Rublev icon painter. Andrey Rublev

The work of Andrei Rublev, an icon painter, master of monumental painting and book miniatures, who lived and worked at the turn of the 14th-15th centuries, can be called a phenomenon not only of Russian, but also of world painting. His sublime painting embodied the spiritual beauty of man and his moral strength, as it was understood in Rus' of those times.

Descent into Hell

The court, in the interpretation of A. Rublev, has hope for justice and mercy, and therefore the fresco radiates cheerfulness, joy and optimism. The figures of the apostles, saints and others are light and weightless, for they believe in the mercy of God and their salvation. Skillfully using color distribution, smooth lines and shapes, the artist literally brings to life the ancient biblical legend.

And she lives and serves people to this day. Indeed, in the works of this great master there is wisdom, spiritual purity, kindness and love. It is not the strict God-judge who looks from the icons, but the kind Heavenly Father (“Savior”), ready to forgive and console everything. By icons one can judge the spiritual ideal and morality of a person of the 14th century. Nowadays this is becoming more and more relevant.

His work was of great importance for the further flourishing of the Russian school of painting. The Rublev tradition significantly departed from the Byzantine one and gave rise to the introduction of the new and original (namely Russian) in art. Even during the life of the great icon painter, his works were highly valued and were recognized as miraculous.

Epiphany

They were considered a model for many painters, especially since this was decided by the Church and Zemsky Council in 1551 with the participation of Tsar Ivan the Terrible himself. After Rublev, the Trinity was already depicted exclusively in his style, which became a unique and recognized “canon”.

In Russian and world culture, icon painting has become an unsurpassed example of the embodiment of enormous artistic talent and no less impressive power of the human spirit.

The innovation of Rublev’s work was succinctly and deeply defined by A. Kuraev, who once said that if before this icon painter the main thing in the icon was “Lord, have mercy,” then from Rublev the main thing in the icon becomes “Glory to you, Lord.”

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: extremely little documented data about the life of the famous Russian icon painter has been preserved. Neither the exact dates of birth and death, nor the place of birth and place of residence are known; there is no information about his parents; it is unknown what the icon painter’s name was in the world before he was tonsured.

With such a lack of information, anyone who is interested in the personality of Andrei Rublev has many questions. We tried to answer the most common of them.

1.Where did the surname “Rublev” come from?

The origin of the surname, like many other facts from the life of the great icon painter, causes controversy among scientists. According to some researchers, the nickname comes from the word “rubel” - that was the name of the tool used for rolling leather.

2.Who was Andrei Rublev by origin?

There are assumptions about the origin of Andrei Rublev from the craft class.

3.Where did Andrei Rublev live?

Probably in the Principality of Moscow: all the surviving works are in one way or another connected precisely with this destiny. The exception is the paintings in Vladimir; but the Monk Andrei could work there by invitation, temporarily.

4. How do we know that Andrei Rublev was a monk?

The chronicles call him "monk". Surviving images of Andrei Rublev also depict him in monastic robes.

5. Did Andrei Rublev have friends?

It is impossible to answer unequivocally. At an early stage of creativity, he worked together with Feofan the Greek. He created many of his works in collaboration with Daniil Cherny, who was called Rublev’s “companion.” Among the persons with whom Andrei Rublev was or could be familiar are the Venerable Andronik of Moscow, Nikon of Radonezh, Savva Storozhevsky, Athanasius Vysotsky, the Moscow Metropolitans Photius and Cyprian, the learned monk Epiphanius the Wise.

6.How many of Andrei Rublev’s works have survived?

The issue still causes controversy in the art criticism community, since today it is possible to attribute a particular icon or fresco to the brush of Andrei Rublev only on the basis of an analysis of the nature of the writing - and this is not the most reliable method, from a scientific point of view. In ancient Rus', copyright catalogs of icons were not created, and none of the chronicles that have reached us contains a consolidated list of the creations of St. Andrew.

With a greater or lesser degree of probability, the brushes of Andrei Rublev are attributed to the following works:

Zvenigorod rite: Savior, Archangel Michael, Apostle Paul. They were written for the Assumption Cathedral in Gorodok (Zvenigorod). Opened in 1918. Stored in the Tretyakov Gallery. Presumably, the entire tier consisted of either 7 or 9 icons. The authorship is not documented, but experts almost unanimously attribute it to the creations of Andrei Rublev.

The frescoes of the Annunciation Cathedral in the Kremlin (1405) have not survived. Seven icons of the festive series (Annunciation, Nativity, Presentation, Baptism, Transfiguration, Raising of Lazarus, Entry of the Lord into Jerusalem) are attributed to Andrei Rublev, but expert opinions differ, because According to chronicles, on June 21, 1547, the decoration of the cathedral was destroyed by fire.

The frescoes of the Assumption Cathedral in Vladimir (1408) have been partially preserved. The iconostasis is presumably associated with the name of Andrei Rublev. 13 icons of the Deesis order have survived. Of the festive series, which originally included 25 icons, only five have survived: the Annunciation, the Descent into Hell, the Ascension, the Presentation and the Baptism. From the prophetic series there are two: the prophets Zephaniah and Zechariah.

“Trinity” from the Trinity Cathedral of the Trinity-Sergius Monastery. It was revered as miraculous, its authorship was confirmed by contemporaries and later documents.

The frescoes of the Trinity Cathedral of the Trinity-Sergius Monastery, made by Andrei Rublev and Daniil Cherny, have not survived.

Spassky Cathedral of the Andronikov Monastery: only small fragments of the ornament have been preserved.

He is also credited with miniatures and initials of the Khitrovo Gospel (c. 1400), as well as fragments of frescoes of the Nativity Cathedral of the Savvino-Storozhevsky Monastery.

7.Where can you see the creations of Andrei Rublev?

Most of them are collected in the Tretyakov Gallery in Moscow, several icons are kept in the State Russian Museum in St. Petersburg. In the Assumption Cathedral in Vladimir you can see preserved frescoes.

8. Why is “Trinity” by Andrei Rublev considered the pinnacle of ancient Russian art?

It's difficult to explain. But back in the 16th century, at the so-called Stoglav Cathedral, it was recognized that this image is a standard and model for all icon painters. Many modern authors consider Rublev’s “Trinity” to be the highest creation of not only ancient Russian, but also world fine art. This is a monument of world significance.

9. Why was Andrei Rublev canonized?

The rules of the Orthodox Church regarding the canonization of new saints imply several conditions. “For a saint of God to be considered among the locally revered saints, it is necessary that the godly life of a righteous person be witnessed by the gift of miracles after his death and by popular veneration of him,” says the “Resolution of the Holy Council of the Russian Orthodox Church on the procedure for glorifying saints for local veneration” (August 21 ( September 3, New Art.) 1918).

Historical documents have not preserved evidence of miracles through the prayers of Andrei Rublev himself, but since ancient times such cases have occurred from icons painted by him. “The Stroganov Icon Painting Original,” a set of rules for icon painters compiled at the end of the 16th century, calls Andrei Rublev a venerable: “Reverend Andrei of Radonezh, an icon painter, nicknamed Rublev, painted many holy icons, all miraculous.”

In addition, church tradition has preserved deep veneration for Andrei Rublev as a “God-inspired,” “notorious” painter, whose creative genius became a reflection of the highest spiritual life and feat of prayer.

10. When and how did the canonization of Andrei Rublev take place?

The glorification took place at the Local Council of the Russian Orthodox Church in 1988. The meetings of the cathedral were held in the Trinity-Sergius Lavra. On the first day of the cathedral, June 6, Metropolitan Juvenaly of Krutitsa announced the report “Canonization of Saints in the Russian Orthodox Church.” The report noted that Andrei Rublev is expected to be glorified as a saint for his “ascetic feat and creativity in icon painting.”

“The Council determines: it has pleased the Holy Spirit and us to number among the saints of God for all-Russian church veneration the following ascetics of Christian piety:

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2. The Venerable Andrei Rublev (1360-1st half of the 15th century), faster and ascetic, famous icon painter, creator of many icons, now glorified throughout the world, always revered as a locally revered saint in the Trinity-Sergius Monastery. Contemporaries testified of St. Andrew as an ascetic of a holy life, who abundantly showed Christian love for his neighbors. The Monk Joseph of Volotsky speaks of him as having been granted the vision and contemplation of the immaterial Divine Light and who appeared after his death dressed in shining vestments to his associate in icon painting, Daniel. Through many icons of St. Andrew, especially through the image of the “Holy Trinity,” which has become the perfect expression of the dogma of the Triune God after more than a thousand years of its understanding in Orthodox iconography, the Christian gospel is spreading throughout the world today.”

Andrei Rublev was canonized among the nine ascetics glorified by the cathedral, along with Blgv. Demetrius Donskoy, Rev. Maxim the Greek, St. Macarius of Moscow, St. Paisiy Velichkovsky, Blessed. Xenia of Petersburg, St. Ignatius (Brianchaninov), St. Ambrose of Optina and St. Theophan the Recluse.

11. Why did the glorification of Andrei Rublev occur only at the end of the 20th century, if he had been revered since ancient times?

In the Middle Ages, the Church was in no hurry to canonize new saints, very carefully and carefully collecting information about the ascetics revered by the people. Perhaps the fact of the extreme paucity of information about his life also played against Andrei Rublev. In any case, at the so-called Makariev Councils of 1547 and 1549, when more than two dozen saints were glorified, his name was not mentioned.

And then, in the 17th and especially in the 18th centuries, when secular influence increased in Russian Orthodoxy, including in church art, the name of Andrei Rublev, as well as his works, were almost forgotten. Only among the Old Believers the veneration of Andrei Rublev was not interrupted due to their careful attitude to the pre-Nikon church tradition.

Andrei Rublev took his rightful place in the history of the Russian Church and Russian fine art only at the beginning of the 20th century, when work began on the discovery and restoration of the icons of his writing.

12. Why was July 17th chosen for the holiday in honor of Andrei Rublev?

Day of Veneration of St. Andrew - July 17 (July 4, Art. Art.) - is not reflected in the biography of the saint. On this day, since ancient times, the memory of the Monk Andrei of Crete was celebrated, in whose honor Andrei Rublev may have been tonsured a monk.

Later, two more dates for the celebration were established - in the Cathedrals of the Radonezh Saints (July 19) and in the Cathedral of Moscow Saints (on the Sunday before September 8).

13.Are the relics of Andrei Rublev preserved?

In 1992, remains were discovered in the Spaso-Andronikov Monastery, which were later presumably attributed to Andrei Rublev. In 2006, documents containing research data on these and other remains found on the territory of the monastery were transferred to the Moscow Patriarchate. Despite some indirect signs, no clear conclusion was made. To date, the question of the relics of St. Andrei Rublev remains open.

14.Are there churches dedicated to Andrei Rublev?

Yes, there are two such churches in Moscow alone: ​​the one operating in Ramenki and the one under construction on the street. Verkhnyaya Maslovka; another one was erected in Elektrostal, Moscow region. Temples in honor of St. Andrei Rubleva is in Bratsk (Irkutsk region), Naberezhnye Chelny (Tatarstan), Leninsk (Volgograd region), in the Pokrovsko-Vasilevsky Monastery in Pavlov Posad (Moscow region).

Church in honor of St. Andrei Rublev is in France, it was erected in the city of Silvanes back in 1993-1994 and is under the jurisdiction of the ROCOR.

15.How else is the name of Andrei Rublev immortalized?

Since 1947, the Andrei Rublev Central Museum of Ancient Russian Culture and Art has been located in the Spaso-Andronikov Monastery.

In front of the Andronikov Monastery in the park there is a monument to the holy icon painter. There is another monument in Vladimir.

16. Is there some kind of award or prize for icon painters named after Andrei Rublev?

In the Russian Orthodox Church there is the Order of St. Andrei Rublev of three degrees and the Medal of St. Andrei Rublev - two degrees. The award was established in 2001.

It is awarded to both clergy and secular persons - for services in the field of icon painting, as well as restoration and decoration of churches, chapels and monasteries, for scientific research and teaching work in the field of icon painting and church archeology, for publishing activities related to icon painting and church architecture , for work on the protection and return of lost objects of church art.

In the hierarchy of Russian church awards, the Order of Andrei Rublev is the youngest.

The Order of the 1st degree is made of cupronickel with gilding and cold enamel.

A medal is an award of lesser status than an order.

In practice, the Order of St. Andrei Rublev is awarded infrequently. The first Order of St. Andrei Rublev, 1st degree, was awarded in 2002 to Metropolitan of St. Petersburg and Ladoga Vladimir (Kotlyarov; now retired) for his outstanding contribution to the restoration, restoration and beautification of the churches of St. Petersburg and the diocese, as well as in connection with the 40th anniversary of the bishop’s service.

17. How true is the image of Andrei Rublev in the film of the same name by A. Tarkovsky?

It's difficult to judge this. As already mentioned, almost no reliable information about the life of the holy icon painter has survived. Plus - any work of art implies a certain fiction.

The film was harshly criticized by A.I. Solzhenitsyn. He believed that the director’s approach to the topic was primitive and shallow, and from this point of view, characteristic of the understanding of Orthodoxy inherent in the creative, intelligentsia environment of that time.

An illustration can be found in an excerpt from the memoirs of Valery Sergeev, one of the oldest employees of the Andrei Rublev Museum, the author of the book “Andrei Rublev” from the “Life of Remarkable People” series, published back in 1981 and subsequently republished several times:

“In the autumn of the now distant 1964, I had the opportunity, together with the film crew of the film “Andrei Rublev,” to take part in a trip to the Ferapontov Monastery. I myself had nothing to do with this film - from the art criticism side, the omnipresent Savely Yamshchikov was considered his consultant (towards the end of his days he began to be called Savva for some reason).

Once, during one of the cheerful friendly feasts in Kirillov - it was attended by the witty Saveliy-Savva and the nicest people - the great cinematographer of our time, the recently deceased Vadim Ivanovich Yusov, one of the film's artists Zhenya Chernyaev and Andrei Arsenievich Tarkovsky - I felt a twitch to speak out about some factual inconsistencies in the Mikhalkov-Konchalovsky scenario that was already familiar to me (my comments generally coincided with Solzhenitsyn’s future ones).

In response to this criticism, Tarkovsky, who usually drank almost nothing, but after drinking a little, fell into enthusiasm and frankness, decisively stated the following: “Rublev is generally an “empty place” (he put it that way, explaining that no one and nothing is supposedly about him). does not know). “My film,” he continued, “is not about Rublev, but about the fate of talent in Russia in general and, if you like, about my own - he is Andrei and I am Andrei,” the by-then famous film director more than openly outlined his dubious authorial credo "

Andrei Rublev (+ c.1430), icon painter, student of Theophanes the Greek, reverend.

At first he was a novice with St. Nikon of Radonezh, and then a monk in the Spaso-Andronikov Monastery in Moscow, where he died and was buried.

In the ancient life of St. Sergius of Radonezh, compiled by his disciple Epiphanius, decorated with numerous miniatures (16th century copy), Andrei Rublev is depicted in three forms: sitting on the stage and painting the image of the Savior Not Made by Hands on the wall of the temple; coming to the stone church newly built in the Lavra and being buried by the Lavra brethren.

The largest works of Andrei Rublev are icons, as well as frescoes in the Cathedral of the Assumption in Vladimir (1408). The Deisis by Theophanes the Greek and Andrei Rublev, as well as the entire golden-domed Church of the Annunciation in the royal courtyard, near the royal treasury, burned down during a great fire in Moscow in 1547.

The greatest masters of ancient Russian painting, including Dionysius, were deeply influenced by his work. At the Stoglavy Cathedral (1551), Rublev’s icon painting was proclaimed a role model: it was directly ordered that “the painter should paint icons from ancient images, as the Greek painters wrote, and as Andrei Rublev and other notorious painters wrote.”

Much work on the restoration of his works and clarification of his artistic biography, done in the 20th century, led to the formation of the romantic “Rublev legend”, extracting the heroized figure of the artist from the anonymous, ascetic, supra-individual environment of medieval creativity.

Locally revered as a saint since the 16th century, Andrei Rublev has now become one of the all-Russian saints: he was canonized by the Russian Orthodox Church in 1988; the church celebrates his memory on July 4 (July 17 n.st.).

The works of Andrei Rublev

The works of Andrei Rublev belong to the highest achievements of Russian and world spiritual art, which embodied a sublime understanding of the spiritual beauty and moral strength of man in Holy Rus'. These qualities are inherent in the icons of the Zvenigorod rank (“Savior”, “Apostle Paul” (located in the Russian Museum), “Archangel Michael”, all from the turn of the 14th-15th centuries), where laconic smooth contours and a broad brushwork style are close to the techniques of monumental painting.

In the period XIV - AD. XV century Rublev created his masterpiece - the “Trinity” icon (located in the State Tretyakov Gallery, on the subject of “Abraham’s hospitality.” He filled the traditional biblical plot with deep poetic and philosophical content. Moving away from traditional canons, he placed a single cup (symbolizing sacrificial death) in the center of the composition. , and its outlines were repeated in the contours of the side angels. The central (symbolizing Christ) angel took the place of the victim and is highlighted by the expressive contrast of spots of dark cherry and blue, orchestrated by an exquisite combination of golden ocher with delicate “cabbage roll” and greenery. The composition inscribed in a circle is permeated with deep circular rhythms, subordinating all the contour lines, the consistency of which produces an almost musical effect.

“Trinity” is designed for distant and near points of view, each of which differently reveals the richness of shades and masterly work of the brush. The harmony of all elements of the form is an artistic expression of the main idea of ​​the “Trinity” - self-sacrifice as the highest state of spirit that creates harmony in the world and life. In 1405, together with Theophan the Greek and Prokhor from Gorodets, he painted the Annunciation Cathedral of the Moscow Kremlin (the frescoes have not survived), and in 1408, with Daniil Cherny and other masters, he painted the Assumption Cathedral in Vladimir (the painting has been partially preserved) and created icons for its monumental three-tiered iconostasis, which became an important stage in the formation of the system of high Russian iconostasis.

Of Rublev’s frescoes in the Assumption Cathedral, the most significant is the composition “The Last Judgment,” where a traditionally formidable scene turned into a bright celebration of the triumph of Divine justice. The works of Andrei Rublev in Vladimir indicate that by that time he was a mature master who stood at the head of the school of painting that he created.

In 1425 - 1427 Rublev, together with Daniil Cherny and other masters, painted the Trinity Cathedral of the Trinity-Sergius Monastery and created the icons of its iconostasis. The time when new internecine wars were brewing in Rus' and the harmonious ideal of man, which had developed in the previous period, did not find support in reality, also affected Rublev’s work. The coloring of later icons is more gloomy; in some icons the decorative principle is enhanced, in others archaic tendencies appear. Some sources call the painting of the Spassky Cathedral of the Andronikov Monastery (c. 1427) Rublev’s last work. A number of works are also attributed to him, the attribution of which to Rublev’s brush has not been definitely proven: frescoes of the Assumption Cathedral on the “Gorodok” in Zvenigorod (late 14th - early 15th centuries), icons - “Our Lady of Vladimir” (c. 1409, Assumption Cathedral, Vladimir ), “Savior in Power” (1408), part of the icons of the festive rite (“Annunciation”, “Nativity of Christ”, “Candlemas”, “Baptism”, “Resurrection of Lazarus”, “Transfiguration”, “Entry into Jerusalem” - everything is ok 1399) Annunciation Cathedral of the Moscow Kremlin, part of the miniatures of the “Gospel of Khitrovo”.

Since 1959, the Andrei Rublev Museum has been operating in the Andronikov Monastery, demonstrating the art of his era.

Art critic M.V. Alpatov wrote: “Rublev’s art is, first of all, the art of big thoughts, deep feelings, compressed within the framework of laconic images-symbols, the art of great spiritual content,” “Andrei Rublev revived the ancient principles of composition, rhythm, proportions, harmony, relying mainly on his artistic intuition."

The artist received the name Andrei only when he took monastic vows, and instead of a surname he simply has a nickname - the family was a craftsman, and the word “rubel” means a tool for tanning leather. His first “work” was painting the Annunciation Church in Moscow. It is known that the icon painter died of the plague in 1428. Later he was canonized.

"Trinity", "Life-Giving Trinity", or "The Hospitality of Abraham"

This icon is now exhibited in the Tretyakov Gallery. It was written in the 20s of the 15th century. Rublev’s life has been mythologized, the authorship of most of his icons has not been proven, but the “Trinity” undoubtedly belongs to him.

In the center of the icon are three angels, they are sitting at a table, and behind them there is a mountain, a tree and a house. The plot is taken from the Bible. Three angels mean the Holy Trinity: Father, Son and Holy Spirit. The bowl on the table is a symbol of wisdom and life. According to some versions, the icon depicts the Holy Grail. Jesus drank from it at the Last Supper, after which he was betrayed by his disciple Judas.

Many have tried to find the Grail. It is believed that if a person drinks water from this cup, he is guaranteed eternal life.

“Spas”, or “Savior Almighty”, “Zvenigorod Spas”.

This icon was found in 1918 in the Assumption Monastery in Zvenigorod in the most inappropriate place - in a barn under a pile of firewood. It is also “registered” in the Tretyakov repository. "Spas" was written at the beginning of the 15th century, around 1410.

Unfortunately, the icon was poorly preserved. Only the middle of the canvas with the face of Jesus Christ survived. What was on the sides and made up the composition of the icon is no longer recognizable. By the way, researchers believe that Rublev deliberately gave Christ Russian facial features, although previously he was depicted according to the Byzantine canon, the Greek.

There is an interesting legend associated with this icon. Rublev painted the icon around 1409, but allegedly copied it from a copy of a drawing by Luke, one of the compilers of the Gospel. Luke wrote his Theotokos during her lifetime, on a board from the table at which the mother of Christ dined. This image is dated 450. Then Prince Yuri Dolgoruky ordered himself a copy of this image, but Andrei Rublev wrote his “Our Lady of Vladimir” from the first copy.

The icon of the Mother of God with a baby in her arms is revered in Russia as the protector of the country. Now it is kept in the Central Museum of Ancient Russian Culture and Art named after Andrei Rublev, and once Vladimir and Moscow argued over it, transported from one city to another

Another famous icon of Andrei Rublev, the Transfiguration of the Lord, is kept in the Tretyakov Gallery. Biblical story - Christ led his disciples to Mount Tarbor. I wanted to show what would happen to all of them after death. The prophets Moses and Elijah, who were once mere mortals, descended from heaven to them.

The Annunciation is kept in the Annunciation Cathedral of the Moscow Kremlin, dating back to 1405. The basis of the plot of the icon is that Mary learns from an angel that her child is not a mere mortal, but the son of God. Color plays a big role in this icon. Everything around is red, alarming, and the angel’s cloak is green, the color of hope.

This icon is dedicated to one of the biggest holidays in Orthodoxy - the Annunciation, which is celebrated on April 7.

At the turn of the 14th - 15th centuries, the greatest of the masters of ancient Rus', Andrei Rublev, worked in Moscow, 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)

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,”

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.

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 the 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 couple: 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.

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, the complexity of the apostle’s life path. Rublev presented an ideal, perfect image of a contemplative thinker. Peering into this face, into the eyes surrounded by deep shadows, you clearly realize that the apostle sees something inaccessible to the external, physical gaze. The combination of enormous inner power and peace is one of the striking features of the icon.
Blue, with white glimpses, and faded lilac, with a gray tint, clothes are illuminated with a mysterious, slightly cold light. Their folds are complex and not entirely calm. The clothes are unfolded on a plane and contrast with the almost sculptural volumes of the hunched back, powerful neck and superbly sculpted head of the apostle. The pronounced plasticity of the face, the transparency of the pictorial technique of the face soften the sharp features, smoothes them out, highlighting the internal state and thought.
Pavel is not young, but has retained his physical strength. A sign of age - a head bald in front - reveals the wisdom of Paul, revealing the huge dome of his forehead. The folds of the forehead not only highlight the relief, their movement seems to express a high degree of comprehension and knowledge. Rublev shows Paul as a righteous man of high spiritual potential.

Michael, as a formidable commander of the heavenly powers, was always depicted as a stern messenger in the armor of a warrior. In this icon, a meek and self-absorbed light-haired archangel, with a gently bowed curly head, is not involved in evil. In this decision of the image there is a mature thought that has long become close to Rublev: the fight against evil requires the greatest heights, absolute immersion in goodness. Evil is terrible not only in itself, but also because, causing the need to resist it, it gives birth to its germ in good itself. And then, in the shell of truth and under its banner, the same evil is reborn in a different form and “the last is worse than the first.” Here, solving for myself the eternal question of good and evil as incommensurable, incontiguous principles. Rublev, as it were, founded a tradition that has never become scarce in the Russian culture of the future.
Something fresh, youthful, morning permeates the very image of the archangel, mood, color. The bright expression of wide eyes, the tenderness of a softly rounded, pinkish glowing face. Elastic waves of curly hair, soft hands. Sky-azure and pink, like dawn, clothes, warm glow of golden wings. An azure headband holding his wavy, soft hair ends in flowing ribbons behind his head. They were called in the Old Russian language “toroks”, or “rumors”, and denoted the property of angels - constant hearing of the higher will, connection with it. The archangel’s right hand is stretched forward, and its hand is barely noticeably rounded, as if in this hand he is holding something round and completely transparent, which is not an obstacle to the view. This “mirror” outlined with a light line is an image of the constant contemplation of Christ.

There is a famous icon of the “Vladimir Mother of God” from the 12th century, painted by an unknown Constantinople artist. At first it was in the Assumption Cathedral in Vladimir, and later it was transported to Moscow. But Vladimir also did not want to be left without such an icon, and Andrei Rublev, being in Vladimir in 1408, created his own “list” from that icon. (It should be said that there was such a tradition then - icon painters made lists of various icons beloved by the people.)
The Rublevskaya icon of the “Vladimir Mother of God” is one of its most famous repetitions, created in order to replace the ancient shrine in the Assumption Cathedral of Vladimir.
Naturally, the artist, when creating this icon, tries not to deviate from the original, preserving, according to the ancient Russian expression, the “measure and likeness” of the ancient icon, repeating its size and 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-encompassing, concentrated love with which the face of the Mother of God is filled here.

The holiday "Lazarus Saturday" falls on the Saturday before Palm Sunday, always in the spring, in April or May. In nature, everything seems to be waiting. It seems that winter has passed, and the snow has almost melted, and the first drops are ringing, but there are still frosts in the mornings. And only in the afternoon, when the sun comes out, will the thawed earth smell excitingly. On the forest edges there are modest Central Russian primroses, fluffy balls of blossoming willow...
Jesus and a few disciples wander through the rocky deserts and villages of Palestine. He does many good deeds, heals the sick and crippled. More and more definitely in his words there are recognitions of his heavenly messenger. But the Jews were not waiting for such a “messiah” - a savior. Many would agree to consider him both a teacher and a prophet, but he preaches patience and meekness, calls to give one’s own and not to take someone else’s. And completely strange, unbearable thoughts are sometimes heard by the crowd that he attracts with his speeches. Not only one people on earth has been chosen by God, there are others, and the honor of being chosen will soon be taken away from “stiff-necked Israel.”
The Jewish authorities and scribes are looking for a way to seize Christ and kill him. But there are also those who understand, are grateful, and thirsty for learning. And yet times come true, his death hour is near. But Jesus is still evading the hands of his pursuers and goes to Transjordan, to those places where his predecessor, the “forerunner” John, had recently called the people to cleansing and repentance. During Jesus' absence in Bethany, a village near Jerusalem, his friend Lazarus dies. When Jesus, returning back, passed this village, the sisters of the deceased, Martha and Mary, reported that their brother had been dead for four days...
And now Andrei Rublev paints the icon “The Return of Lazarus”. Human figures and chambers have already been outlined... At the entrance to the burial cave, Jesus, his disciples, and a crowd. On the right, in grief, he outlines a figure with swaddled legs and arms...
“Throw away the stone,” says Jesus, and already in a loud voice cries out: “Lazarus, come!” And the dead man came out, wrapped hand and foot in burial shrouds...
He writes out details with quick strokes. The last strokes...Here the grateful Martha and Mary fall at the feet of Jesus. This swiftness is emphasized by Rublev and the bent figures of young men moving in the opposite direction, carrying a heavy slab rolled away from the cave. Lazarus moves slowly and awkwardly, but is already outside the grave. The young man to the right of Lazarus turned in a lively movement towards the resurrected one, in his hand the end of the ribbon with which the burial shrouds were wrapped.
The whole action takes place against the backdrop of golden, softly glowing hills, between which in the distance a building of almost the same color is visible, 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.

The action takes place on Earth. The horse slides at the entrance to the cave, the soft hilly roundness at the bottom of the icon, small trees and bushes scattered here and there - all this is an image of the earthly space, along which the sages of the East gallop for a long time following the mysterious star moving across the sky to the place of the Nativity, to Bethlehem - Magi (they are depicted in the upper left corner of the icon). These are also the peaks from which the shepherds hear the singing of angels. And that part of the path across the earth, which the shepherds, informed by the wonderful angelic singing, made, is also depicted by these forested hills and hills.
Here in the upper right corner, three angels in shining robes are highlighted from the singing angelic host. The first of them holds his hands in the folds of his clothes. Covered hands 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.

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. One must see in the original these silvery-green, malachite-green, pale green and white colors, subtly harmonizing with the strokes of mauve, pinkish-red and golden ocher, so that to appreciate the exceptional... gift of the artist" (V.I. Lazarev).

In August, Transfiguration Day is celebrated in Rus' - since ancient times it has been celebrated publicly and joyfully. Early, 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 with a light and even light from the inside. We do not see the rays from which the apostles hid. They contemplate the light within themselves. It is diffused throughout creation, quietly and almost invisibly enlightening people, the earth, and plants. People's faces are not turned to the external, they are concentrated, in the movements of the figures there is more thoughtfulness than instant shock. Mysterious light everywhere. In the icon, Rublev very subtly conveyed the image of summer nature on the day of the holiday itself, when the colors fade barely noticeably, the reflections of summer become more transparent, colder and silverier, and even from afar one can feel the beginning of the movement towards autumn. This insight into the meaning of the holiday in the images of nature itself is a national, Russian trait.

In the center of the icon on the blue waters of the Jordan stands Jesus Christ, to whom a desperate hand points, towards whom a dove flies. And according to a tradition dating back to ancient times, in the waters of the Jordan the figures of an old man and a young man are the personification of the river, and fish splash next to them.
The appearance of Christ here so clearly reveals his miraculous nature that, comprehending the miracle, the eyes of all participants in the event - both the Forerunner and the angels on the other side - are turned not to heaven, but to him. John reverently touches it with his hand while performing the ritual, and this reverence is all the more touching because not only has the traditional power of Christ the Forerunner not lost here, but it is also emphasized by the broad outline of his figure.
The entire icon is flooded with light, illuminating all the figures on the icon, filling the tops of the hills behind Christ with gold.
The Epiphany of the Lord is celebrated on January 6 (18). This holiday follows 12 days after Christmas. Since ancient times, this has been the most fun and joyful time of the year - Christmastide. Christmas joys, fun and merriment are still known to us from numerous descriptions in Russian literature. Both in the images of the Nativity of Christ and in the images of the Baptism of the Lord in Russian art the motif of joy that both birth and the appearance of God for its sake brings to the world has never disappeared.

The holiday "Candlemas" was known already in the 4th century. In Rome, in the Church of Mary the Great, the oldest surviving image, dating back to the 5th century, has survived to this day. The meaning of the Meeting is closely related to Christmas. It was celebrated on the fortieth day after the Christmas celebrations. In Rus', in the first days of February (now it is February 15), according to an old folk belief, the frost intensified after windy snowstorm days. It was deep winter. But preparations began for spring field and other work. The days are still short. A quiet time conducive to reflection. The holiday itself is strict, and the mood of repentance grows in its chants. You look at Rublev’s icon, and the first impression is that it depicts a ceremony full of triumph and significance. Mary and Joseph bring the forty-day-old Jesus to the temple. Here, at the temple, the prophetess Anna lives. She predicts an extraordinary fate for the newborn. They are met in the temple itself, hence the name of the event "meeting" - meeting, Elder Simeon, to whom the promise had long been given that he would not taste death until he saw and accepted into his arms the savior of the world born on earth. And now he recognizes, clearly feels that this moment has come...

In the icon, walking steadily towards Simeon, at the same distance from each other, a mother with a baby in her arms, Anna, followed by the betrothed Joseph. Rublev depicted their tall, slender figures in such a way that they appear connected, flowing into one another. Their measured movement, solemn, steady and irrevocable, as if indicating its significance, is echoed by the easily curving wall that depicts the vestibule of the temple. And the old servant of the Old Testament temple stretches out his hands, reverently covered with robes, towards the baby in a deep, humble bow. Now he accepts in his arms...His own death. His work on earth is finished: “Now send thy servant away, O lord, according to thy word, in peace...” The old, ancient one is replaced by a new world, a different covenant. And he, this new one, such is the universal and all-encompassing law of life, will have to take root in the world only through sacrifice. The young “adolescent” will face shame, reproach, and torture on the cross. In Christianity, the “Descent into Hell” completed the redemptive mission of Jesus Christ and was the limit of Christ’s humiliation and at the same time the beginning of his glory. According to Christian doctrine, Jesus, with his free suffering and painful death on the cross, 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, blue, cabbage roll and bright cinnabar for his painting. The icon creates a mood of joy and hope.

The ascension into heaven of Jesus Christ, God incarnate and the Son of God, is the great, final event of gospel history. one of the greatest Christian holidays was established in his honor. Even in Byzantine art, a canon of depicting the Ascension was formed in those details and details that were inherited by ancient Russian icon painters. filling the images of the Ascension with the joy that his holiday seeks to reveal to people.
Here in Rublev’s icon the Ascension appears before us. The white hills, flooded with light, represent both the Mount of Olives and the entire land abandoned by the ascended Jesus Christ. The ascended One himself hovers above her; his human clothing has already been transformed into garments pierced with gold, and the shining turquoise circle of mandorola - glory - surrounds him with a sign of divine light.
Jesus Christ, according to the Gospel, ascended himself, but here angels, the eternal companions of God, carry his mandorola, giving him honor. Jesus Christ appears here as the true Almighty, who conquered the suffering and death inherent in human nature. And therefore such joy and hope are brought by the blessing that he sends from the shining light, raising his right hand, to the land he leaves, to the witnesses of his Ascension standing on it. Directly below Jesus Christ stands the Mother of God. She rejoices at the victory of the Son and the light of this joy permeates her clothes with light, thin strokes. The Apostles surround the Mother of God on both sides. Their gestures are filled with joyful shock, light fills their scarlet, dark pink, and soft yellow clothes. Between the Mother of God and the apostles on both sides, two angels who appeared at the place of the Ascension solemnly look at her. Their figures in snow-white robes and shimmering golden halos enhance the feeling of light and joy emanating from the icon. And their raised hands point to the ascending Jesus Christ as a source of joy not only for the apostles, but also for everyone who looks at this icon.

Rublev's "Savior" amazed his contemporaries. The Russian person highlighted the most important thing that he saw in the Savior - love, readiness to suffer for one's neighbor, even to the point of painful death. The same idea was clearly expressed in the inscription that was once drawn by Rublev on the open pages of the book in the hands of Jesus. This inscription has been lost, since only the head and a small part of the clothes have survived from the icon. Presumably the words were: “Come to me, all you who labor and are heavy laden, and I will give you rest.”

Since ancient times, the descent of the Holy Spirit on the apostles has been revered as a most important event: in it the Spirit of God descended into the world manifested itself, sanctifying the beginning of the preaching of Christ’s teaching, the beginning of the Church as a community of people united by one faith. The descent of the Holy Spirit on the apostles is commemorated 50 days after Easter. On the second day of this holiday, which is called the Spiritual Day, special veneration is given to the Holy Spirit, who apparently descended on the disciples of Christ.
They began to depict the Descent of the Holy Spirit on the Apostles from ancient times. For this purpose, a very simple and expressive composition was developed in Byzantine art.
In the center of the composition there are closed doors - a sign of the closed upper room in which the apostles remained in essence on the day of Pentecost - they sit here as if on the sides of a semi-oval turned towards the viewer. As a sign that the Holy Spirit had descended on them, there were golden halos around the apostles, golden light was poured around, giving the apostles strength. A sign of their high, world-facing teaching are the scrolls in the hands of the four apostles and the hands of the saints raised in blessing.