarized various thoughts about the moral values of each person belonging to his contemporaries.
Art historians consider the “Savior” icon to be the most interesting, although it is very poorly preserved, but the face of Jesus Christ, endowed with Slavic features, is clearly visible. Christ looks attentively with a very calm, penetrating gaze. His whole appearance is filled with energy, attention and benevolence.
In the icon “Archangel Michael” the artist sang the lyrical reflections and thoughts of the poet. Although the angel is a heavenly and not a physical creature, Rublev embodied in him all the earthly beauty of man. The Apostle Paul is depicted by the icon painter as a philosopher-thinker, painted in a soft gray-lilac color scheme with blue tones.
Murals of the Holy Trinity Cathedral
At this time, the Tatar Khan Edygei gathered an army and marched on Moscow, which he could not take. However, along the way, the Tatars set fire to many settlements and cities, and were unable to save the Trinity Monastery, where Abbot Nikon served during these years. In subsequent years, Nikon made every effort to restore the monastery, and in 1424 he took on the construction of a white stone church, to which D. Cherny and A. Rublev were invited to create paintings. All works in this temple are dated 1425-1427.
At the same time, the most famous icon in the biography of Andrei Rublev, “Trinity,” was painted. It was part of the iconostasis of the Trinity Cathedral in Sergiev Posad and is considered the most artistically perfect among the icon paintings of that time. The artist reflected in it the concept of the Orthodox religion about the trinity of God.
The history of the discovery of this icon is very interesting: for several centuries it was on public display, but it was not noticed. It so happened that in 1575, Tsar Ivan the Terrible ordered it to be covered with a frame of gold, and only faces, feet and hands were visible. Then, in 1600, Boris Godunov changed the salary to a new, even more luxurious one. During replacement, the icon was covered with drying oil for preservation, which made the colors brighter. Over time, the outer layer began to darken, soot from candles settled on it, and smoke from incense fell on it. To make the icon look better, it was constantly updated by applying layers of paint on top along the contours of the design, and then again covered with drying oil. Most likely, the icon would have perished over time if not for chance. At the beginning of the 20th century, restorers scraped off the upper layers with a scalpel, and the beautiful creation of the great icon painter was revealed to their eyes.
Among the frescoes of the Trinity Cathedral that have survived to this day, according to art historians, the hand of A. Rublev includes “Baptism”, “Archangel Michael” and “Apostle Paul”. In color and depth of content, in beauty and color scheme, they resemble the “Trinity”.
Last work
At the end of the 1420s, having completed work in the Cathedral of the Holy Trinity, the icon painter’s long-time friend and comrade-in-arms, Daniil Cherny, died and was buried here. After this, A. Rublev returned to Moscow to work on the paintings of the Spassky Cathedral in the Andronikov Monastery, which he managed to complete in 1428. According to some reports, he also took part in its construction. This work was the last in the biography of Andrei Rublev.
The famous painter died in 1428 in Moscow during a plague epidemic and was buried near the bell tower of the Andronikov Monastery. In 1988, the year of the millennium of the baptism of Rus', he was canonized by the Russian Orthodox Church.
Film about Andrei Rublev
There are still many black spots in the biography of Andrei Rublev. In fact, very little is known about him, except two mentions in historical sources. Researchers even date the painting of his famous Trinity icon to two different years: 1411 or 1425-1427.
One of the ways to tell the world about this talented person, about the era in which he lived, about his creative searches and development as an artist was a narrative film made in the 60s of the 20th century by the famous director A. Tarkovsky. In several short stories, the film paints pictures of medieval Rus', briefly talks about the biography of Andrei Rublev, about his worldviews and doubts, about his vow of silence, which he observed for 15 years, and others interesting facts from the life of an icon painter.
On October 17, 1428, Andrei Rublev died. Many Orthodox icon painters are famous for their masterpiece icons, murals and paintings of biblical subjects. But Andrei Rublev is the most famous Russian icon painter, who painted not just icons, but real spiritual masterpieces, striking in their beauty and depth of meaning. Today we decided to talk about seven famous icons of Andrei Rublev.
Andrei Rublev is the most famous and revered master of the Moscow school of icon painting, book and monumental painting of the 15th century. Canonized by the Russian Orthodox Church in the rank of venerables. This man was distinguished not only by deep faith, but also by enormous talent.
Trinity
“Trinity” is the most famous icon of the reverend master icon painter Andrei Rublev. Now this masterpiece filled with spiritual beauty is exhibited in the Tretyakov Gallery. The icon itself was painted in the 20s of the 15th century based on a biblical story. The icon depicts three angels sitting at a table on which stands a cup, the meaning of which there are many versions about. Behind the angels you can see a mountain, a tree and a house. Angels symbolize the Holy Trinity: Father, Son and Holy Spirit. The Trinity icon is one of the most revered icons in Orthodoxy.
Saved
“Spas” is another famous icon by Andrei Rublev, which was painted around 1410. The icon was poorly preserved - only part of the canvas with the face of Jesus Christ survived, to which, as you can see, Andrei Rublev gave Russian facial features. The icon of the Savior itself was found only in 1918 in the Assumption Monastery, which is located in Zvenigorod. She was lying in an old barn under a pile of firewood. Now the icon is exhibited in the Tretyakov Gallery.
Our Lady of Vladimir
In general, the image of the “Vladimir Mother of God” is one of the most revered in Orthodoxy. Today there is a version that Andrei Rublev painted the icon around 1409, copying it from a copy of the icon of the Evangelist Luke. It is known that Luke himself painted his Theotokos during her lifetime, and Andrei Rublev copied the icon from the very first copy. It is known that the icon is currently kept in the Central Museum of Ancient Russian Culture and Art named after Andrei Rublev.
Annunciation
“The Annunciation” is an equally famous icon, painted by Andrei Rublev around 1405. Now the icon itself is in the Annunciation Cathedral of the Moscow Kremlin. The icon depicts one of the most important biblical scenes - the Annunciation of the Virgin Mary. In the story, Mary learns from an angel that she will give birth to a child - the Son of God and the Savior of the world.
Transfiguration
“Transfiguration of the Lord” is another famous icon by Andrei Rublev. The icon is currently kept in the Tretyakov Gallery. The icon depicts one of the most important biblical scenes - the Transfiguration of the Lord, which took place when Jesus led his disciples to Mount Tabor, wanting to show what would happen to them all after death. It was then that the prophets Moses and Elijah, who were once mere mortals, descended from heaven to Christ, and Jesus Christ himself shone with extraordinary light, His face brightened, and His clothes became bright white. Then the voice of God was heard from the clouds, announcing that Jesus was His Son and that He must be listened to.
Christmas
“The Nativity of Christ” is an icon painted by Andrei Rublev, based on a biblical story in which the Savior of the world and the Son of God Jesus Christ is born. The icon depicts the Mother of God reclining on a dark red maforia; behind the Mother of God there is a manger with the baby Jesus. You can also see other characters on the icon - angels and mere mortals.
Andrey Rublev. Icon (icon painting)
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 greatly contributed to the revival of Rus', crushed by the Mongol invasion. The self-awareness of medieval people was largely determined by the church; any historical movement was filled with 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. Andrei Rublev revered Sergius of Radonezh as his own father, 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)
Trinity
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 groans under the 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 cherish the memory of their famous artist, Andrei Rublev.
Savior is in power
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. The Gospel text on the open page reads: “I am the light of the whole world; whoever follows Me will not walk in darkness, but will have eternal life,”
Apostle Paul (from the Deesis rank) 1410s
Before us is the image of the Apostle Paul, who had a very dramatic fate - at first he was an ardent persecutor of Christians, and then became an apostle-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.
Archangel Michael (from the Deesis rank) 1414
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, deciding for yourself eternal question about 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, the mood, the color. The bright expression of wide eyes, the tenderness of a softly rounded, pinkish glowing face. Elastic waves 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.
Annunciation
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 has 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 light yellowness, to thick, deep. Golden ochres, flashes of white, even light of gold, cinnabar.
Our Lady of Vladimir (c.1408)
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, while 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.) Rublev’s 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 all the characteristic features. 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 in comparison with the ancient icon, the beautiful recognizable features of the Mother of God are softer here, 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-embracing concentrated love with which the face of the Mother of God is filled here.
Baptism of the Lord
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.
Transfiguration
Perhaps more has been written about this outstanding work, where not only the style, but also the worldview of the great artist is most clearly visible, than about all other festive images from the Annunciation Cathedral. “The “Transfiguration” is especially good, designed in a cold silvery tones. You need to 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, already 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. The legend says that on the feast of the Savior of Apples, the Savior and his three closest disciples, his closest confidants, John, Peter and James, once went from a noisy city to a distant, secluded place, 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 from the inside with a light and even light. 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.
Nativity of Christ (Annunciation Cathedral)
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 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 that 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 are an ancient symbol of reverence and 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.
The Descent of the Holy Spirit. (Fresco) Vladimir. 1408.
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.
Descent into Hell (1410)
After the crucifixion, Jesus Christ descended into hell, crushing its gates, brought his gospel sermon, freed the souls imprisoned there and brought out of hell all the Old Testament righteous people, as well as Adam and Eve. The descent of Christ into hell is included in the Passion of Christ. It is believed that this event occurred on the second day of Christ’s stay in the tomb and is remembered during the service of Holy Saturday. 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, atoned for the original sin of his first parents and gave the strength 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, cabbage roll and bright cinnabar. The icon creates a mood of joy and hope.
Savior Pantocrator (15th century)
The face of the Savior breathes strength and peace. This is the face of a mature person in the measured development of spiritual and physical strength. The strongly open, strong neck of the Savior is turned somewhat to the side, while the face, framed by a heavy cap of long hair descending almost to the shoulders, is turned directly to the viewer. This ratio of the turn of the neck and face communicates an immediately clearly perceptible movement towards the person who is standing in front of the icon. Small, slightly narrowed eyes look attentively and benevolently from under slightly raised eyebrows. In the gentle painterly glow of the face, painted in smooth highlights of transparent ocher, with warm highlights that softly define the volumes, this look definitely stands out. Rublev outlined the eyes, upper eyelids and eyebrows with a clear, confidently outlined line.
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.”
Presentation of the Lord (1405)
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 the icon of Rublev, 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 a restrained mood, in faces as if shrouded in a haze of sadness, Rublev expressed this future, sacrificial, mortal. And the artist experienced this with particular force when he painted the face of the Mother of God. Mary knows about the fate of her son, and she also sees her own suffering, a “weapon” that “will pierce her heart.” This reverent maternal feeling is clearly visible, but is given with a rare and noble measure of restraint. Everything that is destined to happen is needed for people, for the whole world.
Raising Lazarus
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 what is yours and not take what belongs to others. 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 those moving in the opposite side bent figures of young men 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, apparently the abandoned house of 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.
Ascension of the Lord (1408)
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, the eternal companions of God, carry his mandorola, giving him honor. Jesus Christ appears here as the true Almighty, who conquered 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.
