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."
For the Russian people and world Orthodoxy, the icon painter Andrei Rublev became a symbol of art and a certain standard of the Russian person, the greatness of the Slavic spirit. The master’s icons and frescoes breathe harmony with the universe, reminiscent of a lost paradise, happiness and serenity.
Fans compare the icon painter's work to poetry. It is just as thorough, eternal and brilliant. Peering into the faces of the Rublev saints, you see self-sacrifice, beauty and greatness of man. Andrei Rublev understood the essence and spirit of faith in God, so the Russian Orthodox Church canonized the icon painter, canonizing him among the reverend saints.
Childhood and youth
The icon painter was allegedly born in 1360 on the territory of the Moscow Principality (other sources indicate Veliky Novgorod as Rublev’s birthplace). Information about the artist’s childhood, youth and family is extremely scarce. Historians and art historians, based on the surname Rublev, have suggested that Andrei’s ancestors on his father’s side are artisans.
The name Andrei Rublev was given after his monastic tonsure in a monastery on the left bank of the Yauza, known to us as Andronikov. The worldly name of the artist is not known. Researchers agreed that Andrei Rublev’s patronymic was Ivanovich: on the surviving icon of that time, they could discern the signature “Andrei Ivanov son Rublev.”
Iconography
The biography of the saint dates back to 1405 - this is the year of the first written mention of Andrei Rublev. The chronicle says that the monk Rublev, together with Theophan the Greek who arrived from Kafa and Prokhor the Elder, painted the walls of the Annunciation Cathedral in the Moscow Kremlin. Collaboration with icon painting luminaries was entrusted to the artist whose skill was not questioned. Art historians suggest that already in his youth Andrei Rublev had experience in Slavic artistic icon painting.
Working in tandem with Feofan, whose style of writing is called pictorial cursive for its precise and clear strokes, was an honor for the young master. The Greek icons amaze with their grandeur; the faces of the saints he depicts are stern and brilliant in every stroke. But having adopted the best in technology, Andrei Rublev developed his own style of icon painting, which does not contain the drama and severity of Theophan the Greek. Rublev's icons are filled with calm, clarity and harmony. Art critics point to the artist’s palette, as if inspired by a sunny summer day: here are golden fields with cornflower blue splashes, a scarlet dawn and a turquoise river.
The painting of the Annunciation Cathedral has been lost, but seven icons have been preserved in the cathedral iconostasis, which are attributed to the brushes of Andrei Rublev. It is believed that the artist painted the figures of the Apostle Peter and the Archangel Michael. His hand is recognized in the images of the martyrs Dmitry and George, as well as in icons dedicated to the main events of the Christian Church. The work of Andrei Rublev is called the fresco “Transfiguration”, where the “Rublev” palette is easily recognizable. The silhouette is inscribed in a circle, the apostles are located in a semicircle. Andrei Rublev considered the circle to be an ideal geometric figure; the circle is found in the works of the last decade.
At the beginning of the 15th century, Andrei Rublev, together with his comrade-in-arms Daniil Cherny, painted the Assumption Cathedral near Zvenigorod. Probably, the icon painter received an invitation from his godson, Prince Yuri of Zvenigorod. In the surviving frescoes, Rublev's technique is evident, but his brushes most likely belonged only to images of saints Florus and Laurus. The remaining icons were painted by artel artists, whose style was influenced by the work of Andrei Rublev. The icon painter’s works include three frescoes of the “Zvenigorod rank”.
The icon “Spas” embodied a new tradition, which marked the golden age of the heyday of Russian icon painting. The early works of Andrei Rublev include illustrations for the “Gospel of Khitrov”. The artist painted miniatures of the evangelists and their symbols. The miniature of an angel, a symbol of the Evangelist Matthew, is mesmerizing. The “Rublev” circle is encountered again, in the center of which is a walking winged young man. The composition seems to push the idea of returning everything to normal. The miniatures for the “Gospel of Khitrov” echo the Byzantine tradition, but Andrei Rublev’s saints differ from the images of the Greeks in a certain spiritual calm, depth in spiritual life and detachment from the external.
The second written mention of the master dates back to 1408. It talks about the beginning of painting by Andrei Rublev and Daniil Cherny of the Vladimir Church. The masters painted the Assumption Cathedral, built before the invasion of the Mongol horde. Frescoes of the Last Judgment of Rublev and Cherny were placed in the western part of the temple, on its vaults. This master’s work is the most famous of Vladimir’s. The images are not disparate canvases, but a single whole. Most researchers agree that the “Vladimir Mother of God” belongs to the master’s brush.
The Prophet Daniel with an angel pointing to the fresco of the Last Judgment, the righteous led by the Apostle Peter to heaven, trumpeting angels - in the Apocalypse of Andrei Rublev there is no edification and the desire to frighten, characteristic of Byzantine icon painters. Rublevsky's Last Judgment is more merciful; it gives hope for deliverance. At the end of 1408, the Tatar horde of Khan Edigei moved to Rus'. The army destroyed Serpukhov, Pereslavl, Nizhny Novgorod and Rostov, and approached Moscow. The Trinity Monastery was destroyed, and in 1410 the Tatars attacked Vladimir, destroying the Assumption Cathedral.
Traces of the icon painter are lost; nothing is heard of him for two decades. Perhaps during these difficult times for Rus', Andrei Rublev took refuge in the Andronikov Monastery. The restoration of the Trinity-Sergius Monastery began in 1422. The third mention of the master dates back to this period. Above the tomb of Sergius of Radonezh, instead of a burnt wooden one, a stone temple appeared. Abbot Nikon invited Andrei Rublev to paint it. The master created an icon in the Trinity Cathedral, which art critics call a masterpiece and the pinnacle of Rublev’s creative heritage.
The famous “Trinity” amazes with the perfection of its composition. And again Andrei Rublev resorts to the circle created by the figures of angels bent over the bowl. Art historians agree that the icons “Savior”, “Apostle Paul” and “Archangel Michael” belonging to the “Zvenigorod rite” belong to the brushes of Andrei Rublev. They are kept in the State Tretyakov Gallery. Other icons and frescoes attributed to Rublev are called by researchers the work of an artel or Rublev's contemporaries who copied his style.
Personal life
In his youth, Andrei Rublev was ordained as a monk. He gave up the desire to have a family and children. His whole life was devoted to serving God and creativity in the name of his glorification. There is no information about the artist’s relatives. It is unknown whether he had any brothers, sisters or nephews.
Death and memory
The icon painter died in the late autumn of 1428 from the plague epidemic that was raging in Moscow. Death overtook Andrei Rublev in the Andronikov Monastery, where in the spring he, together with Daniil Cherny, worked on his fourth work - the frescoes of the Spassky Cathedral (they have not survived). Soon after the icon painter his faithful colleague and friend left. According to legend, before his death Andrei Rublev appeared to Daniil Cherny, “in joy calling him to heaven.” Andrei's appearance seemed joyful and bright to Daniel.
The icon painter was buried near the bell tower of the Spassky Cathedral. In 1988, the artist was canonized and canonized, establishing July 17 as his memorial day. In the mid-1990s, archaeologists discovered the ancient throne of the Spassky Cathedral, and next to it the relics. They were attributed to the famous master, but the statement was soon recognized as erroneous.
Researchers call the generally accepted date of the artist’s death erroneous, claiming that Andrei Rublev died at the end of January 1430. Architect P. D. Baranovsky insists on the date January 29, 1430. The architect assured that it was precisely this that was carved on Rublev’s tombstone before it was lost. The Andrei Rublev Museum of Ancient Russian Art was built on this site, the founder of which was the architect Pyotr Baranovsky.
In the late 1940s, a reserve appeared in the Spaso-Andronikov Monastery. The great Rublev is also remembered in Vladimir: a monument to the icon painter stands at the entrance to the park named after A.S. Pushkin. A crater on Mercury was named in honor of the saint, a series of commemorative coins and a postage stamp were issued. In 1966, the director shot the film drama “Andrei Rublev” at the Mosfilm studio. The original title of the painting, “The Passion of Andrew,” was abandoned. The film consists of eight short stories, in which the turmoil of the Middle Ages is described through the eyes of the monk Andrei Rublev. The artist was played by actor Anatoly Solonitsyn.
Icons and frescoes
- Archangel Michael from the Deesis rank, 1414
- Ascension of the Lord, 1408
- Apostle Paul from the Deesis rank, 1410s. State Tretyakov Gallery (TtG)
- Savior in power, 1408
- Spas, 1410s
- Descent into Hell, 1408-1410. Tretyakov Gallery
- Nativity. Annunciation Cathedral of the Moscow Kremlin
- Archangel Michael, 1408. Cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
- Archangel Gabriel, 1408. Cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
- Our Lady, 1408. Cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
- Gregory the Theologian, 1408. Cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
- John Chrysostom, 1408. Cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
- John the Theologian, 1408. Cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
- John the Baptist, 1408
- Andrew the First-Called, 1408. Cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
- Annunciation, 1405
- Transfiguration, first quarter of the 15th century. Tretyakov Gallery
- Holy Trinity, 1410s. Tretyakov Gallery
On July 17, the Orthodox Church honors the memory of the holy icon painter, Reverend Andrei Rublev. The exclusivity of his icons was appreciated in antiquity, and from the 16th century the famous “Trinity” began to serve as an official model for Russian icon painters. We invite you to remember 7 amazing faces of the artistic genius of Ancient Rus'.
"The Last Judgment." Face of Christ
Thousands of people from all over the world come to Vladimir to visit the Assumption Cathedral and see the unforgettable frescoes created in 1408 by Daniil Cherny and Andrei Rublev. This painting today is the only monument of Rublev’s art confirmed in chronicles. Executed in the Byzantine tradition, the painting of the Second Coming of Christ is reinterpreted. The central figure of the composition is undoubtedly Christ, who seems to descend from heaven to the viewer waiting for Him. He seems surprisingly close, his face is bright and gentle. He brings peace and salvation to people. The presence of each participant in the picture is justified and symbolic: the Angel, twisting the heavens, like a scroll, announces the approach of Judgment; the prepared Throne with the instruments of the Passion recalls the atoning sacrifice of the Savior; the figures of the ancestors symbolize the bonds of original sin. Under the figure of Christ are the Mother of God and the Forerunner, who remind the viewer of the incessant prayer of the patron saints of the human race. Their prayer seems to be continued by the faces of the apostles, who look benevolently and at the same time sternly at the viewer. Almost for the first time in Russian art, the idea of a righteous and merciful Court was embodied in this picture in such a perfect artistic form.
"Trinity". Faces of Angels
By the time Rublev painted the Old Testament Trinity icon (1411 or 1425-1427 (?)), there was a tradition of depicting this biblical episode, which was based on the legend of the hospitality of the forefather Abraham, receiving and treating three strangers. The Rublev icon became a new look at a well-known plot. There are no traditional Abraham and Sarah on it; in the background, their home and the Mamre Oak, under which the meal was served, remain almost invisible. Three Wandering Angels appear before the viewer. They sit in calm silence around the table with refreshments. Everything here is aimed at creating unsurpassed drama and reflective contemplation. The central Angel is identified with Christ, whose figure sets the circular rhythm of the entire composition: the silhouettes echo each other with the sliding and falling lines of clothing, bowed heads, and turned gazes. Equivalent figures of Angels are in unity with each other and in absolute agreement. Living specifics are replaced here by a sublime image of the eternal council and predestination of Christ’s sacrifice. You can see Rublev’s “Trinity” in the Tretyakov Gallery.
"Zvenigorod rank". Face of the Savior
In 1918, in a woodshed near the Zvenigorod Assumption Cathedral “on Gorodok,” three Deesis icons were discovered, which were attributed to I. Grabar based on a stylistic analysis of Rublev’s brush. Later, researchers almost unanimously accepted the attribution of Grabar, despite the fact that Rublev’s authorship was never documented. The “Zvenigorod rite” includes three icons: “Savior”, “Archangel Michael” and “Apostle Paul”. The most perfect, undoubtedly, is the image of the Savior, whose calm, thoughtful and surprisingly benevolent gaze is directed at the viewer. Hope, the promise of intimacy and heartfelt participation, along with sublime, ideal beauty, which is infinitely removed from the world of ordinary people - the Russian icon painter managed to perfectly embody all this.
"Zvenigorod rank". Face of Archangel Michael
The second icon of the “Zvenigorod rank” was the image of Archangel Michael. His face, turned to the Savior, seems to echo him with thoughtful meekness and tranquility of his gaze. This image refers us to the Angels of the Holy Trinity, and not only in its humility, but also in its visual similarity - a long, flexible, slightly elongated neck, a cap of thick curls, a bowed head. The third icon - “Apostle Paul” - was made in a manner different from Rublev’s, so a number of researchers believe that this face would have been created by another master, for example, Rublev’s long-time associate, Daniil Cherny. You can see the icons of the Zvenigorod rank in the Tretyakov Gallery.
List of icons of the Mother of God of Vladimir. Face of the Virgin Mary
Despite the obvious discovery of features of Rublev's writing, the author of the icon could not have been Rublev himself, but someone from his inner circle. Grabar unequivocally states that the work was made by a great master: “Everything here is from Rublev - the cold bluish overall tone, the character of the drawing, facial features, with the slight hump of the nose typical of Rublev, graceful hands, the beautiful silhouette of the entire composition, the rhythm of lines and harmony colors." The traditional Byzantine prototype - the Mother of God holding Her Son on her right hand and tenderly bending towards Him - was realized with some, most likely deliberate deviations. This is especially true for the figure of the Mother, since the Child is reproduced exactly according to the Byzantine model. In the figure of the Mother of God, the anatomical correctness of the forms is violated, first of all, the bend of the neck, which allows the Mother’s face to come as close as possible to the face of Jesus. Their gazes meet. The hands of the Virgin Mary are amazingly depicted, wide open in a prayerful gesture. The Mother's face is covered with a maforium, which, like a dome, extends over the Baby, protecting and calming him. And, of course, one is struck by Rublev’s tranquility, purity, absence of sorrow and suffering, filled with silence, peace and a feeling of love in the face of the Mother of God. You can see the icon in the exhibition of the Vladimir-Suzdal Museum-Reserve.
Trinity iconostasis. Face of Dmitry Solunsky
The name of Rublev is associated with the creation of the iconostasis of the Trinity Cathedral of the Trinity-Sergius Lavra. The icon painter's brush is supposedly visible in the icons of Archangel Gabriel, Demetrius of Thessaloniki and the Apostles Peter and Paul. The Trinity iconostasis is unique. It is the only architectural and picturesque temple ensemble that has been completely preserved to this day, created during the heyday of ancient Russian art. Who painted these icons - Andrei Rublev or Daniil Cherny - still remains a mystery. During the latest restoration work, a firm belief was expressed only that among the icons there are undoubtedly those that belong to Rublev. When looking, for example, at the image of Dmitry Thessaloniki, I really want to believe that it was painted by Rublev: the same head bowed in meek contemplation, the same graceful hands raised in prayer, the same cap of thick curly hair, the same wide-open and childishly naive eyes, the same meekness and tranquility.
Gospel Khitrovo. Face of the Evangelist Matthew
Another hypothetical monument of Rublev's writing - miniatures of the altar Gospel of Khitrovo - stand out in the heritage of the icon painter. This unique example of a manuscript, kept today in the collection of the Russian State Library, was presumably made in one of the best workshops of the Grand Ducal Moscow at the turn of the 14th-15th centuries. The text of the manuscript is accompanied by eight miniature front illustrations depicting the evangelists and their symbols. The style of the miniatures suggests that they were painted by Theophanes the Greek, Daniil Cherny and Andrei Rublev, while the names of the last two icon painters are most often mentioned. There is no consensus among scientists: for example, G. Vzdornov believes that they all belong to the brush of Cherny, and O. Popova convincingly proves the opposite - they were all created by Rublev. The symbolic image of the Evangelist Matthew is most often attributed to Rublev. The tilt of the neck, the outline of the head of fluffy hair, and the type of face are very close to the Rublev images created by the master in the Vladimir frescoes. However, Angel's gaze is harsher. In clothes flying through the air with the Gospel in his hand, he quickly moves towards the viewer, wanting to quickly convey the Word of God to him.
Despite the fact that it is often not possible to accurately establish the authorship of the holy icon painter, our country has a grandiose heritage, including unsurpassed examples of ancient Russian culture.
The birth of the greatest genius of Russian icon painting supposedly dates back to the 1370s or 1380s. At this time, Grand Duke Dmitry Ivanovich reigned in Moscow, who was to remain in the memory of the Russian people with the nickname Donskoy.
History has not preserved any information about the artist’s parents; It is also unknown neither the place of his birth, nor what name he was given at baptism. Andrey is the name given to him when he was tonsured a monk.
There are some assumptions regarding the nickname Rublev. Most likely, it is not a family nickname (that is, a surname), since the icon painters of that time known to us had personal nicknames - Theophanes the Greek (Byzantine painter who worked in Russia in the second half of the 14th - early 15th centuries), Simeon the Black (d. 1427, monk of the Spaso-Andronikov Monastery) and so on.
As for its meaning, in all likelihood, the nickname Rublev comes not from the monetary unit - the ruble, but from the ancient word "rubel", which the peasants called a long pole that presses straw loaded onto a cart (hay, bread in sheaves) and is pulled together through end notches with rope. In other words, the nickname Rublev could have been given to a tall, but thin, lanky man. This version is supported by the fact that in the 15th century. the nicknames “Rublev”, “Ruble”, “Rubel” were worn by people from various classes: Nikifor Rubel, a Novgorod peasant (mentioned in 1495); Andrei Rublev, Pskov boyar (1484); Ivashko Ruble, Ivangorod merchant (1498); Kirilko Ruble, serf (1500).
The very word “icon” (in Russian, “image”) came to Rus' from Byzantium and meant images of the Savior, the Mother of God, holy men and women, as well as gospel events. According to church tradition, the creator of the first Christian icons was the holy apostle and evangelist Luke, who painted the first images of the Savior and the Mother of God. The line between icon veneration and idolatry is extremely thin. “The honor given to the image passes to the prototype, and the one who worships the icon worships the being depicted on it,” proclaimed the fathers of the Seventh Ecumenical Council in the 8th century, formulating the dogma on the veneration of icons. Christians were instructed to venerate the iconographic image “along with the cross and the Gospel.”
The first icons in Rus' were of “Greek writing”. However, already in the 11th century, along with Greek masters, Russians also appeared. Not only princely and boyar chambers, churches and monasteries, but also the houses of ordinary townspeople and peasants were decorated with holy images. In pre-Mongol times, ancient Russian icon painters created a number of real masterpieces. Unfortunately, the Mongol invasion destroyed almost all the works of the 10th-13th centuries (about thirty icons preserved in museums have survived from this period to the present day). Most of the skilled artists died or were taken to the Horde.
Only in the second half of the 14th century did icon painting schools begin to revive in the appanage Russian principalities. The Greeks helped the Russian land to rediscover a picturesque language capable of conveying the truths of the Orthodox faith. The best Byzantine masters were invited to paint the reviving and newly built churches. In the 70s and 80s of the 14th century, the great Theophanes the Greek worked in Novgorod - he painted the Church of the Transfiguration of the Savior on Ilyin Street. In the 1390s, the master moved to Moscow, where he painted frescoes, icons and miniatures for the handwritten Gospels. It seemed unusual to Muscovites that Theophan the Greek, while painting churches, did not look at the samples, but freely painted the figures and faces of saints. Epiphanius the Wise* He left the following note about him: “When I lived in Moscow, there lived the famous sage, the extremely cunning philosopher Theophanes, a Greek by birth, a master book painter and an excellent painter among icon painters...”
*Epiphanius the Wise (d. ca. 1420) - monk of the Trinity-Sergius Monastery, author of the lives of St. Sergius of Radonezh, Stephen of Perm and works of other genres. He is revered among the saints.
It is no coincidence that Saint Epiphanius puts the wisdom and theology of Theophan in first place. The work of an icon painter in the Orthodox Church has always been considered sacred, carried out not only by the skill of the artist, but also by the help of God. Mastery here was not separated from piety and necessarily presupposed the skills of prayer and knowledge of theology. The works of Theophanes the Greek were theology in colors: the color in them was permeated with light, divine energy, the world of the saints did not know any darkness and evil. According to church teaching, this light was first seen by the apostles on Mount Tabor during the transfiguration of Christ. As the Gospel narrates, the Lord took three apostles with him to Mount Tabor in Galilee and during prayer “was transfigured before them: and His face shone like the sun, and His clothes became white like light” (Matthew 17:2). For a long time, there were debates among theologians about the nature of this light. Adherents of the humanistic worldview considered its nature to be created, that is, physical, accessible to the human eye. In contrast, the hesychasts (that is, the “silent ones”) believed that the Tabor light was of Divine origin and was accessible only to the vision of an enlightened, spiritual person. To become worthy of this light and to see it, hesychasts developed ascetic and prayerful practices. In the middle of the 14th century, shortly before the birth of Andrei Rublev, the Orthodox Church recognized the correct point of view of the hesychasts, and Metropolitan Gregory Palamas of Thessalonica (1296-1359), who finally formulated the doctrine of the Tabor light, was canonized.
Andrei Rublev became the heir to two traditions of “theology in color” - Greek and Russian. The young master could absorb the Greek tradition in communication with Theophan the Greek and the educated Byzantine priesthood, who came to Rus' along with the Greek metropolitans. But his compatriots also gave Andrey an example to follow. The Monk Alypius of Pechersk (d. 1088) became the first Russian icon painter to be canonized. His life, written in the Kiev-Pechersk Lavra, was undoubtedly known to Andrei. The Monk Alipius became famous not only for his feats of fasting and prayer, not only for his skill as an icon painter, but also for his gift of miracles: according to legend, he healed the sick with the touch of his brush and paints. St. Metropolitan Peter (d. 1326) and St. Dionysius of Glushitsky (1363-1437) were also involved in icon painting.
Unfortunately, no information has been preserved in which city Andrei studied: in those days, icon painting schools were formed in Novgorod, Pskov, Tver, and Moscow. But when looking at the icons of the already mature master Rublev, it becomes obvious that he belongs to the Moscow school, whose colorfulness, softness and grace had to be absorbed from childhood.
Having learned all the wisdom of the craft from Moscow icon painters, Andrei Rublev did not stop there and, apparently, continued his education in Constantinople.
Many people from Rus' in those days lived in the capital of the Byzantine Empire. By order of Russian metropolitans and bishops, icons and entire iconostases were painted here, which were then transported to Rus'. So, in 1392 Saint Afanasy Vysotsky*, who lived in the Greek capital for about two decades and worked on translations from Greek into Russian of the books of the holy fathers, brought from Constantinople to the Serpukhov monastery the Deesis rank (a series of icons), which has survived to this day and is called the Vysotsky rank.
*Athanasius (in the world Andrey) Vysotsky (XIV - early XV centuries) - abbot of the Serpukhov Vysotsky Monastery, disciple of Sergius of Radonezh, reverend.
It was from the Greeks that Andrei Rublev learned the warm ocher tones of the faces of saints, the imperceptibility of transitions from one color to another, the expressiveness of faces and figures - in a word, the highest skill and grace, beauty and depth, transparency and radiance of colors.
The years of study passed, and in the 1390s Andrei returned to Moscow.
The outcome of the 14th century was marked by the invasion of Rus' by the invincible Tamerlane. The huge empire he created in Central Asia competed with the decrepit power of the Mongols. In 1395, Tamerlane completely defeated the Khan of the Golden Horde, Tokhtamysh, and, continuing to move north, approached the southern border of Rus'. His huge army took the city of Yelets by storm, but suddenly turned back, as if driven by an unknown force. In Rus', the flight of the Basurman army was associated with the intercession of the Vladimir Icon of the Mother of God, which just at that time was transferred to Moscow at the request of Grand Duke Vasily Dmitrievich, the eldest son of Dmitry Donskoy.
The miraculous icon, which became a symbol and protector of the Russian land, remained in Moscow. Ten years later, Andrei Rublev, with the blessing of Metropolitan Cyprian, will write a copy of it for the Assumption Cathedral in Vladimir.
It is likely that these shocks showed Saint Andrew the futility of worldly glory and determined his choice of the monastic path.
The place and time of the artist’s tonsure is not known exactly. Imitating the ancient holy icon painters, Andrei chose the monastic path to cleanse his soul with fasting and prayer, reading the Holy Scriptures and the works of the holy fathers. There is no doubt that he was familiar with the teachings of St. Gregory Palamas about the Tabor light - translations of his works had already appeared in Rus'. The icon “Transfiguration of the Lord” (1400) from the iconostasis of the Annunciation Cathedral by Andrei Rublev is literally permeated with this light, playing with white highlights in the folds of clothes, on the faces of the apostles, on the hills, and the white tunic of Christ sheds this light on the whole world.
It is no coincidence that the Rev. Joseph of Volotsky will later say that from the contemplation of Andrei Rublev’s icons there occurs an elevation of “mind and thought” to the “immaterial and divine light” (“the elevation of the sensual eye”).
By the beginning of the 15th century, Andrei Rublev had become so successful in his art that he moved to the forefront Russian artists*. Therefore, when the construction of the Annunciation Church was completed on the Kremlin Cathedral Square, the young icon painter was invited to paint it together with two other famous masters - Theophan the Greek and Elder Prokhor from Gorodets (1405).
*By the beginning of the 15th century. include miniatures from the Gospel, which previously belonged to the boyar Khitrovo. Some historians of Russian art believe that these wonderful miniatures (especially the symbol of the Evangelist Matthew - the Angel) could only have been created by a first-class master, which, no doubt, was already Andrei Rublev at that time.
Angel from the Gospel of Khitrovo .
The “painting” of the church then meant not only fresco painting on the walls, but also the creation of all the icons of the iconostasis. The Russian Orthodox iconostasis acquired its complete form by the 15th century, representing an impressive picturesque wall with five rows of icons, which separated the altar - a symbol of the heavenly world - from the temple space reserved for worshipers. The icons of the iconostasis expressed the idea of the intercession of heavenly powers for the human race at the Last Judgment. The three icons above the Royal Doors - the Mother of God, the Savior and John the Baptist - are called “Deesis” (or Deisis), which means “prayer”, which is why the entire row of these icons was called the “Deesis row”.
Iconostasis of the Annunciation Cathedral in the Kremlin
The Deesis row icons in the Annunciation Cathedral were painted by the eldest and most revered of the three masters, Theophanes the Greek. Icons of the holidays were painted by Prokhor from Gorodets and Andrei Rublev, who also showed great skill and their own individual style. Contemporaries noted the dissimilarity of the habits of Greek and Russian painters: “And when Feofan Grechin painted, his eyes sparkled in all directions, and he held many conversations, so that the Moscow people were very amazed. The Monk Andrew, in complete silence of mind and lips and unceasing heartfelt prayer, performed, according to the tradition of his spiritual fathers.”
Rublev's brushes in the iconostasis of the Church of the Annunciation, in addition to the Transfiguration, include six more icons: the Annunciation, the Nativity of Christ, the Presentation, the Baptism, the Raising of Lazarus, the Entry of the Lord into Jerusalem. But the paintings of the temple have not been preserved, since it was rebuilt on the old foundation in 1489.
Annunciation. Icon from the festive rite of the Annunciation Cathedral of the Moscow Kremlin
From about this time, Saint Andrew had a friend and fellow-faster named Daniel, nicknamed Black. He was an outstanding icon painter, like Andrei, but older in years. The friendship of Daniel and Andrey, which lasted at least twenty years, until their death, left a bright mark on the history of the Church and church art, representing an example of a spiritual and creative union. One glance at their creations is enough to understand how strong the interpenetration and mutual enrichment of their talents was. Until now, art historians argue about the authorship of many icons, whether they belong to the brush of Daniel or Andrey.
Andrey Rublev, Daniil Cherny and the workshop. The middle part of the Deesis order: Archangel Michael, the Mother of God, the Savior in Powers, John the Baptist, Archangel Gabriel.
Rev. Joseph Volotsky notes that both masters worked every day, raising “the mind and thought to the immaterial and Divine light, and the sensual eyes to the images of the Savior and the Most Pure Mother.” The icons brought them such joy that even on holidays, for example on Easter, when it was not customary to work, Andrei and Daniel contemplated the holy icons and prayed before them.
In 1408, the Grand Duke of Moscow Vasily Dmitrievich invited the already famous icon painter Andrei and his friend Daniil Cherny to re-paint the Assumption Cathedral in Vladimir. Built back in the 12th century, this temple suffered greatly during Batu's invasion of 1237-1238, when its iconostasis and frescoes were destroyed in fire, and by the beginning of the 15th century it fell into complete disrepair.
The Grand Duke attached great importance to this work. Despite the fact that Moscow had already become the main place of residence of the head of the Russian Church, the metropolitan see was still formally located in Vladimir, and the Vladimir Assumption Cathedral continued to remain the main cathedral church of all Rus'. Therefore, the paintings in it were supposed to artistically affirm the dignity of the Russian Church and its Primate. In addition, the arrival of a new metropolitan from Constantinople was expected: Theognostus (since 1409), who replaced the deceased Cyprian in the Russian department.
Reverend Andrei Rublev and Daniil Cherny arrived in Vladimir. On May 25 they started work. The iconostasis and frescoes made by them have partially survived to this day. Andrei’s brushes include “The Savior in Powers,” “The Mother of God,” “John the Theologian” and “Apostle Andrew,” which are now stored in the Tretyakov Gallery. These are huge, three-meter high, full-length images of saints on a golden background, majestic and colorful.
Savior in Strength
For the first time in Russia, a high multi-tiered iconostasis was created, where a Deesis row, a festive row and a row of prophets were located above the icons of the local row and the royal doors. Of the 25 icons of the festive series, the Annunciation, the Descent into Hell, the Ascension, the Presentation and the Baptism have been preserved. From the prophetic - the icons of Zephaniah and Zechariah.
Meeting of the Lord. Icon from the festive rite of the Assumption Cathedral of Vladimir.
Around 1408.
The iconostasis of the Assumption Cathedral in Vladimir became one of the most grandiose works in the history of church art of ancient Rus'.
In the days when Andrei Rublev and Daniil were painting the Vladimir Assumption Cathedral, the horde of Khan Edigei approached Moscow, ravaged the surrounding area and burned the Trinity-Sergius Monastery. And in 1410, Vladimir was subjected to a sudden attack by the Tatars.
Around the same time, Zvenigorod Prince Yuri Dmitrievich, son of Dmitry Donskoy, invited Andrei Rublev to paint the newly built Assumption Cathedral in Zvenigorod.
When decorating his temple, the prince wanted to see in it icons of a master close in spirit to his spiritual father, St. Sergius of Radonezh.
Savior Almighty
Only three icons of the Deesis order from the Zvenigorod Assumption Cathedral have reached us, now stored in the Tretyakov Gallery: “The Savior,” “Archangel Michael” and “Apostle Paul.” The central icon of the Deesis rank, “Savior Pantocrator,” despite the large losses of the paint layer, can be considered the pinnacle in the depiction of Jesus Christ in all Russian icon painting. In the face of the Savior, the Monk Andrew amazingly combined strength and gentleness, greatness and humanity. Medium-sized, typically Russian facial features are full of love and peace. The combination of noble simplicity and splendor is a feature of the mature master Andrei Rublev.
Apostle Paul (from the Zvenigorod rank)
The subsequent years of the icon painter’s life were associated with the Trinity-Sergius Monastery. Andrei moved there at the invitation of Abbot Nikon of Radonezh, who was very sad that the newly erected white-stone Trinity Cathedral was not decorated with paintings, and wanted to see an icon painted “in praise of Sergius of Radonezh” during his lifetime.
Hegumen Nikon talks with Andrei Rublev and Daniil Cherny.
Fragment of a 16th century miniature
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Then the “Trinity” icon came out from under the brush of St. Andrew, becoming the pinnacle of all Russian icon painting. Working on it, the monk cried out to the great teacher Sergius of Radonezh, so that through his prayers and standing before the Lord he would help him glorify the Name of the Most Holy Trinity before angels and people. Contemplation of the image of the Trinity, according to his plan, was supposed to give rise to great peace and love in the soul: “may the hateful discord of this world be overcome by looking at this image.”
The biblical story about the appearance of three angels to the forefather Abraham under the brush of Andrei Rublev became the image of the Trinity, expressing the main dogma of Christianity: the unity of God in Three Persons. The artist, having excluded everyday details from the plot of the icon, placed three angels large on the icon, and gave symbolic depth to all the remaining details: the house of Abraham became the abode of the Heavenly Father, the mountain - a symbol of the height of the Holy Spirit, and the Oak of Mamre - the tree on which Christ will be crucified. In the center of the table there is a bowl with the head of a calf as a symbol of the Sacrifice made by the Savior for the sins of people, and the contours of the figures of the left and right angels form a large bowl - the image of the Eucharist.
Spaso-Andronikov Monastery. Nowadays the Museum of Ancient Russian Art named after Andrei Rublev.
Andrei and Daniel spent the last years of their lives in the Andronikov Monastery, working on the painting of the newly built Spassky Cathedral. Unfortunately, these works by the masters have not survived (with the exception of two ornamental fragments). In one 16th-century manuscript there is a miniature depicting the monk while working on the image of the Savior on the wall of the Savior Cathedral of the Andronikov Monastery.
Andrei Rublev paints an external fresco above the entrance to the Spassky Cathedral of the Andronikov Monastery.
From a 17th century miniature.
In the life of St. Nikon of Radonezh it is said that Andrei Rublev lived to see his gray hairs. However, the exact time of his death is unknown. The most likely date is 1428, when a plague epidemic raged in Moscow. The monastery tradition, recorded by Joseph Volotsky, says: “first Andrei reposed, then his fellow priest Daniel fell ill, and at the hour of his death he saw Andrei in great glory and joyfully calling him to eternal and endless bliss.”
Rublev on his deathbed. From a 16th century miniature.
Both icon painters were buried in the Andronikov Monastery near the Spassky Cathedral. Over the next three centuries, their memory was surrounded by deep reverence. At the monastery service, St. Andrew was commemorated on July 4, the day of St. Andrey Kritsky*, in honor of which he was probably tonsured. In miniatures of manuscripts of the 16th century, Andrei was already depicted with a halo.
*Andrew of Crete, (c. 660 - c. 740) - saint, archbishop of the city of Gortyna on Crete, ascetic and church poet-hymnographer.
In 1551, on the initiative of Sovereign Ivan IV Vasilyevich and Metropolitan Macarius, a council was convened in Moscow, which received the name Stoglavy - in its decisions (100 chapters) the rules of church life in the country were written down. The cathedral decrees recognized the Venerable Andrei Rublev as equal to the most famous Greek icon painters who formed the church canon, and ordered “painters to paint icons from ancient images, as Greek painters painted and as Andrei Rublev wrote.”
These instructions of the cathedral led to the fact that Rublev’s creations were copied in large numbers by subsequent generations of icon painters. And even now it is hardly possible to find a temple in Russia that does not have a copy of its “Trinity”.
At the end of the 16th century, the Stroganov icon-painting original was compiled, in which Andrei Rublev is called a saint, and about his work it is said: “he painted many holy icons, all miraculous.”
The 18th-19th centuries became a time of oblivion for many Orthodox traditions. Canonical icon painting was replaced by “lifelikeness” and then by academic painting. Ancient icons, including Rublev’s, darkened under a layer of old drying oil; they were written over with new images (renewed), and often destroyed due to dilapidation. It got to the point that the saint’s grave in the Spassky Monastery was forgotten and razed to the ground. The very name of the “notorious (glorious of the glorious) painter” was remembered only by lovers of ancient Russian art - collectors of icons “from Rublev’s letters,” that is, painted according to his samples.
This is what Rublev’s “Trinity” looked like until the end of 1904.
The heavy golden robe left only the faces and hands of the angels exposed.
At the beginning of the twentieth century, ancient icons began to be restored - late records were cleaned out and their original appearance was restored. Andrei Rublev’s “Trinity” icon was one of the first to be cleared, in 1905. When the icon painter V.P. Guryanov, who arrived at the Trinity-Sergius Lavra at the invitation of the abbot of the monastery, removed three layers of later notes from the surface of the icon, everyone was amazed to see bright, truly heavenly colors instead of the “dark” image. The significance of this event in Russia cannot be overestimated. This was the discovery of an ancient icon, a revival of interest in ancient Russian culture.
Before the clearing, the Rublev icon was renewed at least five times (the last time in the mid-19th century)
This is how she appeared to Guryanov’s gaze after the salary was removed
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Photo of “Trinity” after the completion of clearing Guryanov.
Photo of “Trinity” after Guryanov’s renovation.
However, Guryanov’s renovation of the icon caused criticism from specialists. In 1915, researcher Sychev said that Guryanov’s restoration actually hid the monument from us. IN The second, final stage of clearing was completed in 1918-1919.
An icon in the process of clearing 1918-1919.
On the angel’s clothes on the right you can see a light stripe of Guryanov’s recording.
Since the 1920s, many books have been published (by M. Alpatov, I. Grabar, and others) dedicated to the life and work of the artist. Numerous exhibitions with the master’s icons have traveled not only to many Russian cities, but also to foreign countries. The art of Andrei Rublev began a triumphal march throughout the world.
After the Great Patriotic War, in connection with the restoration of the Andronikov Monastery, an initiative group led by Academician I. Grabar turned to the government with a request to create a Museum of Old Russian Painting on the territory of the monastery. Soon, J.V. Stalin signed an order to create a historical and architectural museum-reserve named after Andrei Rublev. The secular repository of ancient church art opened in 1960, which UNESCO declared the year of the Russian icon painter Andrei Rublev.
In 1988, the Council of the Russian Orthodox Church canonized Andrei Rublev with the rank of saint.
With the advent of the third millennium, churches began to be built in Russia in honor of St. Andrew (for example, in Moscow on Ramenki Street). And the “Trinity” he wrote is currently one of the most recognizable artistic symbols of Russia.
Very little information about the life of Andrei Rublev has been preserved.
It is known that in 1405, together with Theophan the Greek and the icon painter Prokhor from Gorodets, he painted the walls of the Annunciation Cathedral in the Moscow Kremlin and created an iconostasis for it. The seven surviving icons of Rublev differ from the works of the old masters in their delicate combination of colors and rare harmony of composition.
In 1408, Rublev, together with Daniil Cherny, worked on the painting of the Assumption Cathedral in Vladimir. From fragments of the Last Judgment scene that have come down to us, instead of traditional Byzantine faces, Russian faces look out. The Day of Judgment is presented as a moment of unity, agreement of people inspired by love, and not as retribution for sins. On the icons of the huge Assumption iconostasis, softness and sincerity are combined with the clarity of the inner world of the Mother of God, John the Baptist, the apostles and fathers of the Church.
Only three icons from the Rublev iconostasis of the Cathedral of the Nativity of the Virgin Mary of the Savvino-Storozhevsky Monastery near Zvenigorod have reached us. One of them - “Spas” - marks the emergence of a new Russian canon of the appearance of Christ the Savior, in which wisdom and kindness replaced Byzantine severity.
Rublev created his most famous icon, the “Trinity,” in memory of Sergius of Radonezh for the church built on the burial site of the saint in the Trinity-Sergius Lavra in Sergiev Posad. Sergius especially revered the Trinity, wanting “the hateful discord of this world to be overcome by the sight of its unity.” Andrey embodied this idea in an incomparable image, radiating bright wisdom, tenderness and spiritual purity.
In 1425-1427 Rublev and Cherny worked on the painting and iconostasis of the Trinity Cathedral of the Trinity-Sergius Lavra. Andrei painted the Spassky Cathedral of the Andronikov Monastery in Moscow (20s of the 15th century).
The icon painter died in Moscow in the Andronikov Monastery. Rublev had a huge influence on his contemporaries and descendants, changing the visual image of the Kingdom of Heaven. The Russian Orthodox Church canonized Andrei Rublev as a saint.
