Seven famous icons of Andrei Rublev. Andrey Rublev and his school

Details Category: Art of Ancient Rus' Posted on 16.01.2018 14:36 Views: 1567

The name of Andrei Rublev became the personification of ancient Russian art.

Andrey Rublev- perhaps the most famous artist medieval Rus'. His name is still well known today, but we know very little about his life.
Where and when he was born is unknown. Moscow is called the place of his birth (1360?), and the place of residence is the Trinity Monastery.
The first chronicle mention of the “black Andrey Rublev” dates back to 1405: at this time, together with Feofan the Greek and Prokhor from Gorodets, he decorates the Annunciation Cathedral of the Moscow Kremlin with icons and frescoes. These frescoes have not survived.

Icon "St. Andrei Rublev"
Some information about him can be gleaned from the annals. For example, the chronicle indicates that in 1408, together with Daniil Cherny, he painted the Assumption Cathedral in Vladimir, the Church of the Holy Trinity in the Trinity Monastery. The frescoes have not survived. According to Epiphanius the Wise, Andrei Rublev painted this temple in the 1420s. After the death of Daniil Cherny, Andrei Rublev worked in the Andronikov Monastery in Moscow, where he painted the Church of the Savior (his last work). But only small fragments of the ornament have survived to this day.
Most of Rublev's documented works have not come down to us, except for two icons from the deesis and seven icons from the festive row in the iconostasis of the Kremlin Cathedral of the Annunciation; part of the frescoes of the Vladimir Assumption Cathedral; the famous icon "Trinity" from the Trinity Church of the monastery of the same name.
Miniatures and initials of the Khitrovo Gospel (beginning of the 15th century, Russian State Library, Moscow) are also attributed to Rublev; Our Lady of Tenderness from the Assumption Cathedral of Vladimir (c. 1408-1409); Zvenigorod rank, from which three icons have been preserved: with Christ the Savior, the Archangel Michael and the Apostle Paul (c. 1410-1420); fragments of frescoes on the altar pillars of the Assumption Cathedral on Gorodok (Zvenigorod) and on the altar barrier of the Nativity Cathedral in the Savvino-Storozhevsky Monastery near Zvenigorod.
But many more icons are attributed to the "Rublev circle", although there is no way to confirm their authorship.
Andrei Rublev died in the Andronikov Monastery on January 29, 1428 (?). Since 1959, the Andrei Rublev Museum has been operating here, where you can get acquainted with the art of his era.
At the Stoglavy Cathedral in 1551, Rublev's icon painting was recognized as a model. In the XX century. much attention was paid to this painter, his works were studied and restored, the minimal information about his life that was already known was clarified, his name was covered with a haze of romanticism. And then famous movie A. Tarkovsky "Andrei Rublev" the image of this artist was riveted to the close attention of even those people who were far from both faith and icon painting. In 1988 he was canonized by the Russian Orthodox Church in the face of saints.

The work of Andrei Rublev

Andrey Rublev Hall in the Tretyakov Gallery

The second half of the XIV - the beginning of the XV centuries. were marked in Rus' by an interest in moral and spiritual problems. Andrei Rublev embodied in his painting a new, sublime understanding of the spiritual beauty and moral strength of man. Therefore, his work is one of the pinnacles of Russian and world cultures. The greatest masters of ancient Russian painting, including Dionysius, were deeply influenced by his work.

Assumption Cathedral in Vladimir

The Assumption Cathedral in Vladimir is an outstanding monument of white-stone architecture of pre-Mongolian Rus' (1158).
At the beginning of the XV century. Andrei Rublev and Daniil Cherny were invited to decorate the temple. Separate images of a large composition of the Last Judgment, which occupied the entire western part of the temple, and fragmentary images in the altar part of the cathedral, have been preserved from their paintings. Most of the frescoes that have survived to this day were made in the 19th century.

This is the only surviving fresco painted by Andrei Rublev. The mention of her is in the Trinity Chronicle; it is also the only documented, accurately dated and preserved monument in the artist's creative heritage.

Icon of Our Lady of Vladimir "Tenderness" from the Assumption Cathedral in Vladimir (c. 1408)

The authorship of the icon is attributed to Andrei Rublev. I. E. Grabar, V. N. Lazarev, G. I. Vzdornov, O. S. Popova agree with this opinion.
M. V. Alpatov and E. S. Smirnova reject his authorship.
The icon "Tenderness" is one of the most ancient copies of "Our Lady of Vladimir".

Our Lady of Vladimir

Icon "Trinity" (1411-1425/27)

This icon is the standard of Rublev's creativity, his authorship is undoubted. One of the famous Russian icons.

Andrey Rublev "Trinity". Wood, tempera. 142 x 114 cm State Tretyakov Gallery (Moscow)
The icon depicts three angels. They are sitting at a table on which stands a bowl with the head of a calf. The figures of angels are arranged in such a way that the lines of their figures form, as it were, a vicious circle. The compositional center of the icon is the cup. The hands of the middle and left angels bless the cup. Angels are motionless, they are in a state of contemplation, their eyes are fixed on eternity.
On the background- the house (the chambers of Abraham), the tree (the oak of Mamre) and the mountain (Mount Moriah).

Mamvrian oak (oak of Abraham)- the tree under which, according to the Bible, Abraham received God.

Mount Moriah (Temple Mount)- a rectangular square surrounded by high walls, towering above the rest of the Old City of Jerusalem with a height of 774 m above sea level.
The appearance of three angels to Abraham is a symbol of the consubstantial and trinitarian God (Holy Trinity). It was the Rublev icon that corresponded to these ideas. In an effort to reveal the dogmatic doctrine of the Holy Trinity, Rublev minimized the details preceding the meal. The angels are talking, not eating, and on the icon all attention is focused on the silent communication of the three angels.
Above the angel symbolizing God the Father, Rublev placed the chambers of Abraham. The Mamvrian oak symbolizes the tree of life and recalls the Savior's death on the cross and His resurrection (in the center). The mountain is a symbol of spiritual ascent, which is carried out through the action of the third hypostasis of the Trinity - the Holy Spirit.

Gospel Khitrovo

This is a handwritten Gospel of the end of the 14th century. It is called so by the name of its owner, the boyar Bogdan Khitrovo. The manuscript was decorated with a precious salary and donated by him to the Trinity-Sergius Lavra, where it was kept in the altar until 1920. At present, the Gospel is in the collection of the Russian State Library.

The gospel is richly decorated (headpieces, initials, miniatures and symbols of the evangelists). The origin of the manuscript is attributed to the Moscow school of Theophan the Greek, and the authorship of a number of miniatures is attributed to his student, Andrei Rublev.

"Angel Rublev"

Icons from the iconostasis of the Trinity Cathedral of the Trinity Monastery (c. 1428)

All researchers are unanimous in the opinion that the iconostasis belongs to the Rublev era and that, to one degree or another, Rublev and Daniil Cherny participated in its creation. The iconostasis is still poorly studied and not published in its entirety.
This is the only one of the first high iconostases of the early 15th century that has been preserved almost completely (only some of the icons have been lost).

Zvenigorod rank (about 1396-1399)

"Zvenigorod rank" - three icons depicting the Savior, the Archangel Michael and the Apostle Paul (from the collection of the State Tretyakov Gallery).
Presumably, from the iconostasis of the Assumption Cathedral on Gorodok. For a long time was attributed to the brush of Andrey Rublev, but in 2017 the attribution was assigned based on high-tech comparisons with Trinity.

Nativity Cathedral in the Savvino-Storozhevsky Monastery (frescoes)

Savvino-Storozhevsky Monastery (Zvenigorod)
Founded at the end of the 14th century.

Images of the hermits Paul of Thebes and Anthony the Great. Some scholars attribute the authorship of the frescoes to Andrei Rublev.

Icon "John the Baptist" (mid-15th century)

The icon comes from the Nikolsky Pesnoshsky Monastery near the city of Dmitrov. It belonged to the deesis half-figured rank of the Zvenigorodsky type. Attributed to Andrei Rublev.

Icon of the Savior in Strength (beginning of the 15th century)

Attributed to Andrei Rublev or "Rublev's circle".

Andronikov Gospel (Moscow, first quarter of the 15th century).

The miniature "The Savior in Glory" was made by the artist of the Rublev circle. The manuscript does not contain direct dating, but its design is similar to such well-known manuscripts as the Khitrovo Gospel.

Conclusion

Rublev's work is distinguished by two traditions: Byzantine harmony, sublime asceticism and softness of style, characteristic of Moscow painting of the 14th century. It is this softness, as well as concentrated contemplation, that distinguishes his works from other paintings of that time. Rublev's characters are most often depicted in a state of peaceful rest or a state of prayer. This distinguishes his work from the expressive Theophanes the Greek. An atmosphere of quiet contemplation and goodness flows from the icons of Andrei Rublev. This silence is also present in the coloring - dim, calm; and in the roundness of the figures; and in the harmony of lines, similar to a quiet melody. All the work of Andrei Rublev is permeated with light. Therefore, it is not at all surprising that Rublev's art is perceived as the ideal of church painting.

Andrei Rublev (1370-1428) is the most famous and revered icon painter of the Russian land. Canonized by the Orthodox Church as a saint.

Monasticism

The painter was tonsured at the Andronikov Monastery under the name Andrei. Rublev's creativity came from the ancient traditions of the principality of Moscow, and he acquired artistic experience following the Slavic religious canons.

It cannot be called painting in the usual sense, his work from the very beginning reflected the sacred theme. The first works of the artist, which he wrote, were intended for the "Gospel of Khitrovo". These were miniatures, coinciding in meaning with the content of the book.

First masterpieces

In 1405, Rublev participated in the painting of the Annunciation Cathedral of the Moscow Kremlin, together with Theophan the Greek, an experienced icon painter, who at that time already had such masterpieces as the Old Testament Trinity. Monk Andrey Rublev was admitted to such a responsible work, and even with such a famous artist, as thanks to his pronounced talent. In the very first months of the work of icon painters, the higher clergy of Moscow were convinced of the right choice - Andrei Rublev's paintings fully corresponded to the high church standards of that time. After completing work on the frescoes of the Annunciation Cathedral, Rublev became a recognized master of Russian icon painting.

The second time the paintings of Andrei Rublev are mentioned in the annals of 1408, these were paintings in the Vladimir Cathedral of the Assumption. This time the artist worked together with the famous icon painter Daniil Cherny. By that time, Rublev had already formed his own style, truly Russian. next joint work icon painter with became the Cathedral of the Trinity-Sergius Lavra in Sergiev Posad.

"The Holy Trinity"

At the very beginning of the 15th century, Andrei Rublev created one of the main works of his life - an icon that is currently in the Tretyakov Gallery in Moscow. The artist endowed the traditional plot from the Bible with a special meaning, gave the image a barely noticeable plot content. In the center, the icon painter placed a bowl, and around - three angels sitting aloof. Holy spirits, God's servants are dressed differently. The angel in the middle is dressed in a red tunic with a yellow clave sewn on and covered with a blue himation, behind it is a sprawling tree, a symbol of belonging to the Supreme Creator. The holy spirit on the right, in robes of smoky green tones, is in its incarnation, a rock rises behind it. The angel on the left, in light purple capes, is located against the backdrop of the house, he is the creator, the head of house building. In the look turned to the other two angels, paternal superiority is read. The holy spirit in the middle and the angel sitting on the right bowed their heads in his direction.

An unsurpassed world-class masterpiece created by the Russian icon painter Andrey Rublev is Trinity. The description of the painting, its history, information about where it has been for six hundred years - all this is reflected in special editions dedicated to the great artist. The most reliable information can be found in the Tretyakov Gallery, which is located at the address: Moscow, Lavrushinsky lane, house 10.

List of works

Famous paintings by Andrei Rublev are about thirty icons painted by the artist in different time, which are located in the Annunciation Cathedral of the Moscow Kremlin, the Cathedral of the Assumption in Vladimir, the Russian Museum in St. Petersburg, the Tretyakov Gallery. At one time, icon-painting images were found that corresponded to the style of writing of a famous icon painter, but it was not possible to determine the full identity.

We list the paintings of Andrei Rublev with the names and location:

"Transfiguration of the Lord" (81x61 cm). Festive rite in the iconostasis of the Cathedral of the Annunciation.
"Annunciation" (81x61 cm). Festive rite in the iconostasis of the Kremlin Cathedral of the Annunciation.
"Savior Almighty" (158x106 cm). Tretyakov Gallery.
(142x114 cm). Tretyakov Gallery.
"The Presentation of the Lord" (81x61 cm). Cathedral of the Annunciation, festive rite.
(189x89 cm). Trinity Cathedral of the Zagorsk Monastery.
"Dmitry of Thessalonica" (189x80 cm). Trinity Cathedral of the Sergiev Posad Lavra.
"Christmas" (81x62 cm). Cathedral of the Annunciation in the Moscow Kremlin.
"The Savior is in the Force" (18x16 cm). Tretyakov Gallery.
"Entrance to Jerusalem" (80x62 cm). Festive rite in the iconostasis of the Cathedral of the Annunciation.
"Ascension of the Lord" (125x92 cm). Tretyakov Gallery.
"Saint John the Baptist" (315x105 cm). Tretyakov Gallery.
"Gregory the Theologian Saint" (314x106 cm). Cathedral of the Assumption in Vladimir.
"Descent into Hell" (124x94 cm). Tretyakov Gallery.

Paintings by Andrei Rublev in the Russian Museum

The following icons are located in St. Petersburg:

"Archangel Gabriel" (317 x 128 cm);
"Apostle Andrew the First-Called" (313x105 cm);
"Annunciation" (125x94 cm);
Saint" (313x105 cm);
"Archangel Michael" (314x128 cm).

The exclusivity of his work was appreciated by his contemporaries, and from the 16th century the famous "Trinity" began to serve as an official model for Russian icon painters. We recall the 7 main masterpieces of the artistic genius of Medieval Rus'.

"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 Rublyov's art confirmed in chronicle sources. Made in the Byzantine tradition, the picture of the Second Coming of Christ is rethought. central figure composition, of course, is Christ, who seems to be descending from heaven to the audience waiting for Him.

He seems surprisingly close, his face is bright and meek. 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 the Judgment; the prepared Throne with the instruments of the Passion recalls the atoning sacrifice of the Savior; the figures of the progenitors symbolize the bonds of original sin.

Under the figure of Christ is the Mother of God and the Forerunner, who remind the viewer of the unceasing prayer of the holy intercessors of the human race. Their prayer seems to be continued by the faces of the apostles, who benevolently and at the same time sternly look 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 icon of the Old Testament Trinity (1411 or 1425-1427 (?)) there was a tradition of depicting this biblical episode, which is based on the legend of the hospitality of the forefather Abraham, who receives and treats three wanderers. Rublyovskaya icon has become a new look at the well famous plot. There are no traditional Abraham and Sarah on it, in the background their dwelling and the Mamre oak, under which the meal was made, 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 sliding and falling lines of clothing, bowed heads, and turned gazes. Equivalent figures of the Angels are in unity with each other and in absolute harmony. Living concreteness is being replaced here by the sublime image of the eternal counsel and predestination of Christ's sacrifice. You can see Rublev's "Trinity" in the Tretyakov Gallery.

"Zvenigorod rank". Face of the Savior

In 1918, three deesis icons were found in a woodshed near the Zvenigorod Assumption Cathedral “that on Gorodok”, which were attributed to I. Grabar based on a stylistic analysis of Rublev’s brush. Later, researchers almost unanimously recognized Grabar's attribution, despite the fact that Rublev's authorship was never documented.

"Zvenigorod rank" includes three icons: "Saviour", "Archangel Michael" and "Apostle Paul". The most perfect, of course, is the image of the Savior, whose calm, thoughtful and surprisingly benevolent look 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. ordinary people, - all this was perfectly realized by the Russian icon painter.

"Zvenigorod rank". Face of the Archangel Michael

The second icon of the "Zvenigorod rank" was the image of the 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 by its humility, but also by its visual similarity - a long, flexible, slightly elongated neck, a hat of thick curls, a bowed head. The third icon - "The Apostle Paul" - is 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, by Rublev's longtime associate Daniil Cherny. You can see the icons of the Zvenigorod rank in the Tretyakov Gallery.

List of the icon of Our Lady of Vladimir. Face of the Virgin

Despite the obvious discovery of the features of Rublev's writing, the author of the icon could not be Rublev himself, but someone from his inner circle. Grabar, on the other hand, unequivocally declares that the work was made by a great master: “Here everything is from Rublev - a cold bluish general tone, the nature of the drawing, facial features, with a slight hump of the nose typical of Rublev, graceful hands, a beautiful silhouette of the entire composition, the rhythm of lines and harmony colors." The traditional Byzantine prototype is the Mother of God holding on right hand Her Son and tenderly bowing to Him - was realized with some, most likely, intentional deviations. This is especially true of the figure of the Mother, since the Child is reproduced exactly according to the Byzantine model.

In the figure of the Virgin, the anatomical correctness of the forms is violated, first of all, the bend of the neck, which allows the face of the Mother to come as close as possible to the face of Jesus.

Their eyes meet. The hands of the Mother of God are amazingly drawn, which are wide open in a prayerful gesture. The face of the Mother is covered with a maforium, which, like a dome, extends over the Infant, protecting and calming him. And, of course, Rublev's tranquility, purity, absence of sorrow and suffering, fullness of silence, peace and a feeling of love in the face of the Virgin are striking. You can see the icon in the exposition of the Vladimir-Suzdal Museum-Reserve.

Trinity iconostasis. Face of Demetrius of Thessalonica

The creation of the iconostasis of the Trinity Cathedral of the Trinity-Sergius Lavra is associated with the name of Rublev. The icon painter's brush is presumably visible in the icons of the Archangel Gabriel, Demetrius of Thessalonica 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 - remains a mystery. In the course of 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 Solunsky, one really wants to believe that it was painted by Rublev: the same head bowed in meek contemplation, the same graceful hands raised up in prayer, the same thick hat 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 painting - the miniatures of the altar Gospel of Khitrovo - stand out in the heritage of the icon painter. This unique sample of the manuscript, which is kept today in the collection of the Russian State Library, was presumably made in one of the best workshops of Grand Duke Moscow at the turn of the 14th-15th centuries. The text of the manuscript is accompanied by eight facial illustrations-miniatures depicting the evangelists and their symbols.

The style of the miniatures allows us to say that they were painted by Feofan the Greek, Daniil Cherny and Andrei Rublev, while the names of the last two icon painters are most often mentioned.

There are no scientists consensus: so, G. Vzdornov believes that they all belong to the brush of Chernoy, and O. Popova convincingly proves the opposite - they are all created by Rublev. The symbolic image of the Evangelist Matthew is most often attributed to Rublev. The inclination of the neck, the outline of the cap of fluffy hair, the type of face are very close to the Rublev images created by the master on the Vladimir frescoes. However, Angel's gaze is sharper. In clothes fluttering through the air with the Gospel in his hand, he is rapidly moving towards the viewer, wanting to bring the Word of God to him as soon as possible.

Despite the fact that it is often not possible to establish the exact authorship of a holy icon painter, our country has a grandiose heritage, including unsurpassed examples of ancient Russian culture.

In 2008, the Assumption Cathedral in Vladimir (1158) turned 850 years old, and the wall paintings of the Cathedral of St. Andrei Rublev and Daniil Cherny (1408) turned 600 years old.
White-stone Assumption Cathedral of the XII century. in Vladimir - one of the oldest Russian churches, a witness to the most important historical events, the largest grand-ducal necropolis, a repository of ancient paintings, the only temple that has preserved the frescoes of the icon painter Andrei Rublev.
Here is the bell tower of the cathedral under a gloomy autumn sky:

This is a general view of the cathedral in summer:

The cathedral is a complex of multi-temporal buildings. It was originally built in 1158-1161 under Prince Andrei Bogolyubsky on the high bank of the Klyazma in the city center and was conceived not only as main temple Vladimir-Suzdal principality, but also as the main temple of all Rus'. The chronicler reports that “God brought craftsmen from all lands to Vladimir,” including foreign masters of white stone technology from the Romanesque West. This was a demonstration of the rejection of Kyiv aid and artistic traditions. White stone for the construction of the cathedral was brought from the Volga Bulgaria. In 1161, the walls were painted by skillful Greek painters. On September 21, 1164, the greatest shrine of Rus' was transferred to the cathedral - miraculous icon Mother of God for which it was actually built. Since then, the image has been called Vladimir Icon Mother of God (Andrey Bogolyubsky loved to pray before her. Now this Byzantine icon is in the church at the Tretyakov Gallery). After a fire in 1185 under Prince Vsevolod III, the cathedral was reconstructed. As a result of the restructuring to XIII century the cathedral became vast, five-domed, with a gilded central and silver-plated side domes, and its top received two tiers of zakomar. Inside its walls, vaults and pylons are covered with frescoes.
The Assumption Cathedral has preserved fragments of frescoes by unknown masters of the middle of the 12th century and the creation of the brilliant master of ancient Russian painting Andrei Rublev, who worked on the painting of the cathedral in 1408. He also painted icons for the iconostasis. In the 18th century Rublev's iconostasis was replaced by a luxurious baroque iconostasis.
Main altar:

Now many of Rublev's icons are in the Tretyakov Gallery, and the "Vladimir Mother of God" by him is in the Vladimir Museum-Reserve.

Rublev's frescoes in the cathedral are not completely preserved.
Of these, the composition “The Last Judgment” is the most significant, where the traditionally formidable scene turned into Holy holiday triumph of divine justice.
A small digression. I was very little familiar with ancient Russian painting before coming to Vladimir. And unexpectedly I really liked her - a strict Byzantine canon, calm, serious faces with sad eyes - somehow everything turned out to be very close ..

Photography is not allowed in the cathedral, so the photos are taken from the Internet.
So, the Last Judgment. General form fresco:

Apostles and Angels:

Christ in Glory:

Apocalyptic beasts, not at all scary, rather funny:

"Bosom of Abraham" - Abraham, Isaac, Jacob in the "Paradise" (postcard):

Andrei Rublev (+ c. 1430), icon painter, student of Theophan the Greek, reverend.
At first he was a novice at the Monk Nikon of Radonezh, and then a monk at the Spaso-Andronikov Monastery in Moscow, where he died and was buried.
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.
Monument to Andrei Rublev near the cathedral (from a postcard):

And finally, a view of the cathedral at night:

The exclusivity of Andrey Rublev's 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 suggest recalling 7 amazing faces of artistic genius Ancient Rus'.

"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 Rublyov's art confirmed in chronicle sources. Made in the Byzantine tradition, the picture of the Second Coming of Christ is rethought. The central figure of the composition is undoubtedly Christ, who seems to be descending from heaven to the audience waiting for Him. He seems surprisingly close, his face is bright and meek. He brings peace and salvation to people.

"Trinity". Faces of Angels

The Rublyovskaya icon has become a new look at a well-known subject. There are no traditional Abraham and Sarah on it, in the background their dwelling and the Mamre oak, under which the meal was made, 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 sliding and falling lines of clothing, bowed heads, and turned gazes. Equivalent figures of the Angels are in unity with each other and in absolute harmony.

Living concreteness is being replaced here by the sublime image of the eternal counsel and predestination of Christ's sacrifice. You can see Rublev's "Trinity" in the Tretyakov Gallery.

"Zvenigorod rank". Face of the Savior

Later, researchers almost unanimously recognized Grabar's attribution, despite the fact that Rublev's authorship was never documented. "Zvenigorod rank" includes three icons: "Saviour", "Archangel Michael" and "Apostle Paul".

The most perfect, of course, is the image of the Savior, whose calm, thoughtful and surprisingly benevolent look 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 - all this was perfectly embodied by the Russian icon painter.

"Zvenigorod rank". Face of the Archangel Michael

The second icon of the "Zvenigorod rank" was the image of the 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 by its humility, but also by its visual similarity - a long, flexible, slightly elongated neck, a hat of thick curls, a bowed head. The third icon - "The Apostle Paul" - is 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, by Rublev's longtime associate Daniil Cherny. You can see the icons of the Zvenigorod rank in the Tretyakov Gallery.

List of the icon of Our Lady of Vladimir. Face of the Virgin

The traditional Byzantine prototype - the Mother of God holding Her Son on her right hand and gently leaning towards Him - was realized with some, most likely, intentional deviations. This is especially true of the figure of the Mother, since the Child is reproduced exactly according to the Byzantine model. In the figure of the Virgin, the anatomical correctness of the forms is violated, first of all, the bend of the neck, which allows the face of the Mother to come as close as possible to the face of Jesus. Their eyes meet.

The hands of the Mother of God are amazingly drawn, which are wide open in a prayerful gesture. The face of the Mother is covered with a maforium, which, like a dome, extends over the Infant, protecting and calming him. And, of course, Rublev's tranquility, purity, absence of sorrow and suffering, fullness of silence, peace and a feeling of love in the face of the Virgin are striking. You can see the icon in the exposition of the Vladimir-Suzdal Museum-Reserve.

Trinity iconostasis. Face of Demetrius of Thessalonica

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 - remains a mystery.

In the course of 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 Solunsky, one really wants to believe that it was written by Rublev: the same head bowed in meek contemplation, the same graceful hands raised up in prayer, the same hat of thick curly hair, the same wide-open and childishly naive eyes, the same meekness and tranquility.

Gospel Khitrovo. Face of the Evangelist Matthew

The text of the manuscript is accompanied by eight facial miniature illustrations depicting the evangelists and their symbols. The style of the miniatures allows us to say that they were painted by Feofan 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 Chernoy, 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 inclination of the neck, the outline of the cap of fluffy hair, the type of face are very close to the Rublev images created by the master on the Vladimir frescoes.

However, Angel's gaze is sharper. In clothes fluttering through the air with the Gospel in his hand, he is rapidly moving towards the viewer, wanting to bring the Word of God to him as soon as possible.
Despite the fact that it is often not possible to establish the exact authorship of a holy icon painter, our country has a grandiose heritage, including unsurpassed examples of ancient Russian culture.