Rublev icon painter. School encyclopedia. D. Images of Andrey Rublev

Andrei Rublev (about 1360-1370 - about 1430) - Russian painter, creator of the Moscow school of icon painting, its most famous and revered master, as well as all book and monumental painting of the 15th century.

Rublev's creativity developed on the basis of the artistic traditions of Moscow Rus'. He was also well acquainted with Byzantine and South Slavic artistic experience.

The icon painter continued the best traditions of modern Russian and Byzantine art. The work of Theophanes the Greek undoubtedly had a strong influence on him. He inherits not only high technical skill - for him, just like for Feofan, icon painting is “smart doing.” Both Feofan and Rublev strive to express the “wisdom of life” in art.

However, in the work of the Moscow artist, the pictorial concept of the 14th century underwent a radical revision. Feofanov’s “individualistic” principle - a free, broad stroke, sketchy execution - is unusual in Rublev’s painting.

The formation of the icon painter's worldview was greatly influenced by the atmosphere of national upsurge in the second half of the 14th - early 15th centuries, which was characterized by a deep interest in moral and spiritual problems. In his works within the framework of medieval iconography, he embodied a new, sublime understanding of the spiritual beauty and moral strength of man.

Biographical information about Rublev is extremely scarce: he lived in Moscow and was brought up in a secular environment. Until the 1390s, he studied and worked in a squad of Moscow artists. In adulthood (before 1405), he took monastic vows with the name Andrei at the Trinity Lavra, and subsequently moved to the Moscow Spaso-Andronikov Monastery. In 1405, he, together with the artists Feofan the Greek and Prokhor from Gorodets, painted the Annunciation Cathedral of the Moscow Kremlin; in 1408 - together with the artist Daniil Cherny, he painted frescoes and icons in the Assumption Cathedral in Vladimir.

Of the icon painter’s frescoes in the Assumption Cathedral, the most significant composition is “The Last Judgment,” where a traditionally formidable scene turned into a bright celebration of the triumph of justice, affirming the spiritual value of man. Andrei's works in Vladimir indicate that already at that time he was a mature master, standing at the head of the school of painting he created.

Around 1408, Rublev painted icons that later received the name “Zvenigorod Chin”. Between 1422 and 1427 - together with Daniil Cherny, he supervised the painting and creation of the iconostasis of the Trinity Cathedral of the Trinity-Sergius Monastery. Then the artist painted the Trinity icon.

Other icons have also survived - they are made in different manners and are of unequal artistic quality. 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. In a number of works he managed to create impressive images; in them one can feel dramatic notes that were previously unknown to him (“Apostle Paul”). The coloring of the icons is more gloomy compared to earlier works; in some icons the decorative principle is enhanced, in others archaic tendencies appear.

During the years 1427-1430, Andrei created murals of the Spassky Cathedral of the Spaso-Andronikov Monastery. And on January 29, 1430, he died during a pestilence and was buried near the bell tower in the Spaso-Andronikov Monastery.

Rublev's creativity is one of the pinnacles of Russian and world culture. They don’t forget about him all the following time:

1551 - resolution of the Russian church council (“Stoglav”) declaring the icon of Andrew a model for artists;

1647 - the first printed mention of the name Rublev;

the end of the 17th century - a chapter in the handwritten “Tale of the Holy Icon Painters” dedicated to this artist;

1947 - The Central Museum of Ancient Russian Culture and Art named after A. Rublev was opened in the Spaso-Andronikov Monastery. In front of its main entrance there is a monument to St. Andrew;

1960 - worldwide celebration of the 600th anniversary of the icon painter by decision of UNESCO;

1988 - canonization by the Council of the Russian Orthodox Church of St. Andrei Rublev “on the basis of the holiness of life and the feat of icon painting” and the establishment of an annual church holiday for him on July 17 according to the new style;

a crater on Mercury is also named after Rublev.

Rublev's highest creative achievement is the Trinity icon. Nowadays everyone knows her - even those who have the most approximate idea of ​​Russian art. The Tretyakov Gallery is proud of it as one of its treasures. The artist created this icon for the Cathedral of the Trinity-Sergius Monastery at the beginning of the 15th century, shortly before his death, and it was cleared only in 1904.

The historical outline of Rublev's masterpiece is the biblical legend about the appearance of God to Abraham and his wife Sarah in the guise of three husbands; about the treat prepared for them by the elderly spouses under the shade of an oak tree and consisting of a slaughtered calf, cakes, milk and cream; about the birth of a son predicted for Abraham.

What is striking about the icon is the extraordinary simplicity, the “laconicity” with which the biblical event is reproduced. From the Old Testament story, the artist chose only those details that give an idea of ​​where and how the action took place: the mountain (symbol of the desert), the chambers of Abraham and the Oak of Mamre. It is in vain to look for such courage in relation to the sacred text in earlier icons. Old Russian painting, which previously followed the sacred text without reasoning, and set as its task to give a visible image of everything that the Bible and Gospel tell about, in the person of Rublev, neglected the letter of the Holy Scripture and tried to reveal its philosophical meaning. From an illustrative art, icon painting has turned into a cognitive art.

The basis of the philosophical concept of the “Trinity” is the idea of ​​the powerful all-conquering power of love as the innermost human essence, the disclosure of which serves as a real guarantee of the unity of humanity. The artistic perfection with which this universal idea was expressed by Rublev in the symbolic images of medieval painting puts the Trinity icon among the immortal creations of world art.

Departing from the canons, he placed a single cup in the center of the composition (symbolizing sacrificial death), and repeated its outlines in the contours of the side angels. The central (symbolizing Christ) angel took the place of the victim and is highlighted by an 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.

The artist embodied in “Trinity” his ideal, the idea of ​​a person of subtle spirituality and moral enlightenment. In the linear and color rhythm of the icon, in the singing lines, smooth coordinated gestures, soft tilts of the heads of angels, in the consonances of pure shining colors, a feeling of unanimity, mutual love and sublime spiritual purity is born.

Greek Rublev painter iconography

Completed by: 8th grade student of the Central School of Education Adodina Anna

St. Petersburg, Kolpino
2009

Introduction

Many miraculous icons appeared in Rus', they saved from illnesses, troubles, and streamed myrrh. Looking at icons, I often think about their creation. How to paint an impartial image, how, it seems, an ordinary image can work miracles, 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 the home of every Orthodox person, icons always occupy a prominent place. When traveling, when visiting new places, an Orthodox Christian has an icon, before which he prays, just as he wears a small cross on his chest, first placed at baptism. The icon gives a feeling of the tactile presence of God.

There has always been a tradition in Rus': when a person was born or died, got married or started some important business, he was accompanied by an iconographic image. An icon is a common Christian spiritual heritage. Today, it is the ancient icon that is perceived as a relevant revelation necessary for modern man. An 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 icon painting to the field of theology. For example, St. Basil the Great says: “What the word of narration offers to the ear, 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 the ubrus for the Edessa prince Abgar. Church tradition considers the first icon painter to be St. ev. Luke, who painted icons of the Mother of God, which were passed down from generation to generation (in our country - the Vladimir Icon of the Mother of God). - In the 2nd and 3rd centuries. sacred images were undoubtedly also used. Of course, icon veneration then, due to the circumstances of the time, could not be widespread, and the images themselves were primarily symbolic in nature. The most common were images of the Savior under the guise of the Good Shepherd, under the symbol of a fish, lamb, phoenix (symbol of resurrection), etc. Images of various events of sacred history were found in the catacombs, for example. The Nativity of the Savior, His Baptism, the transformation of water into wine, a conversation with the Samaritan woman, the resurrection of Lazarus, etc. Discovered in the catacombs are images of the Mother of God, with and without the Child, as well as images of the events of St. stories related to Her. Preserved in the catacombs are also images of Old Testament persons and events - Abraham, Moses, the prophets, etc. All these images undoubtedly had religious significance among the ancient Christians, since they were located in places of worship and bloodless sacrifice. Church teachers and writers of that time testify to the use and veneration of icons in the first three centuries of Christianity: such are Minucius Felix, Tertullian, Clement of Alexandria, Origen, etc.

Since the 4th century, since the triumph of Christianity, sacred images began to appear in significant numbers. The Fathers of the VIIth Ecumenical Council finally approved the dogma of icon veneration, giving the corresponding definition of faith: “Following the divine teaching of our holy fathers and the tradition of the Catholic Church.... we determine “like the image of an honest and life-giving cross to be placed in the holy churches of God, on consecrated vessels and clothes , on walls and on boards, in houses and on paths: honest and holy icons, painted with paints and from fractional stones (mosaics) and from other substances capable of this, constructed, like icons of the Lord and God and our Savior Jesus Christ, and the immaculate Lady our holy Mother of God, as well as the honorable angels and all saints and reverend men... For the honor given to the image passes to the prototype, and the one who worships the icon worships the being depicted on it. This is how the teaching of our holy fathers is affirmed, this is the tradition of the Catholic Church, which has received the Gospel from end to end of the earth.”

The first icon painter was the holy evangelist Luke, who painted not only the icon 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 whole host of icon painters, almost unknown to anyone. Among the Slavs, the first icon painter was Saint Methodius, Equal-to-the-Apostles, Bishop of Moravia, educator of the Slavic peoples. The Venerable Alipius the icon painter and ascetic of the Kiev Pechersk Monastery is well known in Rus'.

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

The life and work of St. Andrei Rublev.

(Memorial Day: July 4)

No one will find, among the many thousands of ancient manuscripts preserved in large and small book depositories in Russia, any records about Rublev’s childhood, since they never existed. Sources are silent about what constitutes an essential part of 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 allow one to accurately establish his place of birth. He came from educated circles and was distinguished by extraordinary wisdom, as evidenced by his work.

In contemporary art criticism, the idea has become generally accepted that Rublev’s emergence as an independent master, with his own style and artistic personality, dates back to the 1390s. This also agrees with the approximate date of his birth - around 1360. The thirtieth birthday in Rus' in that era was considered a time of maturity, the fullness of the human personality. It was also important for the social assessment of a person, giving, for example, the right to receive priestly rank. It can be assumed that with the onset of his thirtieth birthday, and among icon painters, a talented artist with matured skill was supposed to be given the 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 Theophan 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 took monastic tonsure at the Spaso-Andronik monastery in 1405. Living in a highly spiritual environment, in an atmosphere of holiness, Monk Andrei learned from both historical examples of holiness and the living example of the ascetics around him. For about 20 years, until his death, he, together with his “companion” Daniil Cherny, led the life of an ascetic icon painter.

The famous miraculous image of the Holy Trinity, which is still an unsurpassed example in icon painting, belongs to the brush of St. Andrei Rublev. Saint Andrew painted the Annunciation Cathedral in the Moscow Kremlin, the iconostasis and the Assumption Cathedral itself in Vladimir (1408). St. Andrei Rublev painted the Vladimir Icon of the Mother of God for the Assumption Cathedral in Vladimir; wrote the iconostasis and painted the walls of the Assumption Cathedral in Zvenigorod (late 14th - early 15th centuries); Deesis rite 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 festive rows of the iconostasis survived, moved to the now existing temple. Only a small part of the paintings has been preserved in the Vladimir Assumption Cathedral. Icons from the iconostasis of this cathedral have also reached us, now on display 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” states that he first lived in the Trinity Monastery in obedience to Nikon, a student of the monastery founder Sergius of Radonezh (Nikon was the Trinity abbot from 1390, died in 1427). According to the “Tale,” Nikon “commanded” Rublev to paint the icon of the Trinity “in praise of his father, Saint Sergius the Wonderworker.”

We know about Rublev’s other major works from the lives of Sergius and Nikon. Between 1425-1427, he, together with his friend and “spostnik” Daniil Cherny, participated in the creation of the now unpreserved paintings of the Trinity Cathedral of the Sergius Monastery, 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 that has reached us about Rublev is replete with contradictions, then in the description of the master’s personality and in the assessment of his art, the sources reveal a rare unanimity. Andrei and Daniel appear in their depiction as “wonderful virtuous elders and painters,” “surpassing everyone in virtues.” Rublev especially emphasizes that he “far surpassed everyone in wisdom.”

To recreate the creative appearance of Rublev, the information communicated to Joseph of Volotsky in 1478 by the former abbot of the Trinity Sergius Monastery, Elder Spiridon, is very important. According to Spiridon, the amazing and famous icon painters Daniel and his student Andrei, monks of the Andronikov Monastery, were distinguished by such virtues that they were awarded unusual talents and were so successful in improving 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 us to penetrate deeper into the figurative structure of his works and comprehend the essential features of his painting 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 became 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. As the mind improved, it acquired the ability to perceive “immaterial” light. By analogy with physical light, without which it is impossible to see the world around us, mental light - knowledge and wisdom - illuminated the true nature, the prototypes of all objects and phenomena. The intensity of the manifestation of this light and the clarity of speculation were placed in direct dependence on the degree of moral purity of the contemplator. The painter, more than anyone else, needed to cleanse the “eyes of the mind,” clogged with deceptive sensual “thoughts,” because, as Basil of Caesarea stated, “true beauty is contemplated only by those who have a purified mind.” In achieving moral purity, a special role was assigned to the virtue of humility. It is no coincidence that in sources the epithet “humble” is often attached to Rublev’s name. Isaac the Syrian called humility a “mysterious power” that only the “perfect” possess; It is humility that gives omniscience and makes any contemplation accessible. He considered contemplation of the Trinity to be the highest and most difficult to achieve.

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.

The name of Andrei Rublev is associated with a fundamentally new stage in the development of the Russian iconostasis - the formation of the so-called “high iconostasis”. This is one of the greatest artistic miracles that the 15th century gave us. Perhaps nothing else expressed with such force the characteristic features of the thinking of Rublev’s contemporaries, the qualitative changes that occurred in the worldview of the Russian people during the 14th century. Of the three currently known iconostases that Rublev worked on, the one that is of greatest interest is the most extensive iconostasis of the Assumption Cathedral in Vladimir, placed in the main cathedral of Moscow Rus', the “universal church,” as one of the chroniclers put it.

The Vladimir Assumption Cathedral, mentioned in the chronicles, the oldest monument of the pre-Mongol era, erected in the second half of the 12th century under princes Andrei Bogolyubsky and Vsevolod the Big Nest, was the metropolitan's cathedral. The temple, devastated and burned by the Horde conquerors, needed restoration. Moscow Prince Vasily Dmitrievich, a representative of the branch of the Vladimir princes, descendants of the Monomakhs, undertook the renovation of the Assumption Cathedral at the beginning of the 15th century as a certain logical and necessary act associated with the revival after the victory on the Kulikovo field of the spiritual and cultural traditions of Rus', the era of national independence. 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. Above the local row, which has not survived, there was a huge Deesis rank (height 314 cm). Unfortunately, the Assumption iconostasis has reached 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.

Andrey Rublev. Savior in power, 1408, State Tretyakov Gallery.

“Savior in power” is given symbolically, as if against the background of the universe: the blue-green oval means the sky with heavenly forces - angels; a large red square - the earth with four corners, 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' at that time. Rublev’s “Savior in Power” has not been completely preserved: his face has been altered, the gold on his clothes has been lost, 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 is in Power”) from the early 15th century, attributed to Rublev. The pitted edges of the icon, lost over time, and the uneven dark wood, exposed in places, do not interfere with the complete perception of the image and contrasts with the freshness of the bright colors. The face of the Savior, glowing with transparent reflections, is full of life, painted tenderly and lightly. The movement of the head and neck is natural and speaks volumes about how skillfully the artist paints the human image. The gold shading of the clothing and the shining gold background have been preserved.

Above there was a festive row, of which only 5 icons survived. The iconostasis ended with waist-length icons of the prophets (this is the first example of the prophetic order); only 2 of them have survived. It is interesting that studies of the fastening of the iconostasis revealed the uneven arrangement of the rows of icons. The Deesis rite was brought forward to the worshipers, and the holidays were located a few

The next most important work of A. Rublev was the so-called Zvenigorod rank(between 1408 and 1422), one of the most beautiful icon ensembles of Rublev painting. The rite consists of three waist-length icons: the Savior, the Archangel Michael and the Apostle Paul. They come from Zvenigorod near Moscow, in the past a central appanage principality. Three large icons were probably once part of the 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 there should have been an icon of the Apostle Peter on the left. The surviving icons were discovered by restorer G. Chirikov in 1918 in a woodshed near the Assumption Cathedral on Gorodok, where the princely temple of Yuri of Zvenigorod, the second son of Dmitry Donskoy, was located.

The Zvenigorod rank combined high pictorial merits with depth of figurative content. The soft, soulful intonations, the “quiet” light of his coloring amazingly resonate with the poetic mood of the landscape of the Zvenigorod outskirts. In the Zvenigorod rank, Rublev acts as an established master who reached the pinnacle of that path, an important stage of which was the painting of 1408 in the Assumption Cathedral in Vladimir. Using the possibilities of a half-length image, which seems to bring enlarged faces closer to the viewer, the artist expects long-term contemplation, attentive peering, and an interview.

Andrey Rublev. Spas, 1410s, Tretyakov Gallery

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

Rublev's Savior is a work that had a huge influence on the artist's contemporaries, and on all subsequent generations of Russian people. He is lively, open, majestic, and at the same time there is a softness in him, in accordance with the Slavic type; he has medium-sized facial features framed by a light brown silky beard. The color scheme consists of golden, different shades of ocher, darkish light azure himation (on clothes). The facial expression combined with the color scheme creates the impression of wise calm. The painting on the surface of the board is poorly preserved; only a part with the image of the face of the Savior remains. 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.

During 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 certain 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 a main church in the name of the Trinity, firmly believing that “by looking at the Holy Trinity, the fear of the hated discord of this world was overcome.”

Andrei Rublev's worldview was largely shaped by the ideas of St. Sergius of Radonezh.

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

In the twenties of the 15th century, a team of masters, headed by Andrei Rublev and Daniil Cherny, decorated the Trinity Cathedral in the monastery of St. Sergius, erected above his tomb, with icons and frescoes. The iconostasis included the “Trinity” icon as a highly revered temple image, placed according to tradition 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 about how the abbot of the monastery Nikon instructed Andrei Rublev “to paint the image of the Most Holy Trinity in praise of his father Saint Sergius.”

The plot of “Trinity” is based on the biblical story of the appearance of deity to righteous Abraham in the form of three beautiful young angels. Abraham and his wife Sarah treated the strangers under the shade of the Mamre oak, and Abraham was given to understand that the deity in three persons was embodied in the angels. Since ancient times, there have been several options for depicting the Trinity, sometimes with details of the feast and episodes of the slaughter of a calf and the baking of bread (in the gallery’s collection these are 14th-century Trinity icons from Rostov the Great and 15th-century icons from Pskov).

In the Rublevskaya icon, attention is focused on the three angels and their condition. They are depicted seated around a throne, in the center of which is a Eucharistic cup 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, signifying God the Father, blesses the cup with his right hand. The middle angel (Son), depicted in the gospel clothes of Jesus Christ, with his right hand lowered onto the throne with a symbolic sign, expresses submission 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 (the Holy Spirit) completes the symbolic conversation between the Father and the Son, affirming the high meaning of sacrificial love, and comforts the doomed to sacrifice. Thus, the image of the Old Testament Trinity (that is, with details of the plot from the Old Testament) turns into the image of the Eucharist (the Good Sacrifice), symbolically reproducing the meaning of the Gospel Last Supper and the sacrament established at it (communion with bread and wine as the body and blood of Christ) They see in the circle a reflection of the idea of ​​the Universe, peace, unity, embracing plurality, cosmos. When comprehending the content of the Trinity, it is important to understand its versatility. The symbolism and polysemy 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 a symbolic meaning. The depth of Andrei Rublev's awareness in the field 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 enlightened society of that time 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. Andrei Rublev's paintings are distinguished by their special purity of color, the nobility of tonal transitions, and the ability to impart a luminous radiance to the color. Light is emitted not only by golden backgrounds, ornamental cuts and assists, but also by the delicate melting of bright faces, pure shades of ocher, and the peacefully clear blue, pink and green tones of the angels’ clothes. The symbolism of color in the icon is especially noticeable in the leading sound of blue-blue, called Rublevsky cabbage roll.

By comprehending the beauty and depth of content, correlating the meaning of the “Trinity” with the ideas of Sergius of Radonezh, we seem to come into contact with the inner world of Andrei Rublev, his thoughts translated into this work.

The icon was in the Trinity Cathedral of the Trinity Monastery, which later became a monastery, until the twenties of the 20th century. During this time, the icon underwent a number of renovations and copy-pasting. In 1904-1905, on the initiative of I.S. Ostroukhov, a famous collector of icons and trustee of the Tretyakov Gallery, the first thorough clearing of the “Trinity” from later records was undertaken. The work was supervised by the famous icon painter and restorer V.P. Guryanov. The main notes were removed, but the writings were left on the inserts of the new gesso, and in accordance with the restoration methods of that time, additions were made in places of loss that did not distort the author’s painting.

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

The list of Rublev's works does not end there. “Reverend Father Andrei of Radonezh, icon painter, nicknamed Rublev, painted many holy icons, all miraculous.” In addition to the works mentioned above, a number of icons that have not survived are mentioned in various sources. Several monuments that have reached us are associated with the name of Rublev by oral tradition. Finally, in a number of works Rublev’s authorship is established by stylistic analogies. But even in cases where Rublev’s involvement in the work on the monument is documented - this is the case with the icons from the Vladimir Assumption Cathedral - it is extremely difficult to identify 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, according to the author of “The Tale of the Holy Icon Painters,” “wrote many wonderful icons with him.”

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

Rublev's era was an era of revival of faith in man, in his moral strength, in his ability to sacrifice himself in the name of high ideals.

Locally revered as a saint since the 17th century, in our time he has 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 in which 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 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 numerous persecutions and destruction of icons, some of them have still reached us and are of historical and spiritual value.

The life of Andrei Rublev coincides with a turning point in the liberation struggle of the Russian people against the Tatar-Mongol yoke. The work of the famous icon painter marks an important milestone in the history of Russian art. His name is associated with the emergence of an artistic movement that determined the development of Russian painting for many decades.

The Annunciation Cathedral of the Moscow Kremlin was rebuilt in the 15th century, and its painting has not been preserved. Only the Deesis and festive rows of the iconostasis survived, moved to the now existing temple. Only a small part of the paintings has been preserved in the Vladimir Assumption Cathedral. Icons from the iconostasis of this cathedral have also reached us, now on display 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” states that he first lived in the Trinity Monastery in obedience to Nikon, a student of the monastery founder Sergius of Radonezh (Nikon was the Trinity abbot from 1390, died in 1427). According to the “Tale,” Nikon “commanded” Rublev to paint the icon of the Trinity “in praise of his father, Saint Sergius the Wonderworker.”

We know about Rublev’s other major works from the lives of Sergius and Nikon. Between 1425-1427, he, together with his friend and “spostnik” Daniil Cherny, participated in the creation of the now unpreserved paintings of the Trinity Cathedral of the Sergius Monastery, and then painted the Spassky Cathedral of the Moscow Andronikov Monastery, of which he was an elder. Rublev died there in 1430.

Of course, the list of Rublev’s works is not limited to this. “Reverend Father Andrei of Radonezh, icon painter, nicknamed Rublev, painted many holy icons, all miraculous.” In addition to the works mentioned above, a number of icons that have not survived are mentioned in various sources. Several monuments that have reached us are associated with the name of Rublev by oral tradition. Finally, in a number of works Rublev’s authorship is established by stylistic analogies. But even in cases where Rublev’s involvement in the work on the monument is documented - this is the case with the icons from the Vladimir Assumption Cathedral - it is extremely difficult to identify 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, according to the author of “The Tale of the Holy Icon Painters,” “wrote many wonderful icons with him.”

If the biographical information about Rublev that has reached us is replete with contradictions and anachronisms, then in the description of the master’s personality and in the assessment of his art, the sources reveal a rare unanimity. Andrei and Daniel appear in their depiction as “wonderful virtuous elders and painters,” “surpassing everyone in virtues.” Rublev especially emphasizes that he “far surpassed everyone in wisdom.”

To recreate the creative appearance of Rublev, the information communicated to Joseph of Volotsky in 1478 by the former abbot of the Trinity Sergius Monastery, Elder Spiridon, is very important. According to Spiridon, the amazing and famous icon painters Daniel and his student Andrei, monks of the Andronikov Monastery, were distinguished by such virtues that they were awarded unusual talents and were so successful in improving 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 us to penetrate deeper into the figurative structure of his works and comprehend the essential features of his painting 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 became widespread among the followers of Sergius of Radonezh. According to these ideas, in order to reliably display the objects of mental contemplation, instead of showing the empirical “shadows of things” their true nature, the painter had to become a contemplator, unless he wanted to remain a craftsman copying other people's samples. He had to regain the lost natural state - harmony of feelings, clarity and purity of mind. As the mind improved, it acquired the ability to perceive “immaterial” light. By analogy with physical light, without which it is impossible to see the world around us, mental light - knowledge and wisdom - illuminated the true nature, the prototypes of all objects and phenomena. The intensity of the manifestation of this light and the clarity of speculation were placed in direct dependence on the degree of moral purity of the contemplator. The painter, more than anyone else, needed to cleanse the “eyes of the mind,” clogged with deceptive sensual “thoughts,” because, as Basil of Caesarea stated, “true beauty is contemplated only by those who have a purified mind.” In achieving moral purity, a special role was assigned to the virtue of humility. It is no coincidence that in sources the epithet “humble” is often attached to Rublev’s name. Isaac the Syrian called humility a “mysterious power” that only the “perfect” possess; It is humility that gives omniscience and makes any contemplation accessible. He considered contemplation of the Trinity to be the highest and most difficult to achieve.

We do not know exactly when Andrei Rublev was born. Most researchers believe that he was born in central Russia, around 1360, and before 1405 he became a monk with the name Andrei. The earliest information about the artist dates back to the Moscow Trinity Chronicle. Among the events of 1405, it is reported that “this spring the stone church of the Holy Annunciation was painted in the court of the great prince... and the masters were Theophanes the icon-maker the Greek, Prokhor the elder from Gorodets, and the monk Andrei Rublev.” The last mention of the master’s name, according to the then tradition, meant that he was the youngest in the artel. But at the same time, participation in the honorary order to decorate the house church of Grand Duke Vasily Dmitrievich, the eldest son of the legendary Dmitry Donskoy, along with the then famous Feofan the Greek in Rus', characterizes Andrei Rublev as already a fairly recognized authoritative master.

As a young man, he probably heard stories about the victory won by the Russians over the Tatars, the so-called “Tales of the Massacre of Mamayev,” in which echoes of “The Tale of Igor’s Campaign,” the most poetic of ancient Russian poetic creations, sounded. True, the victory on the Kulikovo Field did not immediately break the forces of the Tatars, but it dispelled confidence in the invincibility of the Tatar army, raised the strength of the Russian people, and awakened the country from centuries-old torpor.

The course of historical events of that time led to the inevitable end of Byzantium. The center of Orthodoxy was supposed to move to Russian lands. But there was no united Rus'; its lands were divided among themselves by the Horde, Poland, and Lithuania. Life in Rus' was painfully difficult. One could take refuge in monasteries and lonely deserts from the constant robbery caused by the raids of many enemies and the infighting of princes. At the end of the 15th century they became widespread; many people leave their homes, go into dense forests and start a new life in need and deprivation. They strive in solitude for internal improvement and concentration; No wonder one contemporary compared them with the ancient sage Diogenes. But unlike the eastern hermits, the gloomy ascetics glorified by the brush of Theophan, the Russian Chernetsy of the 15th century never faded the desire for practical activity: they knew how to break through the thicket of the forest with an ax, gather people around their cells, and lead a tireless working life. This movement captured almost all of central Russia and soon spread to the north. Its source was the Trinity-Sergius Monastery near Moscow. It is possible that Andrei Rublev spent his youth here.

In the way of life of the Trinity Monastery, the original simplicity was preserved for a long time. In the church they performed services with torches, wrote on birch bark, and built churches from wood. The life of its inhabitants was filled with persistent, measured work. “Who writes books, who studies books, who weaves fishing nets, who builds cells, some carry firewood and water to the bakery and cookhouse, others prepare bread and brew” (5.339) - with these words a contemporary describes the life of a Russian monastery of that time. This life at the Sergius Monastery was to have a profound impact on the artist’s character. Who knows, maybe, looking at the elders of Theophanes and turning away from them with his whole being, Rublev remembered the advice of his teachers - to preserve, above all, dovelike simplicity, to value it above previous wisdom?

There is every reason to think that among Rublev, Byzantine writers who preserved the traditions of ancient Greek philosophy were known and respected. Some of their works were translated into Russian at that time. They conveyed the idea that in art everything has an allegorical meaning, and in order to reliably display the objects of mental contemplation, instead of showing the empirical “shadows of things” to show their true nature, the painter had to become a contemplator, unless he wanted to remain a craftsman copying other people's samples. He had to regain the lost natural state - harmony of feelings, clarity and purity of mind. As the mind improved, it acquired the ability to perceive “immaterial” light. By analogy with physical light, without which it is impossible to see the world around us, mental light - knowledge and wisdom - illuminated the true nature, the prototypes of all objects and phenomena. The intensity of the manifestation of this light and the clarity of speculation were placed in direct dependence on the degree of moral purity of the contemplator. The painter, more than anyone else, needed to cleanse the “eyes of the mind”, clogged with deceptive sensual “thoughts”

And he experienced happy moments of great artistic contemplation. Those close to him could not understand what he found in the ancient icons, the works of his predecessors, why he did not bow in front of them, did not light candles, did not whisper prayers, but, fixing his gaze on their marvelous forms, in the hours free from work he sat for a long time in front of them (a Russian writer told a story about this 100 years after Rublev’s death).

We know very little reliable about the first steps of Rublev's artistic development. But there is reason to believe that in his early years it was he who decorated the gospel of the Annunciation Cathedral and, in particular, made a miniature - an image of the symbol of the Evangelist Matthew in the form of an angel.

In 1408, at the initiative of the Moscow Grand Duke, it was decided to decorate the then dilapidated Assumption Cathedral in Vladimir with fresco painting. In those years, Feofan was no longer alive, and therefore the choice of customers fell on Andrei Rublev, who had distinguished himself three years earlier. His senior friend from the Andronikov Monastery, Daniil Cherny, also took part in the work with him. Due to Daniel’s seniority, his name is placed first in the chronicle record of this event. But the decisive role, apparently, belonged to Rublev. They painted the walls that greet the visitor at the entrance to the majestic arches of the cathedral. Here Rublev was supposed to present the Last Judgment.

For Rublev's contemporaries, the Last Judgment was the natural conclusion of the entire history of mankind. No one doubted that his attack was imminent. But what awaits people at the hour of doomsday? The Byzantines painted the anger of the judge with bright colors, developed the theme of severe retribution, and emphasized the edifying meaning of the trial. In Russian legends, conciliatory notes, hope for the mercy of the judge, and expectation of the bliss of the righteous are more prominent. Accordingly, Rublev’s painting is permeated with the spirit of joy and cheerfulness. The very pictures of hellish torment, apparently, did not interest him much, but he vividly presented the hosts of the righteous glorifying the creator, the slender forefathers touchingly fallen before the throne, the apostles seated on either side of the judge, the righteous and saints whom the apostles accompany to heaven, and finally, captivatingly graceful angels , announcing with a trumpet the coming of the solemn hour. In Byzantine images of the Last Judgment, the figures are distinguished by their burden, physicality, menacing bodies tread heavily on the ground. On the contrary, Rublev’s figures are unusually light, airy, almost weightless; They either walk impetuously, or soar smoothly, or quickly ascend. Rublev perfectly connected his figures and groups with the round arches of the ancient cathedral. The walls covered with his paintings easily rise up, the pillars part, and the arches, repeating the outlines of the figures, begin to sound melodiously.

The ability to unite large multi-figure groups with a single, emotional sound is one of the features of Andrei Rublev’s compositional gift.

Russian art contains many great works written by masters of the brush. All this can be fully attributed to the personality of the Russian icon painter, whose name is known to everyone.

Andrei Rublev created many beautiful works, his biography is a clear confirmation of this.

Basic information about life: childhood and adulthood

Today very little is known about the life of the saint who has already been canonized in our time.

His birth is usually associated with 1360 or, in some sources, 1370.

It is also not entirely clear who his parents were. Perhaps they came from a noble class, or perhaps they were simple farmers. There is a version that the father of the Russian artist came from the craft class. This conclusion is drawn from his last name, because a ruble is one of the carpentry tools. Although other versions are possible here.

Most likely, Andrey is the monastic name of the icon painter. The name given to him at birth was lost through the centuries.

Mentions of this monk with God's miraculous gift date back to 1405 and 1408. They are connected with which were reflected in the chronicles.

Historical life of A. Rublev

The monk and icon painter Andrei Rublev managed to do a lot during his life. His biography, although sparse in information, allows us to understand at what time this Russian artist lived.

And the historical period was difficult, although there has never been an easy time in Russia.

It is believed that Andrei Rublev was born in the Principality of Moscow, which was going through a difficult period in the second half of the 14th century. Moscow fought with Tver for the right to lead the fragmented Russian state, which was shaken by internecine strife and raids by Horde nomadic conquerors. In addition, it was during these years that the plague raged in Moscow, which either went away or returned again, taking with it thousands of human lives.

In 1380, the famous Battle of Kulikovo took place, which marked the beginning of the liberation of Russian lands from the power of the Horde khans and the primacy of Moscow among other Russian cities.

During the same period lived the great Sergius, popularly nicknamed Radonezh. At this time, the icon painter Andrei Rublev also painted his amazing images.

And, despite all the complexity, there was some kind of prophetic enlightenment at this time, which gave hope that Rus' could be reborn and become a strong and spiritually enlightened power.

Monk Andrey in Sergeyeva Lavra

Several centuries later, when Rublev’s name entered Russian books, they told that Andrei studied the art of icon painting from his early youth under the guidance of experienced artists from the Trinity-Sergius Monastery. This happened under the disciple of St. Sergius Nikon, also nicknamed Radonezh.

In many ways, the development of the young man was influenced by the monastic and human feat of the first abbot of this monastery. Of course, the example of Sergius inspired young Andrei to create lofty and spiritual images.

Rublev’s icons and, first of all, his famous “Trinity” remained kept in the monastery, where they were discovered hundreds of years later by art historians, amazed by the skill of the ancient artist.

Andronikov Monastery

Further, the path of life led monk Andrei to the Andronikov Monastery, also founded by a disciple of St. Sergius named Andronik. The talented painter was revered at that time. Thus, it is known that one of the sons of Dmitry Donskoy, Vasily Dmitrievich, invited Andrei Rublev to paint the palace chambers in the Kremlin itself.

The work of Andrei Rublev gradually began to attract the attention of his contemporaries. The chronicle of 1405 says that it was this monk who was involved in painting the Annunciation Cathedral in Moscow, together with the famous artist of that time, Theophan, nicknamed the Greek, and Elder Prokhor. However, these paintings have not survived to this day due to the grandiose reconstruction of this cathedral.

Icons from the Annunciation Cathedral

The Annunciation Cathedral itself has not survived, but by some miracle the iconographic faces from this temple have survived to our time. There are seven icons in total, which are attributed to the artist’s brushes.

Rublev's icons are the “Nativity of Christ”, “Baptism”, “Entrance into Jerusalem”, “Annunciation”, “Candlemas”, “Resurrection of Lazarus” and “Transfiguration”.

These icons, some of which are still kept in museums across the country today, such as the famous Tretyakov Gallery, amaze viewers not only with their successful composition and the special airiness of the images depicted on them, but also with the special expression that is written on their faces. This is extraordinary spiritual purity and deep faith.

A perfectly selected color palette only enhances this feeling.

Assumption Cathedral in the city of Vladimir

Another milestone in Rublev’s creative biography, recorded in scrupulous chronicle sources, was his work together with other painters of that time on the paintings of the Assumption Vladimir Cathedral. This was around 1408.

In addition to painting the walls, the masters created several iconographic faces, some of which are in museums today. The Russian heritage is preserved not only by the Andrei Rublev Museum, but also by the Tretyakov Gallery.

It was at this time, according to art historians, that the famous icon of the master called “Our Lady of Vladimir” was painted.

Most likely, Monk Andrei already worked in this cathedral together with his disciples. Today, everyone can see here some of his frescoes, which surprise with their expressiveness and special enlightened spirituality.

Holy Trinity Church

It is known that somewhere in the 20s. In the 15th century, monks and Andrei Rublev (these years are approximate) worked on the paintings of the temple that was built over the burial place of the Venerable Abbot Sergius.

The temple was founded in stone (it still stands today). However, the frescoes of this cathedral have not survived to this day, but even today you can see the real icons of Rublev created for this church. These are “Apostle Paul”, “Archangel Michael” and “Baptism”. In their manner of writing and the way they depict figures, these icons are very close to the style of the famous “Trinity”. The Andrei Rublev Museum houses these priceless treasures.

Judging by chronicle sources, Andrei Rublev’s comrade, the monk Daniel, nicknamed the Black, died in the Trinity Lavra. This is where he was buried. Father Andrei went to the Andronikov Monastery to create his last works there.

Latest works of the icon painter

According to scientists, the master’s last work was the painting of the Church of the Savior, which he completed around 1428.

Andrei Rublev lived a long creative life; the artist’s biography tells us about the day, hour and place of his death.

The famous Russian icon painter died in January 1430 (most likely on January 29). He was buried in Moscow, in the Andronikov Monastery (by the way, it was thanks to the fact that Father Andrei Rublev found his last refuge here that this ancient monastery was not destroyed during the Soviet years).

In 1989, hundreds of years later, Father Andrei was canonized by the Russian Church.

The work of Andrei Rublev: famous finds in Zvenigorod

The name of the Russian artist of Ancient Rus' would have remained consigned to oblivion if not for the amazing discovery made by Igor Grabar. By chance, in the quiet town of Zvenigorod near Moscow, near an ancient temple, he discovered amazing icons, which, as it turned out later, belonged to the brush of Andrei Rublev. Moreover, this find lay in an ordinary barn!

The icons were called the “Zvenigorod rite”, and only after a while it became known that their author was Andrei Rublev. Let's briefly look at all these works.

The most famous of them is the icon called “Spas”, which has only partially survived. But the eyes of Christ, turned to the people looking at him, amaze the audience. We can say with confidence that from the icon the face of the God-Man looks at us, devoid of sin and passions and filled with a feeling of love for all living things and endless compassion.

Everyone passing by this icon (and it is kept in the Tretyakov Gallery) cannot help but stop their gaze on it. The original “Trinity” is also kept there, in the Tretyakov Gallery. The fate of this icon is very interesting.

Andrei Rublev put a lot of divine meaning into his creation. The artist’s biography cannot tell us the secret of how a simple Russian monk was able to rise to such a height of spiritual comprehension of God’s world. Perhaps Exupery was right: “You cannot see the most important things with your eyes.”

For many centuries, this icon hung in a heavy and bulky frame, hidden from everyone by these jewels, and only at the beginning of the last century were art historians able to open it, clean it of the layers of many centuries and understand that this is a true masterpiece.

Andrei Rublev (c. 1360-1428) is the greatest of the ancient Russian painters, the author of icons, frescoes and book miniatures.

Only fragmentary information from chronicles has reached us about his life. There is no exact information about where the icon painter was born (probably in Moscow or Novgorod), but it can be assumed that he came from a family of artisans. The nickname “Rublev” hints at this, since the “ruble” is a tool for leather production. The icon painter received the name Andrei after taking monastic vows at the Andronikov Monastery. His worldly name has not reached us.

Russian culture. Andrey Rublev

At the end of the 1390s, Rublev worked on the decoration of the “Khitrovo Gospel”, book miniatures of which became the first works of the master that have come down to us. In 1405 he, together with the famous Feofan the Greek and Prokhor from Gorodets painted Annunciation Cathedral of the Moscow Kremlin. Obviously, Rublev's older co-authors were his teachers. The paintings of the Annunciation Cathedral did not last long: in 1416 the temple was completely rebuilt. Only the iconostasis has survived, for which Rublev painted 7 icons of the festive order.

In 1408, Rublev painted frescoes and icons in the Assumption Cathedral in Vladimir, together with his faithful friend and fellow priest Daniil Cherny. In the 1410s, the master worked on the paintings and iconostasis of the Assumption Cathedral on Gorodok in Zvenigorod. Three icons with the image of the Savior, Archangel Michael and Apostle Paul, attributed to the brush of Rublev, have survived. Today they are in the Tretyakov Gallery.

Andrey Rublev. Spas Zvenigorodsky. 1400

In 1425-1427, Rublev, together with Daniil Cherny, painted the interiors of the Trinity Cathedral Trinity-Sergius Monastery, founded by Sergius of Radonezh, but these frescoes have not survived to this day. Probably the Trinity icon, the most famous of the Rublev icons, was painted for the iconostasis of this temple.

Andrey Rublev. Trinity. OK. 1411

In the spring of 1428, Rublev worked on the painting of the Spassky Cathedral of the Andronikov Monastery. He was buried near the bell tower of the cathedral in the fall of the same year, having died during the plague epidemic.

As we see, only a few works by Rublev have reached us. But even the little that we have today allows us to unconditionally judge his work as the pinnacle of ancient Russian painting. In his art, Rublev combined the traditions of Byzantine painting, refined and noble, but somewhat harsh, gloomy and ascetic, with the characteristic features of Moscow icon painting, with its bright lyricism and sincerity.

Rublev’s images are not just surrounded by an aura of warmth and humanity, they carry great inner strength, extraordinary moral purity and spirituality. I want to look at Rublev’s icons for a long time, immersing myself in an atmosphere of goodness, love and peace, universal peace and harmony, consonant with the soul of any Russian person. An impeccable sense of color and composition, perfection of forms and proportions, harmonious softness of the painting style make one speak of Rublev’s works as the best examples of Russian painting.

Andrey Rublev. Our Lady of Vladimir. OK. 1408

Andrei Rublev was famous during his lifetime, and after his death his name literally became a legend. Almost all Moscow icon painters of the 15th-16th centuries were influenced by the Rublev style. In 1551, at the Stoglavy Cathedral, Rublev’s icons were officially proclaimed as role models.

According to contemporaries, Rublev was distinguished by extraordinary wisdom and righteousness. Since the 16th century, he has been revered as a local Moscow saint. In 1988, the Russian Orthodox Church canonized Andrei Rublev as a saint.

In 1966, the “cult” film director Andrei Tarkovsky directed the historical drama “Andrei Rublev” based on the life and spiritual quest of the great icon painter. In it, unfortunately, he did not avoid a disdainful attitude towards Ancient Rus', which was stubbornly instilled by the then dominant communist ideology.

Based on materials from the works of I. I. Mosin. For other articles about ancient Russian art, see below, in the block “More on the topic...”