Andrey Rublev years. Andrey Rublev - biography and creativity

A. Rublev is a very famous and respected Russian icon painter. Thanks to his works, the Russian Orthodox Church classifies him as a saint. All icons were considered miraculous and a model for subsequent masters.

The great master of his craft was born around 1360, at that time in the Moscow principality. But unfortunately, we know little from his biography, only his work remains. There is an opinion that he studied art in Byzantium and Bulgaria. With the name Andrei he was accepted into the monastery. The real name has not been preserved.

It was first written about in chronicles around 1405. It was reported that he participated in the painting of the Annunciation Cathedral in the Moscow Kremlin. This responsible work testifies to the great skill of painting icons. The second time in 1408 there was a message about him in the chronicle, when Rublev participated in the painting of the Assumption Cathedral. Soon he had his own students and assistants.

Unfortunately, he died of the plague in 1430 (this is the only exact date from Rublev’s biography), but before that he managed to take part in the painting of the Spassky Cathedral, as the chronicle says. In the memory of believers, he is famous for his “Trinity” icon and the “Last Judgment” fresco (where the traditional menacing scene turns into a triumph of Divine justice). He is also credited with making book miniatures.

In memory of this great man, the only museum of ancient Russian culture and art named after A. Rublev was founded in the Spaso-Andronikov Monastery. Films were made, a postage stamp was issued, and a series of coins was issued for the Bank of Russia. And what’s most amazing is that one of the craters of Mercury is named after him.

His work

Biography of Andrei Rublev about the main thing

Andrei Rublev is a famous Russian icon painter of the 14th – early 15th centuries. Works by this artist have survived up to modern days not so much. The most famous of them is “Trinity”. Andrei also took part in the painting of many churches. And his icon painting was noticeably different from the traditional one. In his images the artist combined both spirituality and humanity. The combination of both made his creations unique.

Very little reliable information is known about Rublev’s life. Even the exact date and place of his birth is unknown. Presumably, the future artist was born in 1360. Some historians consider the Moscow lands to be the place of birth, while others consider the Novgorod lands. Almost nothing is known about his family. There are only assumptions that this was an artisan family. Also, there is a signature on one of Rublev’s later works, which says that the master who painted it is Andrei, the son of Ivan.

The painter took the name Andrei when he was tonsured a monk. During his life he painted many icons. But the only one that has survived and survived to this day is “Trinity”. This work was written by the master during a period of civil strife in the Russian lands.

Andrei, along with other painters of that time, also took part in the painting of churches. It is known that in 1405 he, together with a group of other artists and F. Greek, worked on the frescoes of the Moscow Annunciation Cathedral. And in 1408, also together with others, he worked on the Assumption Cathedral in Vladimir. On the western wall of this temple were paintings depicting the great day of judgment. This work is entirely by Rublev.

The icon painter died in 1428. At this time he was in the Andronikov Monastery. The cause of death is considered to be the plague, an epidemic of which was observed there during this period of time. There is an assumption that the last thing the master worked on was the painting of the Spassky Cathedral. But this is just a guess. After all, so little of the artist’s works and accurate information about his life and activities have survived to this day.

His work

Interesting facts and dates from life

At the turn of the 14th - 15th centuries, the greatest of masters worked in Moscow ancient Rus' Andrei Rublev, who essentially became the founder of the independent Moscow Art School.

The creative activity of this greatest Russian icon painter greatly contributed to the revival of Rus', crushed by the Mongol invasion. The self-awareness of medieval people was largely determined by the church; any historical movement was filled with religious meaning for them. In this dark time for Rus', the time of the Asian elements, Christianity is opposed to the gloomy reality as the spiritual rise of overrun Rus'.

The father of the Russian Renaissance, monk Sergius of Radonezh, built the Trinity Church, which became the home of Andrei Rublev, who grew up in this monastery. Andrei Rublev revered Sergius of Radonezh as his own father, shared his views, dreams and hopes.

In 1400, Andrei moved to Moscow, where, together with Theophan the Greek and other masters, he painted first the Annunciation Cathedral in the Kremlin, and then the Assumption Cathedral in Vladimir and other churches. Rublev was very grateful to Theophanes the Greek, who taught him free strokes of the brush, the ability to understand and convey living gestures and gait in an icon. And yet how different Rublev’s apostles are from the formidable elders of Theophanes! So alive, so human. what contradictory characters!
The dramatic, stormy temperament of the Greeks is replaced by a feeling of peace, thoughtful silence. This property is purely Russian. The people depicted by Rublev, while participating in events, are at the same time immersed in themselves. The artist is interested in not the external, but the internal state of mind, thought and feeling in a person. Rublev's color is amazingly joyful and harmonious, its clear, pure glow is an image of light emanating from the icon.
Rublev painted these icons, as they had painted before him for many hundreds of years, but under his brush they were filled with a quiet light, precisely the light of kindness and love for all living things. Every movement of his brush was meaningful and reverent. Behind his concentrated, in-depth work were forever vivid impressions of the exciting days celebrated throughout Rus' from generation to generation. And now, centuries later, peering at these works filled with subtle poetry, we will only understand the great artist’s intention if we turn to the meaning of the images and, first of all, to the plots that formed their basis and which were well known to both artists and viewers - contemporaries Rublev, those for whom they were written.
(To describe the icons, material from the book “Rublev”, author Valery Sergeev, was used)

In icons common in ancient Russian painting, “The Savior on the Throne” and the version “The Savior is in Power” are often depicted. The plot of the icons is very similar.
Rublev's Savior solemnly sits on the throne, against a red and black background. His figure is strictly straightened, the folds of his clothing lie motionless. Concentrated, and in its concentration, an inaccessible gaze is directed straight ahead. The gesture of the blessing right hand raised in front of the chest is restrained, calm and clear. With his left hand, the Savior holds the Gospel on the page where the Law is inscribed, according to which he calmly and firmly carries out his Judgment, a Law that clearly and immutably provides the path of salvation, the opportunity to obtain the blessing that the raised right hand brings.
The Gospel text on the open page reads: “I am the light of the whole world; whoever follows Me will not walk in darkness, but will have eternal life,”

The Annunciation is an image of the spring March (old style) holiday. March, according to the old Russian calendar, is the first month of the year. It was also considered the first month of creation. It was argued that the earth and waters, the firmament, plants and animals, and the first man on earth began their existence in March. And then, in March, the Annunciation to the Virgin Mary took place about the birth of the savior of the world from her. Since childhood, Andrei has heard this story many times, since childhood he remembered familiar sensations - the smell of melting snow, gray. warm morning and among sad days Lent joyful singing, blue smoke from incense, hundreds of burning candles and slowly, chanting words announced by the deacon in the middle of the church.
He now painted this gospel scene on a golden background, as it had been painted since ancient times. Archaeologists date the Roman catacombs, where the oldest surviving image of a messenger kneeling before the Virgin Mary is now located, to the second century AD.
In the icon, the Archangel Gabriel is in motion, with raised wings, with moving folds of clothes, with a blessing hand extended towards Mary. He looks at her with a long, deep gaze. Maria doesn’t seem to see Gabriel, she lowered her head and thinks. In her hands is a scarlet thread of yarn; extraordinary news finds her at work. Lightly shaped chambers, semicircular arches on slender columns. The scarlet cloth falling from the chambers is pierced by a ray of light with a soaring dove in a round sphere - an image of the spirit, unearthly energy sent down by Mary. Free, airy space. Subtle and pure sound of cherry-brown, red, from delicate and transparent, showing through with a slight yellowness, to thick, deep. Golden ochres, flashes of white, even light of gold, cinnabar.

In honor of Sergius of Radonezh, the inspirer of the unification of Russian lands, Andrei Rublev painted his most famous icon, the Trinity, which became a symbol of the resurgent Rus'. Icons of the Holy Trinity were created in those days throughout the Orthodox world.

The basis for Andrei Rublev's Trinity was the biblical story of the hospitality shown by the forefather Abraham and his Sarah to God, who visited them in the form of three travelers. Having accepted the treat, God announced a miracle to the spouses: despite their extreme old age, they would have a son, and from him would come a nation, great and strong, and in him all the nations of the world would be blessed.

Before Rublev, icon painters usually sought to convey this story in full detail. Three travelers (and these were God the Father, God the Son and God the Holy Spirit) in the form of beautiful, formidable angels, sit at a table in the shade of the oak grove near which Abraham lived. The forefather brought them food, and Sarah’s wife listened to the conversation of the guests in the tent.

Rublev gave this story his solution. The country is groaning under Mongol yoke, is torn apart by civil strife, and Andrei Rublev bases the plot on the idea of ​​unity, which is what Sergius of Radonezh dreamed of. Neither Abraham nor his wife Sarah are on the Rublev icon, because It's not the main point of the plot. In the center are three angels - travelers. they do not look like menacing rulers, but sadly and tenderly bow to each other, forming a single circular group around a round bowl. The love emanating from themselves draws them towards each other and binds them together.

For his masterpiece, Rublev took out lapis lazuli, a paint that was valued more than gold, because it was made from turquoise. Its ringing blue turned the cloaks of angels into the likeness of a precious gem embedded in an icon.

Stable rumors about the icon, like ripples on water, spread throughout Rus'. The Russian people cherish the memory of their famous artist, Andrei Rublev.

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

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

There is a famous icon of the “Vladimir Mother of God” from the 12th century, painted by an unknown Constantinople artist. At first it was in the Assumption Cathedral in Vladimir, and later it was transported to Moscow. But Vladimir also did not want to be left without such an icon, and Andrei Rublev, while in Vladimir in 1408, created his own “list” from that icon. (It should be said that there was such a tradition then - icon painters made lists of various icons beloved by the people.)
The Rublevskaya icon of the “Vladimir Mother of God” is one of its most famous repetitions, created in order to replace the ancient shrine in the Assumption Cathedral of Vladimir.
Naturally, the artist, when creating this icon, tries not to deviate from the original, preserving, according to the ancient Russian expression, the “measure and likeness” of the ancient icon, repeating its size and everything characteristic features. Indeed, even now, looking at Rublevskaya’s “Vladimirskaya”, we recognize in it an ancient prototype: the beautiful Mother of God and her mysterious infant Son, endowed with childish wisdom, appear in the same poses caressing each other, and her hand is also extended in a gesture of prayer to him. But in comparison with the ancient icon, the beautiful recognizable features of the Mother of God are softer here, the pupils of her elongated eyes are more transparent, the thin eyebrows above them are lighter, the oval of her face shining with pink light is more rounded and softer. And the immeasurable maternal feeling that animates these features takes on a different shade: pure, tender and enlightened is the all-embracing concentrated love with which the face of the Mother of God is filled here.

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

The action takes place on Earth. The horse slides at the entrance to the cave, the soft hilly roundness at the bottom of the icon, small trees and bushes scattered here and there - all this is an image of the earthly space, along which the sages of the East gallop for a long time following the mysterious star moving across the sky to the place of nativity, to Bethlehem - Magi (they are depicted in the upper left corner of the icon). These are also the peaks from which the shepherds hear the singing of angels. And that part of the path across the earth that the shepherds, informed by the wonderful angelic singing, made, is also depicted by these forested hills and hills.
Here in the upper right corner, three angels in shining robes are highlighted from the singing angelic host. The first of them holds his hands in the folds of his clothes. Covered hands - ancient symbol reverence, respect. Here it is a sign of admiration for what is happening. The middle angel, talking with the first, seems to learn about the event... The third of them, bowing down, turns to the two shepherds, telling them the good news. They listen attentively, leaning on their knobby staffs. They were the first on earth to discover the wondrous birth.
These shepherds, guarding their cattle day and night in an area remote from the village, “were purified by solitude and silence.” Here is one of them - an old man in clothes sewn from skins with the fur on the outside, which was called a mantle among the Greeks and Slavs and was the clothing of the poorest, poorest people, standing. bowing with benevolent attention before Joseph, Mary’s betrothed. Joseph is depicted by Rublev thinking about miraculous events. Behind the shepherd, under the shade of a tree, lie several animals - sheep, goats. They, like people, plants, the earth itself, are participants in an event that is so significant that it concerns the entire creation, every single creature.
And in the center of the icon, in accordance with tradition, Andrei depicted a scarlet bed on which Mary, wrapped in crimson-brown clothes, reclines, leaning on her hand. Her figure is outlined by a flexible, melodious line. She is not shocked or tired, the extraordinary birth is painless. But it is difficult to accommodate in human consciousness. Therefore, Maria realizes what happened in deep thought. She is located in a cave, but according to the laws of space inherent in icon painting, her bed is “brought” to the foreground by the artist and is shown against the background of the cave in a larger form than the other figures. The viewer sees everything at once: the mountain, the entrance to the cave, and what is happening inside it. Behind Mary’s bed, in a manger-feeding trough for animals, lies a swaddled baby, and above him stand animals - an ox and a horse-like donkey. Nearby is another group of angels, bent over, with covered hands.
Downstairs, the maids bathe the newborn "otracho mlado". One of them, bending over, pours water from a jug into the font, the other holds a half-naked baby on her lap, who is reaching out to her with his childish little hand...
Personal. a lively and touching experience of the event, deep poetry are characteristic of this Rublevsky creation.

Perhaps more has been written about this outstanding work, where not only the style, but also the worldview of the great artist is most clearly visible, than about all other festive images from the Annunciation Cathedral. “The “Transfiguration” is especially good, designed in a cold silvery tones. One must see in the original these silvery-green, malachite-green, pale green and white colors, subtly harmonizing with the strokes of mauve, pinkish-red and golden ocher, so that to appreciate the exceptional... gift of the artist" (V.I. Lazarev).

In August, Transfiguration Day is celebrated in Rus' - since ancient times it has been celebrated publicly and joyfully. Early, already on a cold morning, people hurried to the blessing of the first ripened apples. Hence the colloquial name for the holiday - “apple” saved. Baskets, clean linen bundles with selected, best fruits. Light, almost floral scent. The blue sky is still summer, but it gives off a pre-autumn chill. The green foliage turns silver in the wind. The grass begins to wilt slightly and turn yellow. Autumn is showing its first signs. Time to reap the fruits of the year's labors on earth...

But this is not an ordinary holiday. Legend says it's like a holiday apple savior The Savior with three of his disciples, his closest and trusted ones, John, Peter and James, one day went from a noisy city to a distant, secluded place, to Mount Tabor. And there the students were given the opportunity to see something strange, mysterious... The teacher’s body before their eyes suddenly shone with an extraordinary light. Many considered this phenomenon to be a manifestation of the deity in Jesus Christ. (Although later researchers thought, argued, and did not come to a consensus about this wonderful light, about its meaning, and most importantly, about its origin, nature).

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

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

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

In the icon, walking steadily towards Simeon, at the same distance from each other, a mother with a baby in her arms, Anna, followed by the betrothed Joseph. Rublev depicted their tall, slender figures in such a way that they appear connected, flowing into one another. Their measured movement, solemn, steady and irrevocable, as if indicating its significance, is echoed by the easily curving wall that depicts the vestibule of the temple. And the old servant of the Old Testament temple stretches out his hands, reverently covered with robes, towards the baby in a deep, humble bow. Now he accepts in his arms...His own death. His work on earth is over: “Now send away your servant, O lord, according to your word in peace...” A new world, a different covenant, is replacing the old, the old. And he, this new one, such is the universal and all-encompassing law of life, will have to take root in the world only through sacrifice. The young “adolescent” will face shame, reproach, and torture on the cross. In Christianity, the “Descent into Hell” completed the redemptive mission of Jesus Christ and was the limit of Christ’s humiliation and at the same time the beginning of his glory. According to Christian doctrine, Jesus, with his free suffering and painful death on the cross, atoned for the original sin of his first parents and gave the strength to fight its consequences to their descendants.
Standing on the crossed doors of the gates of hell, Christ took the hand of Adam, represented on the right kneeling in his stone tomb. Little Eve in a red robe stood up behind Adam. The forefathers are crowded behind them, behind them is the son of Simeon the God-Receiver, on whose behalf the event is told in the apocrypha.
On the left are Kings David and Solomon. Above them stands the large figure of John the Baptist, turning to the prophets following him.
The light blue glory of Christ circles against the background of a black cave. Above rises a wide, gentle rock with two peaks reaching into the upper corners of the icon. Rublev used golden and greenish ocher for his painting, blue, cabbage roll and bright cinnabar. The icon creates a mood of joy and hope.

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

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

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

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

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

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

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

2.Who was Andrei Rublev by origin?

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

3.Where did Andrei Rublev live?

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

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

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

5. Did Andrei Rublev have friends?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

9. Why was Andrei Rublev canonized?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

13.Are the relics of Andrei Rublev preserved?

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

14.Are there churches dedicated to Andrei Rublev?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rublev Andrey - (c. 1360 - 1428-1430), reverend, the most famous of the artists of the Russian Middle Ages, whose name became the personification of ancient Russian art.

Very little information has been preserved about his life. It is unknown where and when he was born. Probably, Andrei Rublev lived in the Trinity Monastery under Nikon of Radonezh, who became abbot after the death of Sergius of Radonezh (1392); here, most likely, he was tonsured a monk. The first chronicle mention of the “monk Andrei Rublev” dates back to 1405; it is reported that at this time he “signed” (i.e. decorated with icons and frescoes) the Annunciation Cathedral of the Moscow Kremlin together with Theophan the Greek and Prokhor from Gorodets.

Isn’t there one faith among us, one earth?

Rublev Andrey

Andrey's name is on last place in the list of masters, as the name of the youngest, both by monastic rank (just a monk) and by age. Chronicle sources indicate that in 1408 he painted (together with Daniil Cherny) the Assumption Cathedral in Vladimir (the most valuable icons dating back to this time - three icons from the Deesis and one from the festive series - are now kept in the Tretyakov Gallery), and in 1425-1427 - Church of the Holy Trinity in the Trinity Monastery. After the death of Daniel, Andrei arrived at the Moscow Andronikov Monastery, where approx. 1428 fulfilled his last job- paintings of the Church of the Savior (only small fragments of the ornament have survived from them).

Most of these documented works by Rublev have not reached us. The exceptions are two icons from the Deesis and seven icons from the festive row in the iconostasis of the Kremlin Annunciation Cathedral; part of the frescoes of the Vladimir Assumption Cathedral (including a composition with the procession of the righteous to heaven); the famous Trinity icon from the Trinity Church of the monastery of the same name (which could have been created either in 1425-1427, or much earlier, in 1411, for the original wooden church; now - in the Tretyakov Gallery); originally standing over the tomb of Sergius of Radonezh, it was the best monument to the great saint, with whose traditions Rublev’s art is organically connected.

Rublev is also credited (on the basis not of historical evidence, but of stylistic analysis) with miniatures and initials of the Khitrovo Gospel (early 15th century, Russian State Library, Moscow); Our Lady of Tenderness from the Assumption Cathedral of Vladimir (c. 1408-1409, now in the Vladimir Museum-Reserve); so-called Zvenigorod rite, from which three icons have survived (with Christ (the Savior), Archangel Michael and Apostle Paul; c. 1410-1420, Tretyakov Gallery); fragments of frescoes on the altar pillars of the Assumption Cathedral in Gorodok (Zvenigorod) and on the altar barrier of the Nativity Cathedral in the Savvino-Storozhevsky Monastery near Zvenigorod. A large number of icons are usually attributed to the “Rublev circle”, since there is no way to confirm their authorship.

Rublev’s art organically combined two traditions - sublime asceticism and the majestic classical harmony of the Byzantine style, which he had the opportunity to study from the works of Greek masters, including Theophanes the Greek, and the special spiritual softness of the style characteristic of Moscow painting of the 14th century. It is precisely the soft, by no means harsh inner concentration, a certain kind of noble cordiality - these features distinguish his works from the background of his contemporary Byzantine works, which are usually much more “aristocratically” strict.

Rublev's characters (with the exception of the pathetic figures in the frescoes of the Assumption Cathedral dedicated to the Last Judgment) are always in a state of tender peace or prayerful contemplation; The viewer is captivated not by the twists and turns of the action and plot, but by the atmosphere of quiet goodness. This impression is visibly contributed by all the elements of the artistic structure: the discreet beauty of the faces (typologically Russian, not Greek), and the roundness of figured forms, devoid of sharp anatomical clarity, and the harmony of lines, subtly subordinated to a single melody, as if given from above, and, finally, a gentle coloristic element, alien to sharp dissonances, permeated with light.

Andrei Rublev is a famous ancient Russian icon painter, famous for his paintings of the cathedrals of Moscow, Vladimir and the monastery in the Trinity-Sergius Lavra. Little biographical information about his life has been preserved; they are described in his biography, which we will present to you below. His most famous icon, kept in the Tretyakov Gallery, is “Trinity”.

Andrey Rublev: biography and creativity (briefly)

• 1360s - born in Radonezh into the family of a craftsman.
• 1405 - participates, together with other artists, in work on frescoes and icons of the Annunciation Cathedral (Moscow).
• 1408 - work in the Assumption Cathedral of Vladimir together with D. Cherny, already in these years he had his own style and taught students.
• 1420 - creation of the iconostasis of the Trinity Cathedral in Sergiev Posad, including the famous “Trinity”, considered a masterpiece of world icon painting.
• 1425 - participation in the construction and painting of the Andronikov Monastery (Moscow).
• 1428 - death from plague.

Childhood, adolescence, monasticism

Andrei Rublev was born in the 60s of the 14th century; the exact place of birth is also unknown. According to some sources, he was born in the town of Radonezh, located next to the Trinity-Sergius Lavra, according to others - in Nizhny Novgorod. His father was a craftsman, as can be judged by his last name, because in those days a ruble was called a tool for working with leather. According to some sources, in his youth he became a novice of the Trinity-Sergius Monastery, and then a monk, receiving the name Andrei upon tonsure (his exact name is unknown).

The biography of icon painter Andrei Rublev originates within these walls, where he begins to learn the art of icon painting and studies the works on philosophy of Sergius of Radonezh, the founder of the monastery. There, visiting the monastery library, he carefully and with great zeal studies the works of the masters and artists of antiquity who painted icons.

The end of the 14th century became Russian state a difficult time: in 1364-1366 the plague raged in Moscow, and in 1365 there was a fire that destroyed almost the entire city. Then, in 1371, Moscow was besieged by Prince Olgerd, after which famine came to these lands.

The beginning of a creative journey

In the biography of Andrei Rublev, creativity and his first works as an artist are mentioned for the first time in 1405, when he, having moved to Moscow, together with Theophan the Greek, began painting the Annunciation Cathedral. The fate of the cathedral was tragic: 9 years later it was destroyed and then rebuilt several times. But some works were miraculously preserved: these are 2 tiers of the iconostasis, in which there are 7 icons made by Andrei Rublev, and 6 by Elder Prokhor of Gorodets, a famous master of icon painting of those times.

Already in these works, the hand of the master is noticeable, freer and lighter compared to Elder Prokhor, but already highly professional. This series of holiday icons is the first in Rus': “Annunciation”, “Nativity of Christ”, “Baptism”, “Transfiguration”, etc.

During these years, Rublev also painted a copy icon “ Our Lady of Vladimir"from a famous Byzantine image, as well as a drawing from the book "The Gospel of Khitrovo", which got its name from the name of the boyar, in whose belongings it was found in the 17th century. According to art historians, this manuscript, which has no value, in those years could only have been created with the money of either the Metropolitan of Rus' or one of the great princes.

Murals of the Vladimir Assumption Cathedral

The following reliable facts from the biography of Andrei Rublev indicate a mention of him as an artist and occur in May 1408, when the Moscow prince ordered new frescoes to be painted on the site of the lost 12th-century paintings in the Assumption Cathedral in Vladimir. Andrei Rublev and Daniil Cherny came here at the invitation of the prince to do wall paintings, and Rublev was still working on several icons, including with his students. These works are now exhibited at the Tretyakov Gallery and the Russian Museum in St. Petersburg.

Frescoes on the western wall Vladimir Cathedral, which have survived to this day, are parts of the large composition “The Last Judgment”. It clearly identifies images belonging to the hand of A. Rublev, which have an unusual and strong emotional mood. In the figures of an angel with a trumpet, the Apostle Peter and the court scenes themselves, there are no emotions of fear of heavenly punishments, but an enlightened mood and the idea of ​​forgiveness rise.

Icons in Zvenigorod

In 1918, in the town of Zvenigorod near Moscow, 3 icons dating back to 1410 were discovered in an old wooden barn. According to some sources, they were painted for the iconostasis of a local church, but according to the conclusion of modern researchers, none of the churches are suitable in size. Conventionally, they were called “Zvenigorod Chin”, “Apostle Michael”, “Savior”, “Apostle Paul”, and, undoubtedly, they can belong exclusively to the hand of A. Rublev.

These icons in the biography of Andrei Rublev became a new confirmation of his talent, capable of collecting into a single whole and subordinating lilac-pink-blue colors into complete harmony, which remained unique for several centuries. Bright moods as the completion of Rublev’s creative quest were embodied in the various images of these creations, in which the master of icon painting summarized various thoughts about the moral values ​​of each person belonging to his contemporaries.

Art historians consider the “Savior” icon to be the most interesting, although it is very poorly preserved, but the face of Jesus Christ, endowed with Slavic features, is clearly visible. Christ looks attentively very calm with a penetrating glance. His whole appearance is filled with energy, attention and benevolence.

In the icon “Archangel Michael” the artist sang the lyrical reflections and thoughts of the poet. Although the angel is a heavenly and not a physical creature, Rublev embodied in him all the earthly beauty of man. The Apostle Paul is depicted by the icon painter as a philosopher-thinker, painted in a soft gray-lilac color scheme with blue tones.

Murals of the Holy Trinity Cathedral

At this time, the Tatar Khan Edygei gathered an army and marched on Moscow, which he could not take. However, along the way, the Tatars set fire to many settlements and cities, and were unable to save the Trinity Monastery, where Abbot Nikon served during these years. In subsequent years, Nikon made every effort to restore the monastery, and in 1424 he took on the construction of a white stone church, to which D. Cherny and A. Rublev were invited to create paintings. All works in this temple are dated 1425-1427.

At the same time, the most famous icon in the biography of Andrei Rublev, “Trinity,” was painted. It was part of the iconostasis of the Trinity Cathedral in Sergiev Posad and is considered the most artistically perfect among the icon paintings of that time. The artist reflected in it the concept of the Orthodox religion about the trinity of God.

The history of the discovery of this icon is very interesting: for several centuries it was on public display, but it was not noticed. It so happened that in 1575, Tsar Ivan the Terrible ordered it to be covered with a frame of gold, and only faces, feet and hands were visible. Then, in 1600, Boris Godunov changed the salary to a new, even more luxurious one. During replacement, the icon was covered with drying oil for preservation, which made the colors brighter. Over time, the outer layer began to darken, soot from candles settled on it, and smoke from incense fell on it. To make the icon look better, it was constantly renewed by applying layers of paint on top along the contours of the design, and then again covered with drying oil. Most likely, the icon would have perished over time if not for chance. At the beginning of the 20th century, restorers scraped off the upper layers with a scalpel, and the beautiful creation of the great icon painter was revealed to their eyes.

Among the frescoes of the Trinity Cathedral that have survived to this day, according to art historians, the hand of A. Rublev includes “Baptism”, “Archangel Michael” and “Apostle Paul”. By color and depth of content, by beauty and color scheme they are reminiscent of the Trinity.

Last work

At the end of the 1420s, having completed work in the Cathedral of the Holy Trinity, the icon painter’s long-time friend and comrade-in-arms, Daniil Cherny, died and was buried here. After this, A. Rublev returned to Moscow to work on the paintings of the Spassky Cathedral in the Andronikov Monastery, which he managed to complete in 1428. According to some reports, he also took part in its construction. This work was the last in the biography of Andrei Rublev.

The famous painter died in 1428 in Moscow during a plague epidemic and was buried near the bell tower of the Andronikov Monastery. In 1988, the year of the millennium of the baptism of Rus', he was canonized by the Russian Orthodox Church.

Film about Andrei Rublev

There are still many black spots in the biography of Andrei Rublev. In fact, very little is known about him, except two mentions in historical sources. Even the writing of his famous “Trinity” icon is dated by researchers to two different years: 1411 or 1425-1427

One of the ways to tell the world about this talented person, about the era in which he lived, about his creative searches and development as an artist was a narrative film made in the 60s of the 20th century by the famous director A. Tarkovsky. In several short stories the film paints pictures medieval Rus', tells briefly about the biography of Andrei Rublev, about his worldviews and doubts, about his vow of silence, which he observed for 15 years, and others interesting facts from the life of an icon painter.