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There are many icon painters in the calendar of the Russian Orthodox Church, but the most famous, of course, is Andrei Rublev. Probably everyone knows this name in our country, not even 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? Talks about it famous historian Christian Art Irina YAZYKOVA

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August 28 - the last summer holiday: the Assumption of the Blessed Virgin Mary. Holy Bible is silent about the circumstances of her death and burial. On the other hand, the colorful legends recorded in the monuments of church painting have preserved for us the memory of this event. On the clouds, the apostles are miraculously transferred to Jerusalem to contemplate the Assumption of the Mother of God.

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Rublev Andrei (approximately 1360 -10/17/1428) - Russian artist, monumental painter, famous icon painter. Monk, canonized as a saint.

The main stages of the biography

Little accurate data about Rublev's life has been preserved. His supposed place of birth is Muscovy, according to another version - Nizhny Novgorod. Date of birth and name given at birth are unknown. Judging by the surname, his family may be related to handicrafts. In his younger years, Rublev took the vows as a monk at the Andronikov Monastery, taking the name Andrei. One of the later icons is signed as "Andrey Ivanov's son", despite the fact that the signature is not genuine, it is considered an indirect confirmation that the artist's father was named Ivan.

In 1405, according to the chronicles, he participated with Theophan the Greek and other artists in the painting of the Annunciation Cathedral in Moscow. From the works of Rublev, images of holidays have been preserved, which are distinguished by a special harmonious atmosphere, sophistication and warmth. Probably the artist by this time had serious experience and reputation.

In 1408, together with D. Cherny, he painted in the Assumption Cathedral in Vladimir. He owns part of the frescoes depicting the Last Judgment on the western wall. Despite the overwhelming theme, Rublev's work demonstrates enlightenment and forgiveness and does not give an oppressive feeling of terrible punishment. In those days, the artist was a real master of the school of painting, having his own style, followers and students.

In the 1520s, under the leadership of A. Rublev and D. Cherny, the iconostasis of the Trinity Cathedral was created. The frescoes have not been preserved, only three rows of the iconostasis have survived, different in the manner of execution. By that time, the creation of the "Trinity" - an icon that has become a masterpiece of world painting. The meaning invested by the artist in this amazing work is self-sacrifice in the name of harmony and life. Rublev died in 1428 in Moscow's Andronikov Monastery during a plague epidemic.

Creation

The formation of Rublev's worldview was greatly influenced by the atmosphere of the cultural upsurge of the 2nd half of the 14th - early 15th centuries, which is characterized by a deep interest in moral and spiritual problems. In his works, within the framework of medieval iconography, Rublev embodied a new, sublime understanding of the spiritual beauty and moral strength of man. Rublev's work is one of the pinnacles of Russian and world culture.

In 1408, Rublev, together with Daniil Cherny and other masters, created his only accurately dated and, in addition, surviving work - the frescoes of the Assumption Cathedral in Vladimir (the painting was partially preserved). Of the Rublev frescoes in the Assumption Cathedral, the most significant composition is The Last Judgment, where the traditionally formidable scene turned into a bright celebration of the triumph of justice, affirming the spiritual value of man. Rublev's works in Vladimir testify that already at that time he was a mature master, who was at the head of the school of painting he created.

In 1425-1427 Rublev, as the chronicles testify, together with Daniil Cherny and other masters painted the Trinity Cathedral of the Trinity-Sergius Monastery and created the icons of its iconostasis. Icons have been preserved, which are considered for the most part the work of an artel; they are executed in different manners and are unequal in artistic qualities. Probably, it was this iconostasis that included the icon "Holy Trinity" - his only unconditional surviving work in the genre of icon painting. Rublev filled the traditional biblical story with deep theological content.

Most researchers agree that he most likely painted the Vladimir Mother of God (circa 1409, Assumption Cathedral, Vladimir) and part of the miniatures of the Khitrovo Gospel (circa 1395, Russian State Library, Moscow).

Other icons and frescoes, attributed throughout the 20th century to the brush of Andrei Rublev, are currently considered by most researchers to be the work of a school (artel) or even simply contemporaries of the master.

Personal life

In his youth, Andrei Rublev was initiated into the monastic rank. He gave up the desire to have a family and children. His whole life was devoted to serving God and creativity in the name of his glorification. There is no information about the artist's relatives. It is not known if he had siblings or nephews.

Death and memory

The icon painter died in the late autumn of 1428 from a plague epidemic raging in Moscow. Death overtook Andrei Rublev in the Andronikov Monastery, where in the spring, together with Daniil Cherny, he worked on the fourth work - the frescoes of the Spassky Cathedral (they have not been preserved). Soon after the icon painter, his faithful companion and friend also left. According to legend, before his death, Andrey Rublev appeared to Daniil Cherny, "in joy calling him to paradise." Daniil saw Andrey's appearance joyful and bright.

The icon painter was buried near the bell tower of the Spassky Cathedral. In 1988, the artist was canonized and canonized, having established July 17 as his memorial day. In the mid-1990s, archaeologists discovered the ancient altar of the Cathedral of the Savior, and the relics next to it. They were attributed to the famous master, but soon recognized the fallacy of the statement.

Researchers call the generally accepted date of the death of the artist erroneous, arguing that Andrei Rublev died at the end of January 1430. The architect P. D. Baranovsky insists on the date of January 29, 1430. The architect assured that it was she who was carved on Rublev's gravestone before they were lost. The Museum was built on this site. ancient Russian art named after Andrei Rublev, whose founder is the architect Pyotr Baranovsky.

In the late 1940s, a reserve appeared in the Spaso-Andronikov Monastery. The great Rublev is also remembered in Vladimir: a monument to the icon painter stands at the entrance to the park named after A. S. Pushkin. A crater on Mercury was named in honor of the reverend saint, a series of commemorative coins and a postage stamp were issued. In 1966, Andrei Tarkovsky filmed the film drama Andrei Rublev at the Mosfilm studio. From original name paintings - "Passion for Andrei" - refused. The film consists of eight short stories, in which the troubles of the Middle Ages are described through the eyes of the monk Andrei Rublev. The artist was played by actor Anatoly Solonitsyn.

universal recognition

Andrei Rublev's works reflect his worldview. That time was characterized by cultural progress, increased attention to moral issues. The painter's work reflected a new vision of spiritual beauty and morality; it became famous and revered not only in his homeland, but also far beyond its borders.

Rublev's works are extremely valuable, very few of them have survived. Numerous studies have identified his works by a unique style. The icon "Trinity" is the only surviving work, which, of course, belongs to Rublev's brush. Currently stored in the Tretyakov Gallery. Few disputes are caused by the fact that the master, consisting of three icons of the Zvenigorod rank, belongs to the master. It traces a new dramatic trace for Rublev's work, possibly connected with the events of that time (civil strife in Rus').

Most scientists attribute the authorship of Rublev "Vladimir Mother of God", several miniatures of the "Gospel of Khitrovo". In addition to these works, over the past century, many assumptions have been put forward in favor of Rublev's brush. Now all these works are considered works of the school of the famous master. AT mid-sixteenth century, his iconography was recognized as a role model, and many artists were strongly influenced by Rublev's work. His works have a deep spiritual content and emotionality, combined with laconic and beautiful images.

In 1947, a reserve was opened on the land of the Spaso-Andronikov Monastery, in 1985 - a museum of ancient Russian culture in honor of Andrei Rublev. In 1988, Rublev was canonized as a saint. The streets of several Russian cities bear the name of the artist, monuments are dedicated to him, and films have been made about Rublev. A crater on Mercury was also named after the artist.

Canonization

By the local council of the Russian Orthodox Church in 1988 he was canonized as a saint.

According to the Orthodox calendar, the saint is commemorated three times a year:

July 4 (17) - the repose of the Monk Andrei (Rublev) of Moscow, an icon painter (1428; service without a sign).
July 6 (19) - the memory of St. Andrei (Rublev) of Moscow in the Cathedral of the Radonezh Saints.
The week before August 26 (September 8) - the memory of St. Andrei (Rublev) of Moscow in the Cathedral of Moscow Saints.

Icons and frescoes

Archangel Michael from the Deesis tier, 1414
Ascension of the Lord, 1408
Apostle Paul from the Deesis tier, 1410s. State Tretyakov Gallery (TG)
Saved in strength, 1408
Spas, 1410s
Descent into Hell, 1408-1410. GTG
Nativity. Cathedral of the Annunciation in the Moscow Kremlin
Archangel Michael, 1408. Cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
Archangel Gabriel, 1408. A cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
The Mother of God, 1408. Cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
Gregory the Theologian, 1408. Cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
John Chrysostom, 1408. A cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
John the Theologian, 1408. A cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
John the Baptist, 1408
Andrew the First-Called, 1408. Cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
Annunciation, 1405
Transfiguration, first quarter of the 15th century. GTG
Holy Trinity, 1410s. GTG

Arts. Unfortunately, not much is known about the life of this amazing person, information is sorely lacking, in addition, many of Rublev's works have not survived to this day.

The date of birth of Rublev is not known for certain, historians call either 1360 or 1370. The place of his birth is considered to be central Russia, to be more specific, he was born in the lands of the Moscow principality.

Based on the origin of the surname (the word Rublev, most likely, comes from the word rubel, which means a tool for knurling leather), it can be assumed that Andrei is the son of a craftsman.

In 1405, references to Andrei Rublev appear in the annals. The chronicle says that at this time, in Moscow, it was necessary to paint the Annunciation Cathedral of the Kremlin, and this was entrusted to Theophan the Greek, the master Prokhor, as well as the monk Andrey Rublev.

Based on this entry, it can be assumed that Andrei was a monk, and the name with which he went down in history was received during tonsure. It is believed that he took the tonsure at the Trinity Monastery, the rector of which was Nikon, a disciple.

The painting of the Annunciation Cathedral of the Moscow Kremlin was lost. On the other hand, several icons by Andrey Rublev, which he painted specifically for this Cathedral, have been preserved.

Let's go back to history. In the annals, the name of Andrei refers to 1408. Rublev took up painting the Assumption Cathedral in , which have survived. Vladimir Assumption Cathedral is a wonderful architectural and religious monument, the uniqueness of which is added by the fact that its painting is the only painting by Rublev that has survived to this day.

In the painting of the Assumption Cathedral, Special attention should be given to the fresco "The Last Judgment". Rublev had his own view on religious subjects. And formidable, as was the accepted scene, he presented differently. The Last Judgment turned into a holiday, a celebration of justice.

In the 20s of the 15th century, Rublev painted the Trinity Cathedral. Unfortunately, this work has also been irretrievably lost. The last work of the Russian icon painter was the painting of the Spassky Cathedral of the Spaso-Andronikov Monastery, and paradoxically, this painting has also been lost.

The authorship of Andrei Rublev belongs to a wonderful icon - "Trinity". "Trinity" is considered one of the masterpieces not only of Russian art, but also of the world. Looking at the "Trinity" it is difficult not to notice the virtuoso work of the brush of the Russian master. He was able to show spiritual harmony three bright souls leading silent conversations with each other.

In 1551, after the death of Rublev, the Stoglavy Cathedral was held, at which his iconography was called exemplary. Descendants appreciated the work of the icon painter. Rublev worked in an era of change. Big changes were coming in the life of a Russian person. liberated from the Tatar-Mongol oppression, and society lived with hopes for a wonderful, bright future. He also helped society, to believe and hope, with his icons and frescoes.

They say that Andrew was a pious and meek man. He devoted his whole life to serving God, creativity and his thoughts. He died in 1430, on January 29, in the Andronikov Monastery. In 1988 Andrei Rublev was canonized as a saint. Memorial Day Andrey Rublev 17 July.

In the 20th century, interest in the work of Andrei Rublev, his life and work increased greatly. Thanks to the activities of various restorers - altruists, we, even today, can enjoy the work of the Great.

completed by: 8th grade student of the Central School of Public Schools Adodina Anna

St. Petersburg, Kolpino
2009

Introduction

Many miraculous icons appeared in Rus', they saved from illnesses, troubles, streamed myrrh. Looking at icons, I often think about their creation. How to paint an impartial image, how an ordinary image seems to work wonders, who were the first icon painters...

The icon is an integral part of the Orthodox tradition. It is impossible to imagine an Orthodox church without icons. In everyone's house Orthodox person icons always occupy a prominent place. When traveling, when visiting new places, the Orthodox has an icon, before which he prays, just as he wears a small cross on his chest, which is first laid at baptism. The icon gives a sense of the tangible presence of God.

There has always been a tradition in Rus': a person was born or died, got married or started some important business - he was accompanied by an icon-painting image. The icon is a common Christian spiritual heritage. Today, it is the ancient icon that is perceived as the actual revelation necessary for modern man. The icon, as a sacred image, is one of the manifestations of Church Tradition, along with written Tradition and oral Tradition. Therefore, icons are rightly often called "theology in colors." Many holy fathers attributed iconography to the field of theology. For example, St. Basil the Great says: "What the word of narration offers for hearing, then silent painting shows through images."

History of the icon

In the Christian Church, the use and veneration of icons began in ancient times. According to the most ancient church tradition, the first Christian icon was the image of Christ the Savior, imprinted by Himself on an obrus for the Prince of Edessa Avgar. Church tradition considers the first icon painter to be St. ev. Luke, who painted the icons of the Mother of God, about reverence passed from generation to generation / we have the Vladimir Icon of the Mother of God / .- In the 2nd and 3rd centuries. sacred images were no doubt also used. Of course, the veneration of icons then, due to the circumstances of the time, could not be widespread, and the images themselves were predominantly symbolic. The most common were images of the Savior under the guise of the Good Shepherd, under the symbol of a fish, a lamb, a phoenix (a symbol of resurrection), etc. Images were found in the catacombs different events sacred history, eg. The Nativity of the Savior, His Baptism, the turning of water into wine, a conversation with a Samaritan woman, the resurrection of Lazarus, etc. Open in the catacombs and images of the Mother of God, with the Child and without the Child, as well as images of the events of St. stories related to her. Preserved in the catacombs and images of Old Testament persons and events - Abraham, Moses, the prophets, etc. All these images had a religious significance among the ancient Christians, since they were located in places of worship and bloodless sacrifice. The use and veneration of icons in the first three centuries of Christianity is evidenced by church teachers and writers of that time: these are Minucius Felix, Tertullian, Clement of Alexandria, Origen, and others.

From the 4th century, from the time of the triumph of Christianity, sacred images began to appear in significant numbers. The Fathers of the 7th Ecumenical Council finally approved the dogma of icon veneration, giving the appropriate definition of faith: “Following the divinely speaking teaching of our holy father and the tradition of the Catholic Church ... , on the walls and on the boards, in houses and on the paths: honest and holy icons, painted with paints and from fractional stones (mosaic) and from another substance capable of this, arranged as icons of the Lord and God and our Savior Jesus Christ, and the immaculate Mistress our holy Mother of God, as well as honest angels and all the saints and reverend men ... For the honor given to the image passes to the prototype, and the worshiper of the icon bows to the essence depicted on it. Thus, the teaching of our holy fathers is affirmed, this is the tradition of the Catholic Church, from the end to the end of the earth, having received the Gospel.

The first icon painter was the holy evangelist Luke, who painted not only the icons of the Mother of God, but, according to legend, the icon of the holy Apostles Peter and Paul, and perhaps others.

He is followed by a host of icon painters, almost unknown to anyone. Among the Slavs, the first icon painter was Saint Equal-to-the-Apostles Methodius, Bishop of Moravia, Enlightener Slavic peoples. In Rus', the Monk Alypiy the icon painter, an ascetic of the Kiev-Pechersk Monastery is known.

In the XIV-XV centuries, many great masters created outstanding icons. In the testament of St. Joseph of Volokolamsk, the names of the icon painters of that time are given: Andrei Rublev, Savva, Alexander and Daniil Cherny.

Life and work of pr. Andrei Rublev.

(Memorial Day: July 4)

Among the many thousands of ancient manuscripts stored in large and small book depositories in Russia, no one will find any records of Rublev's childhood, since they never existed. Sources are silent about what constitutes an obligatory belonging to the biography of the most ordinary person of modern times - where, in what year and in what environment he was born. Even the name given to the future artist at birth will remain hidden forever, for Andrei is his second, monastic, name...

St. Andrew was born around 1360. There is no reliable information that would make it possible to accurately establish the place of birth. He came from educated circles, was distinguished by extraordinary wisdom, as evidenced by his work.

In modern art history, it has become generally accepted that the addition of Rublev as an independent master, with his own style and artistic face, dates back to the 1390s. This is consistent with the approximate date of his birth - about 1360. Thirty years in Rus' in that era was considered a time of maturity, fullness human personality. It was also important for the public assessment of a person, giving, for example, the right to receive the priesthood. It can be assumed that with the onset of the thirtieth birthday and among icon painters, a talented artist with a mature skill was supposed to give way to independent creativity. But by this age, he had to go through all the stages of training and then work for some time to find his own voice.

He studied painting in Byzantium and Bulgaria. St. Andrew worked for some time with Theophanes the Greek and may have been his student. The whole life of the monk is connected with two monasteries: the Trinity-Sergius Lavra and the Spaso-Andronikov Moscow Monastery. The saint received monastic tonsure at the Spaso-Andronicus monastery in 1405. Living in a highly spiritual environment, in an atmosphere of holiness, monk Andrei learned both from historical examples of holiness and from the living example of the ascetics around him. For about 20 years, until his death, he, along with his "companion" Daniil Cherny, led the life of an ascetic icon painter.

The famous miraculous image of the Holy Trinity belongs to the brush of St. Andrei Rublev, which is still an unsurpassed example in icon painting. St. Andrew painted the Cathedral of the Annunciation in the Moscow Kremlin, the iconostasis and the Assumption Cathedral itself in the city of Vladimir (1408). Rev. Andrei Rublev painted the Vladimir Icon of the Mother of God for the Assumption Cathedral in Vladimir; painted the iconostasis and painted the walls of the Assumption Cathedral in Zvenigorod ( late XIV- the beginning of the 15th century); a deesis tier in the iconostasis of the Cathedral of the Nativity of the Blessed Virgin Mary of the Savva-Storozhevsky Monastery; painted the walls and completed the iconostasis of the Trinity Cathedral of the Trinity-Sergius Lavra, etc.

The Annunciation Cathedral of the Moscow Kremlin was rebuilt in the 15th century, and its painting has not been preserved. Only the deesis and festal rows of the iconostasis, which have been transferred to the present temple, have survived. In the Assumption Cathedral in Vladimir, only a small part of the murals has been preserved. Icons from the iconostasis of this cathedral have also come down to us, now exhibited in the Tretyakov Gallery and the Russian Museum.

Little is known about the previous period of Andrei Rublev's life. Compiled in the 17th century, “Tales of the Holy Icon Painters” claims that he first lived in the Trinity Monastery in obedience to Nikon, a student of the founder of the monastery, Sergius of Radonezh (Nikon was the Trinity abbot from 1390, died in 1427). According to the Tale, Nikon “ordered” Rublev to paint an icon of the Trinity “in praise of his father, St. Sergius the Wonderworker.”

We know about Rublev's other major works from the lives of Sergius and Nikon. Between 1425-1427, together with his friend and “companion” Daniil Cherny, he participated in the creation of the murals of the Trinity Cathedral of the Sergius Monastery, which have not survived, and then painted the Spassky Cathedral of the Moscow Andronikov Monastery, of which he was an elder. Rublev died there in 1430.

If the biographical information about Rublev that has come down to us is replete with contradictions, then in the characterization of the personality of the master and in the assessment of his art, the sources reveal rare unanimity. Andrei and Daniel appear in their depiction as “wonderful virtuous elders and painters”, “excelling everyone in virtues”. In Rublev, it is especially emphasized that he "greatly excelled everyone in wisdom."

For the reconstruction of the creative image of Rublev, the information reported in 1478 to Joseph Volotsky by the former abbot of the Trinity Sergius Monastery, the elder Spiridon, is very important. According to Spiridon, the amazing and illustrious icon painters Daniel and his disciple Andrei, monks of the Andronikov Monastery, were distinguished by such virtues that they were awarded unusual talents and succeeded in perfection so much that they did not find time for worldly affairs.

These testimonies give a clear idea of the high appreciation of Rublev's work by his contemporaries, allow you to penetrate deeper into figurative system of his works and comprehend the essential features of his pictorial method. But in order to correctly understand the meaning of the above statements, it is necessary to get acquainted with some ideas of Byzantine mysticism, which have become widespread among the followers of Sergius of Radonezh. According to these ideas, in order to reliably display the objects of mental contemplation, it is necessary to return the lost natural state- harmony of feelings, clarity and purity of mind. Improving, the mind acquired the ability to perceive "immaterial" light. By analogy with physical light, without which it is impossible to see the world, mental light - knowledge and wisdom - illuminated true nature, prototypes of all objects and phenomena. The intensity of the manifestation of this light and the clarity of speculation were directly dependent on the degree of moral purity of the contemplator. The painter, more than anyone else, needed to clear the “eyes of the mind”, clogged with deceptive sensual “thoughts”, because, as Basil of Caesarea stated, “ true beauty contemplated only by those who have a purified mind. Achieving Moral Purity special role assigned to the virtue of humility. It is no coincidence that in the sources the epithet “humble” is often attached to the name of Rublev. Isaac the Syrian called humility a "mysterious power" that only the "perfect" possess; it is humility that gives omniscience and makes all contemplation accessible. He considered the contemplation of the Trinity to be the highest, most difficult to achieve.

Already after the death of St. Andrew, Daniel, who was not separated from him in his heart and after his departure, dying, received a revelation about the glorification of his spiritual brother in the Kingdom of Heaven.

The most significant works of A. Rublev.

Fundamentally connected with the name of Andrei Rublev new stage in the development of the Russian iconostasis - the formation of the so-called "high iconostasis". This is one of the greatest artistic wonders that the 15th century gave us. Perhaps in no other way they expressed themselves with such force. characteristics thinking of Rublev's contemporaries, those qualitative changes that occurred in the worldview of the Russian people during the XIV century. Of the three currently known iconostases that Rublev worked on, the most interesting is the most extensive iconostasis of the Assumption Cathedral in Vladimir, set in the main cathedral of Moscow Rus', the "universal church", in the words of one of the chroniclers.

Vladimir Assumption Cathedral, mentioned in the annals, the oldest monument of the pre-Mongolian era, erected in the second half of the 12th century under the princes Andrei Bogolyubsky and Vsevolod Big Nest, was cathedral metropolitan. The temple, devastated and scorched by the Horde conquerors, needed to be restored. Moscow prince Vasily Dmitrievich, representative of the branch Vladimir princes, descendants of the Monomakhs, undertook the renewal of the Assumption Cathedral at the beginning of the 15th century as a kind of natural and necessary act associated with the revival of the spiritual and cultural traditions of Rus', the era of national independence, after the victory on the Kulikovo field. From the works of A. Rublev and D. Cherny in the Assumption Cathedral, the icons of the iconostasis have survived to this day, forming a single ensemble with frescoes, partially preserved on the walls of the temple. The iconostasis had 4 rows of icons. A huge Deesis tier (height 314 cm) stood above the local row that had not been preserved. Unfortunately, the Assumption iconostasis has come down to us only partially. The Deesis tier of the Vladimir iconostasis consisted of 21 figures, of which only 13 have survived: images of the Deesis itself, the apostles and teachers of the church.

Andrei Rublev. Savior in strength, 1408, State Tretyakov Gallery.

“The Savior is in strength” is given symbolically, as if against the backdrop of the universe: a blue-green oval means the sky with heavenly forces - angels; a large red square - the earth with four corners, the cardinal points: East, West, North and South. The symbols of the Evangelists are painted on the corners: the angel corresponds to Matthew, the eagle to John, the lion to Mark, the calf to Luke. Similar compositions were in use in Rus' in that era. Rublevsky's "Savior in the Force" has not been completely preserved: his face has been redone, gold has been lost on his clothes, and the color has become darker. New graphs (cut lines) of clothing folds are also unsuccessful. The former charm of this work can be judged by the surviving small, miniature-like icon on the same theme (“The Savior in Strength”) from the beginning of the 15th century, attributed to Rublev. The roughness of the edges of the icon, lost over time, the uneven dark wood, exposed in places, does not interfere with the perception of the image as a whole and contrasts with the freshness of bright colors. The face of the Savior, luminous with transparent highlights, is full of life, written gently, easily. The movement of the head and neck is natural and speaks of how skillfully the artist paints the human image. The golden shading of the clothes and the shining golden background have been preserved.

Above was a festive row, of which only 5 icons survived. The iconostasis ended with half-length icons of the prophets (this is the first example of a prophetic rank), only 2 of them have survived. The Deesis rite was brought forward to the worshipers, and the holidays were located a little

Next major work A. Rublev was the so-called Zvenigorod rank(between 1408 and 1422), one of the most beautiful icon ensembles of Rublyov's painting. The rank consists of three belt icons: the Savior, the Archangel Michael and the Apostle Paul. They come from Zvenigorod near Moscow, in the past the central specific principality. Three large-sized icons were probably once part of a seven-figure deesis. In accordance with the established tradition, the Mother of God and John the Baptist were located on the sides of the Savior, on the right the icon of the Archangel Michael corresponded to the icon of the Archangel Gabriel, and paired with the icon of the Apostle Paul, the icon of the Apostle Peter should have been on the left. The surviving icons were discovered by the restorer G. Chirikov in 1918 in a woodshed near the Assumption Cathedral on Gorodok, where the princely temple of Yuri Zvenigorodsky, the second son of Dmitry Donskoy, was located.

The Zvenigorod rank combined high pictorial merits with a depth of figurative content. The soft soulful intonations, the “quiet” light of its coloring surprisingly echoes the poetic mood of the landscape of the Zvenigorod environs. In the Zvenigorod rank, Rublev appears as an established master who has reached the heights on the path, an important stage of which was painting in 1408 in the Assumption Cathedral in Vladimir. Using the possibilities of a half-length image, as if bringing enlarged faces closer to the viewer, the artist counts on long-term contemplation, attentive peering, and interview.

Andrei Rublev. Spas, 1410s, Tretyakov Gallery

The icon of the Savior (Savior) was the center of the composition of the Zvenigorod Deesis tier (row).

Saved Rublev is a work that had a huge impact on the artist's contemporaries, and on all subsequent generations of Russian people. He is alive, open, majestic, and at the same time he feels softness according to the Slavic type, he has medium-sized facial features, framed by a light brown silky beard. The color scheme is made up of golden, different shades of ocher face, darkish light azure himation (on clothes). Facial expression combined with colors creates an impression of wise calmness. The painting on the surface of the board was poorly preserved, only a part with the image of the face of the Savior remained. But everything that has survived is so magnificent that this work is undoubtedly one of the masterpieces of ancient Russian art. The noble simplicity of the image of the Savior and its monumental character are typical features of Rublev's style.

Trinity.

The most famous work of Andrei Rublev - the famous "Trinity" is kept in the Tretyakov Gallery. Created in the prime of his creative powers, the icon is the pinnacle of the artist's art.

At the time of Andrei Rublev, the theme of the Trinity, which embodied the idea of a triune deity (Father, Son and Holy Spirit), was perceived as a kind of symbol of time, a symbol of spiritual unity, peace, harmony, mutual love and humility, readiness to sacrifice oneself for the common good. Sergius of Radonezh founded a monastery near Moscow with the main temple in the name of the Trinity, firmly believing that "looking at the Holy Trinity conquered the fear of the hated strife of this world."

The worldview of Andrei Rublev was largely formed under the influence of the ideas of St. Sergius of Radonezh.

The personality of Sergius of Radonezh had a special authority for his contemporaries, and Andrei Rublev, as the spiritual heir to these ideas, embodied them in his work.

In the twenties of the 15th century, an artel of craftsmen, headed by Andrei Rublev and Daniil Cherny, decorated the Trinity Cathedral in the monastery of St. Sergius, erected over his coffin, with icons and frescoes. The iconostasis included, as a highly venerated temple image, the icon of the Trinity, traditionally placed in the lower (local) row on the right side of the Royal Doors. There is evidence from one of the sources of the 17th century that the abbot of the monastery Nikon instructed Andrei Rublev "to write the image of the Holy Trinity in praise of his father, St. Sergius."

The plot of the "Trinity" is based on the biblical story about the appearance of a deity to the righteous Abraham in the form of three beautiful young angels. Abraham and his wife Sarah treated the strangers under the shade of the oak of Mamre, and Abraham was given to understand that the deity in three persons was embodied in the angels. Since ancient times, there have been several versions of the image of the Trinity, sometimes with details of the feast and episodes of the slaughter of the calf and the baking of bread (in the gallery's collection, these are icons of the Trinity of the XIV century from Rostov Veliky and the XV century from Pskov).

In the Rublevskaya icon, attention is focused on three angels and their condition. They are depicted seated around the throne, in the center of which is placed the Eucharistic chalice with the head of a sacrificial calf, symbolizing the New Testament lamb, that is, Christ. The meaning of this image is sacrificial love.

The left angel, meaning God the Father, right hand bless the cup. The middle angel (Son), depicted in the gospel robes of Jesus Christ, lowered to the throne with his right hand with a symbolic signet, expresses obedience to the will of God the Father and readiness to sacrifice himself in the name of love for people. The gesture of the right angel (Holy Spirit) completes the symbolic conversation between the Father and the Son, affirming lofty sense sacrificial love, and comforts the doomed to sacrifice. Thus, the image of the Old Testament Trinity (that is, with plot details from Old Testament) turns into an image of the Eucharist (Good Sacrifice), symbolically reproducing the meaning of the Gospel Last Supper and the sacrament established on it (communion with bread and wine as the body and blood of Christ). When comprehending the content of the Trinity, it is important to understand its versatility. The symbolism and ambiguity of the images of the "Trinity" go back to ancient times. For most peoples, such concepts (and images) as a tree, a bowl, a meal, a house (temple), a mountain, a circle, had symbolic meaning. The depth of Andrey Rublev's awareness of ancient symbolic images and their interpretations, the ability to combine their meaning with the content of Christian dogma suggest a high level of education, characteristic of the then enlightened society and, in particular, of the artist's likely environment.

The symbolism of the "Trinity" is correlated with its pictorial and stylistic properties. Among them, color is the most important. Since the contemplated deity was a picture of the heavenly world, the artist, with the help of paints, sought to convey the sublime "heavenly" beauty that was revealed to the earthly gaze. Andrey Rublev's painting is distinguished by a special purity of color, the nobility of tonal transitions, the ability to give color a luminosity of radiance. Light is emitted not only by golden backgrounds, ornamental cuts and assists, but also by the gentle melting of bright faces, pure shades of ocher, peacefully clear blue, pink and green tones of angels' clothes. The symbolism of color in the icon is especially noticeable in the leading sound of blue-blue, called the Rublevsky cabbage roll.

Comprehending the beauty and depth of content, correlating the meaning of the "Trinity" with the ideas of Sergius of Radonezh, we, as it were, come into contact with the inner world of Andrei Rublev, his thoughts, embodied in this work.

The icon was in the Trinity Cathedral of the Trinity Monastery, which later became a Lavra, until the twenties of the XX century. During this time, the icon has undergone a number of renovations and copybooks. In 1904-1905, on the initiative of I.S. Ostroukhov, a well-known icon collector and trustee of the Tretyakov Gallery, the first thorough clearing of the Trinity from later entries was undertaken. The work was supervised by the famous icon painter and restorer V.P. Guryanov. The main notes were removed, but the inscriptions were left on the inserts of the new gesso, and in accordance with the methods of the restoration of that time, additions were made in the places of loss that did not distort the author's painting.

In 1929, the Trinity, as a priceless masterpiece of ancient Russian painting, was transferred to the Tretyakov Gallery.

The list of Rublev's works does not end there. “The Reverend Father Andrei of Radonezh, an icon painter, nicknamed Rublev, painted many holy icons, all miraculous.” In addition to these works, whole line Icons that have not survived are mentioned in various sources. Several monuments that have come down to us are associated with the name of Rublev oral tradition. Finally, in a number of works, Rublev's authorship is established by stylistic analogies. But even in those cases when Rublev's involvement in the work on the monument is documented - this is the case with icons from the Assumption Cathedral in Vladimir - it is extremely difficult to single out the works belonging to his hand, since they were created jointly by a large group of masters under the leadership of Andrei Rublev and Daniil Cherny, who, in the words of the author of The Tale of the Holy Icon Painters, “painted many wondrous icons with him.”

Andrei Rublev managed to fill traditional images new content, relating it to main ideas time: the unification of Russian lands into a single state and universal peace and harmony.

The era of Rublev was the era of the revival of faith in man, in his moral strength, in his ability to sacrifice himself in the name of lofty ideals.

Locally venerated as a saint since the 17th century, in our time he has also 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 (17). Since 1959, the Andrei Rublev Museum has been operating in the Andronikov Monastery, demonstrating the art of his era.

Conclusion

Throughout the history of Christianity, icons have served as a symbol of people's faith in God and his help to them. Icons were protected: they were protected from pagans and, later, from iconoclast kings.

An icon is not just a picture depicting those whom believers worship, but also a kind of psychological indicator of the spiritual life and experiences of the people of the period when it was painted.

Spiritual ups and downs were clearly reflected in Russian icon painting of the 15th-17th centuries, when Rus' freed itself from the Tatar yoke. Then the Russian icon painters, believing in the strength of their people, freed themselves from Greek pressure and the faces of the saints became Russian.

Icon painting is a complex art in which everything has a special meaning: the colors of paints, the structure of temples, the gestures and positions of saints in relation to each other.

Despite the numerous persecutions and destruction of icons, some of them still came down to us and are of historical and spiritual value.

Andrei Rublev - monk, icon painter, greatest artist not only in Russia, but also in the world. Without it, it is impossible to imagine Russian national culture.

The era of Rublev is the era of the Russian Renaissance. The revival of faith in man, in his moral strength, in his ability to self-sacrifice.

The life path of the artist

There are no reliable sources about exact date Andrey Rublev's birth. It is believed that he was born in middle lane Russia, that is, today's Moscow region, somewhere around 1360.

Even the name given to him at birth is also not known. Andrei is his second, monastic name. But we can name the date of departure from the life of this great son of Rus' for sure. This happened on January 29, 1430.

It was on this frosty day that several monks of the monastery of St.

Childhood

The date of birth of Andrei Rublev is unknown, as well as there is no information from what places he was and from what class. Judging by the nickname, which we now consider to be a surname - Rublev, he belonged to the craft class. Hence the ability to create with hands, which is inherent in a talented person at the level of consciousness and multiplied by the age-old experience of the family.

Vladimir Assumption Cathedral. Frescoes by Andrey Rublev photo

Subsequently, this ancestral heritage of handicraft will manifest itself in the sacrament of the ownership of the brush. The decade in which Rublev was supposedly born was marked by many troubles for the Moscow principality - the invasion of the Horde, the plague, bloody civil strife between the Russian principalities, intervention Lithuanian prince Olgerd.

Andrey Rublev Annunciation Moscow Cathedral icon Transfiguration 1406 photo

As the chronicler notes, some courtyards were completely empty, while in others there was only one person left - a woman, a man, a child. Obviously, the same fate befell Rublev's relatives. The lad ended up in a monastery, took tonsure and became a monk. The manifested ability for painting was imputed to him as obedience.

holy craft

There are no historical documents until the beginning of the 15th century, where Andrei Rublev would be mentioned. Therefore, speaking about the fact that he was a student of the icon painter Theophanes the Greek, famous in Rus', art historians rely on the similarity of their writing styles. And only in 1405 for the first time the chronicler mentions the name of Andrei Rublev among those who were instructed to paint the Cathedral of the Annunciation in the newly rebuilt Moscow Kremlin.

Andrei Rublev icon of the Holy Trinity end of the XIV century photo

By this time, Rublev was already a mature master. In 1408, together with the artist Daniil Cherny, he painted frescoes and painted canonical icons for the Vladimir Assumption Cathedral. At the same time, Rublev painted icons, which later received the name "Zvenigorod rank".

Between 1422 and 1427, together with Daniil Cherny, he supervised the work on the creation of the iconostasis of the Trinity Cathedral of the Trinity-Sergius Monastery. At the same time, the famous icon "Trinity" was painted. This is one of the most beautiful and bright icons ever painted. And until his death, he painted the Spassky Cathedral of the Spaso-Andronikov Monastery.

Almost six centuries have passed since the era in which the artist worked, but interest in his work does not disappear. He is rightfully our national pride and glory. The unfading light of the artist's pure and kind heart has been shining for more than one generation from icons and frescoes that have come down to us through all the trials of time.

Andrei Rublev's icon "Trinity" - the artist's divine providence Obviously, those who believe that this icon hides the soul of the Russian people are right. It is difficult to remain indifferent, standing in front of it in the Tretyakov Gallery. then it expands and grows in the human chest, and divine music begins to sound in the ears, if you look at this icon for a long time?