Painting of the Assumption Cathedral in Vladimir and the icon of the Trinity
With. 23¦ The closest work by Rublev in terms of execution time is the painting of the Assumption Cathedral in Vladimir (1408). It opens the second period - the period of full maturity, when the master created the best of his things.
The fact that the Moscow Grand Duke sent the famous Russian artist to Vladimir to restore the famous temple is significant in itself. As D. S. Likhachev correctly notes, “the entire Russian culture of the late XIV - early XV centuries is permeated with the spirit of historicism, the spirit of love for the glorious past of their homeland... Not only Russian scribes are passionate about the themes of Russian history: both Russian painting and Russian architecture. The central place in this revived interest in native history, to the times of Russian independence, to the pre-Mongol period of Russian history belongs to Moscow” 39. Indeed, since the time With. 23
With. 24 During the reign of Dmitry Donskoy, for the first time in Rus', systematic restoration of monuments associated with the glorious memories of the era of independence of Rus' began. The Assumption Cathedral was one of these monuments. Built in the 12th century, it was not only the tomb of the Vladimir princes, but also the place where they were married for their great reign. And since the Moscow princes considered themselves as direct successors of the Vladimir “autocrats,” their special interest in this outstanding monument of Russian architecture, which urgently needed updating after the terrible fire and Tatar plunder in 1237, is understandable.
39 D. Likhachev, National identity Ancient Rus', M.–L., 1945, p. 70.
In Vladimir, Rublev worked together with Daniil, who from now on became his inseparable friend. Since the chronicler (p. 75) does not indicate to us what exactly was done by Rublev and what by Daniil, then in Vladimir the same difficult problem arises as in relation to the Moscow Annunciation Cathedral: it is necessary to find out the share of participation in the overall work of each of the masters. Moreover, in Vladimir the problem is greatly complicated by the fact that Rublev and Daniil labored here not alone, but with a whole artel.
The paintings of the Assumption Cathedral were cleared in 1918. They suffered severely from ignorant restorations and whitewashing. The frescoes have reached us only partially, most of them have perished irretrievably (as, for example, in the altar, in the dome, on the sails, in the northwestern part of the temple, etc.). The cleared parts of the painting are fragments of the grandiose composition “Last Judgment”, decorating the western arches of the central and southern naves, as well as the adjacent pillars. The frescoes are perfectly connected with architecture: they obey the planar rhythm of the wall, they live a single life with the wall, they are architectonic in the best sense of the word (Table 39a and b). Light, almost weightless figures seem to make arches round, pillars part, arches and walls rise upward. And these slim figures greatly contribute to the fact that the architecture itself begins to seem more slender and airy. When the original iconostasis, made by Daniil, Rublev and their assistants, was in the temple, this impression should have been even stronger. Huge (over three meters in height) figures from the Deesis tier emphasized the vertical rhythm of the entire complex composition of the iconostasis, which was subject to the same artistic principles, which were the basis of fresco painting.
On the western arch of the central nave, under the choir of the cathedral, we see the figure of Christ in a halo of seraphim; with his right hand he shows the way to the righteous, and with his left hand the way to sinners (Tables 40–42). There is nothing menacing, nothing frightening in his image. Dressed in golden clothes, he soars easily and freely in a blue halo. According to the apt observation of N.A. Demina, Christ appears here to our gaze as “the embodiment of triumph, humanity and creative enthusiasm. In Rublev's style, impeccably inscribed in the circle, he is not limited by it. Touching its limit with his foot, he seems ready to step out of it, which is why the composition, full of monumental clarity and completeness, acquires life and movement. The circle and blue color in Rublev’s poetic imagery symbolized the light that shines through a person” 40.
40 N. Demina, Frescoes by Andrei Rublev in Vladimir. - “Decorative Art”, 1960, No. 8, p. 7.
P. 24
With. 25¦ Above Christ, on the same vault, there are two soaring angels with a scroll in their hands (Tables 43–44). The scroll depicts the moon and stars. Angels roll up the curtain of heaven, which signifies the end of the earthly world. Their figures in light tunics and freely flowing cloaks are full of extraordinary grace and elegance, involuntarily making one remember the angels from the famous Trinity icon.
Above the angels, already in the castle adjacent to the vault of the eastern arch, there is a composition inscribed in a circle, symbolizing the four kingdoms, whose rule is destined to end with the end of life on earth (Table 45). These earthly kingdoms must give way to the kingdom of truth and justice. With remarkable skill, the artist placed in the circle the figures of the four beasts from the vision of the prophet Daniel (VII, 2-28). The winged lion stands with a confident, broad gait - “Roman Kingdom”. Next to him, a light winged leopard walks energetically - “Kingdom of Macedon”. The bear stood rooted to the spot. With his head down, he squints his eyes angrily, not intending to give up even an inch of his land to anyone. This is the "Kingdom of Babylon". The fourth beast, symbolizing the “Kingdom of the Antichrist,” has the most terrible appearance: it has the face of a predator, a human face is placed between the horns, and the tail ends with a snake’s head.
On the northern pillar of the same eastern arch, two figures are preserved, directly related to the theme of the medallion decorating the castle arch, in which animals symbolizing the four kingdoms are inscribed. This is the angel and prophet Daniel (Table 87). As Daniel crouched to the ground, the angel pointed with his hand at the impending judgment, as if saying: “Behold, your prediction is being fulfilled.”
| 46. A. Rublev. The prepared throne, the Mother of God, John the Baptist, Adam, Eve, angels, apostles Peter and Paul | 47. A. Rublev. Our Lady | 48. A. Rublev. John the Baptist | 49. A. Rublev. Eve |
| 50. A. Rublev. Apostle Peter with an angel | 51. A. Rublev. Head of the Apostle Peter | 52. A. Rublev. Apostle Paul with an angel | 53. A. Rublev. Head of the Apostle Paul |
| 46–53. Frescoes on the western side wall of the vault of the central nave. Vladimir, Assumption Cathedral. 1408 | |||
In a semicircle, above the western arch adjacent to the box vault, is represented the “prepared throne” (Table 46). Christ, depicted in the center of the vault, seems to be rushing to the throne to take his place on it on the “terrible day of judgment.” On the throne lies a book in which the deeds of people are written. The trembling Adam and Eve fell to their knees at the foot of the throne (Table 49), the perpetrators of the Fall of man. On the left and right, the Mother of God (Table 47) and the Baptist (Table 48) - intercessors for the human race - are rushing to the throne. They act here as bearers of the idea of mercy, a red thread running through the entire composition of “The Last Judgment.” Their bowed figures, together with the slightly curved figures of angels and apostles Peter (Tables 50–51) and Paul (Tables 52–53), seem to echo the parabola of the vault and arch. Here you are once again convinced of how well the monumental painting in the Assumption Cathedral is combined with the architecture of the interior, obeying its leading lines.
Peter and Paul head two rows of apostles, whose figures are already placed on the slopes of the vault and on the adjacent eastern arch (plates 54–55). Behind the apostles there are several rows of angels. The right and left groups are arranged in such a way that the halos, forming a series of repeated horizontals, seem to support the arch. But, in addition, they echo the circles decorating the vault, in which the figures of Christ and symbolizing the four kingdoms of animals are inscribed. When comparing the figures of the apostles and angels with similar images in the narthex of Kahrie Jami in Istanbul 41, it is not difficult to perceive the much greater stability of the composition in the Russian fresco. Byzantine artists place figures extremely freely, giving them various turns and With. 25
With. 26¦ avoiding symmetry in every possible way. They like the picturesque grouping of figures seated at different levels and at unequal distances from each other. Russian masters construct the same composition differently. They strive for special clarity and architectural orderliness of both groups, in which the clarity of silhouettes and intervals is combined with the measured rhythm of the whole, which is characterized by truly epic calm. And therefore, artists are not afraid of the rhythmic repetition of not only halos, but also open books, the snow-white pages of which form a new horizontal row, echoing the horizontal lines of the back of the seat and the foot.
41 P. Underwood, Third Preliminary Report on the Restoration of the Frescoes in the Kariye Camii at Istanbul by the Byzantine Institute, 1956. - "Dumbarton Oaks Papers", 1958 (XII), p. 246, figs. 7–8.
| 57. A. Rublev. Apostle Simon | 58. A. Rublev. Apostle John | 59. A. Rublev. Apostles Matthew and Luke | 60. A. Rublev. Apostle Matthew |
| 61. A. Rublev. Apostle Luke | 62. A. Rublev. Apostles Mark and Andrew | 63. A. Rublev. Apostle Mark | 64. A. Rublev. Apostle Andrew and the angels |
| 57–64. Details of the frescoes on the southern and northern slopes of the vault in the central nave. Vladimir, Assumption Cathedral. 1408 | |||
Although in the types of the apostles the artists were forced to take into account traditional canons, they still managed to introduce into them those barely noticeable changes, thanks to which these types gained new life. Their faces became more open, kinder (Tables 56–64). And in some of them the impressions from real life, to that extent they have acquired a national seal. This makes itself especially clear in the image of the Apostle Andrew (Table 64), undoubtedly inspired by the faces of the people of that time, and primarily by the faces of the peasants.
The angels standing behind the apostles may seem somewhat monotonous at first glance (Tables 65–68). But the more carefully you look at them, the more charm they acquire in our eyes. They contain naive simplicity, quiet dreaminess, and attentive listening to their inner voice. A special place is occupied by the figures of angels decorating the western arch (Tables 69–70), in the center of which there is a medallion (Table 72) with a huge hand holding the “souls of the righteous” in the form of babies, and two medallions with half-figures of the prophets Isaiah (Table 73) and David (Table 74). These trumpeting angels call the living and the dead to the Last Judgment. But there is nothing in them from the menacing messengers of “doomsday”. Their slender, flexible figures are full of grace. Beautiful heads on chiseled necks are crowned with luxuriant hair, emphasizing the fragility of delicate faces. The trumpets held by both angels are so thin that they seem incapable of making terrifying sounds. They are more like shepherd's pipes 42. In this understanding of the images of the inexorable heralds of the impending retribution for what they have done, traditional for the scene of the Last Judgment, the humanity of the artists who worked in the Assumption Cathedral, who were able to give a new interpretation of this most widespread theme in medieval paintings, is once again demonstrated.
42 N. Voronin, Andrei Rublev and his time. - “History of the USSR”, 1960, No. 4, p. 58.
| 79. | 80. A. Rublev. Faces of righteous men | 81. A. Rublev. Faces of righteous men | 82. A. Rublev. King David from the scene "Faces of Righteous Men" |
| 83. A. Rublev. St. George from the scene “Faces of Righteous Men” | 84. | 85. A. Rublev. Faces of righteous women | 86. A. Rublev. Faces of righteous women |
| 79–86. Frescoes on the south arch and south pillar of the central nave. Vladimir, Assumption Cathedral. 1408 | |||
In the arch leading from the central nave to the southern one, and on the southeastern pillar of the central nave, the artists depicted the faces of righteous husbands and wives who rose from the dead (plates 79–86). There are saints, and martyrs, and monks, and kings, and queens. They have simple Russian faces, most of them wear Russian clothes. Above the arch leading to the southern nave, there are two poorly preserved compositions - “Earth” and “Sea” giving away the dead (plates 75–78). This scene closes the cycle of frescoes in the middle nave, dedicated to the depiction of the terrible day of judgment.
| 88. Daniel. Apostles Paul and Peter with a group of saints | 89. Daniel. Apostle Paul | 90. Daniel. Apostle Peter | 91. Daniel. Apostle Peter with a group of saints |
| 92. Daniel. Prophets from the scene "Procession of the Saints to Paradise" | 93. Daniel. Procession of Saints to Heaven | 94. Daniel. Group of martyrs from the "Procession of the Saints to Paradise" | 95. |
| 96. Daniel. A group of saints from the "Procession of the Saints to Paradise" | 88–96. Details of the fresco on the vault of the southern nave. Vladimir, Assumption Cathedral. 1408 | 97. Daniel. Heaven's Gate and the Prudent Robber. Fresco of the western lunette in the southern nave. Vladimir, Assumption Cathedral. 1408 | 98. Daniel (?). Our Lady with Angels. Fresco of the east lunette in the south nave. Vladimir, Assumption Cathedral. 1408 |
The painting of the southern nave is related to the theme of “Paradise”. The central place here is occupied by the “Procession of the saints to heaven” (the accompanying inscription is “The saints are going to heaven”). The group is led by the apostles Peter and Paul (Tables 88–96). With a passionate appeal, Paul extended his left hand with the scroll, while with his right he pointed to the gates of heaven. On the scroll is the inscription: “Come with me.” The gates of heaven themselves with the accompanying inscription With. 26
With. 27¦ “Non-evening light” decorates the western lunette under the southern arch; a cherub holds a rod, and nearby is seen the prudent thief, who was the first to enter paradise (Table 97). In the opposite lunette is presented (Table 98), and on the eastern slope of the vault - “Abraham’s Bosom” with Abraham (Table 99, 102), Isaac (Table 100–101) and Jacob (Table 100) sitting under the trees of paradise. Moreover, behind Abraham’s bosom, “righteous souls” are depicted in the form of boys (Tables 102–103), and the same boys stand next to him (ibid., Table 104). In addition, figures of saints (Macarius, Onuphrius, Sava the Sanctified and Anthony the Great, plates 105–109) have been preserved in the arches of the southern nave. Several interesting fragments also survived on the altar pillars hidden behind the wooden iconostasis (the martyr Zosimas in a medallion; two full-length figures of unknown saints) and in the arch of the altar (two figures of unknown young saints, the remains of two scenes from the life of John the Baptist, plates 110–118 ). This basically limits the number of fresco fragments that have come down to us in the Assumption Cathedral. In the 15th century, painting decorated all the walls, arches, pillars, sails and dome of the cathedral, so that it included a disproportionately larger number of figures and scenes compared to what has survived to this day.
| 110. Daniel. Zechariah's Gospel | 111. Daniel. Zechariah's Gospel | 112. Daniel. Left group from the scene “The Good News of Zechariah” | 113. Daniel. Angel from the scene "The Good News of Zechariah" |
| 114. Daniel. Infant John the Baptist and an angel from the scene “The Departure of Infant John into the Desert” | 115. Daniel. Hill with a tree and a bush from the scene “The Departure of the Baby John into the Wilderness” | 116. Daniel. Tree from the scene “The Departure of the Baby John into the Wilderness” | 117. |
| 110–118. Frescoes in the altar. Vladimir, Assumption Cathedral. 1408 | 118. Daniel. Roller coaster from the scene “The Departure of Baby John into the Wilderness” |
When studying the frescoes of the Assumption Cathedral, you must always remember that at one time the painting was much brighter in its colors. Purple-pink, silver-gray, lush green, golden-ocher tones were lighter and airier, and deep cherry, velvety brown and sky blue colors were more intense and deeper. In addition, the figures, devoid of later losses, looked more voluminous. The now-dead light blue backgrounds (now only the black spacer underneath them remained) created the impression of a certain spatial depth and light 43 .
43 N. Demina, op. cit., p. 7.
Due to the poor state of preservation of the paintings, their classification into individual stylistic groups is extremely difficult. Undoubtedly, two masters took part in the execution of the frescoes that have reached us, probably using the services of assistants. Each of these masters has his own individual physiognomy. But it is so difficult to draw a clear line between their works that sometimes this task seems simply insoluble. And yet, an attempt at such a solution is quite legitimate, otherwise there will be a danger of Rublev’s creative personality dissolving in the works of his contemporaries. No matter how close “icon painter Daniil” and “monk Andrey” were to each other, they had to work in different manners, in other words, each had to work in his own manner.
One of the masters - undoubtedly the eldest - performed such compositions as “Abraham’s Bosom” (Tables 99–104), “The Apostles Paul and Peter Lead the Righteous to Paradise” (Tables 88–96), “Our Lady with the Awaiting Angels” (Table 98), “Infant John the Baptist with an angel” (Table 114–118) 44. This artist is still very closely associated with the painting traditions of the 14th century. He writes boldly and freely, his drawing is not very correct, the figures are somewhat heavy. He likes to depict heads of asymmetrical shape, he likes purely Russian faces, which are characterized by a touch of captivating simplicity. His art is distinguished by great patriarchy and deep sincerity. This master was, apparently, “icon artist Daniil,” but, unfortunately, we do not have a single signature work of his that could With. 27
With. 28¦ would be used for stylistic comparison. Therefore, this attribution remains hypothetical, especially since among the icons of the Trinity iconostasis, made by Rublev together with Daniil, the hand of the author of the Assumption frescoes is not identified.
44 In the classification of the paintings of the Assumption Cathedral, I follow the main conclusions of I. E. Grabar, although I make a number of adjustments to them (for example, “Faces of the Righteous” and the figures of Anthony the Great and Onuphrius, I associate not with Daniil, but with Rublev). See I. Grabar, Andrei Rublev, pp. 26–33, 66–67, 71–72, 97.
The second master, whose brush can be attributed to “Christ in Glory” (Tables 40–42), “Apostles and Angels” (Tables 50–68), “Trumpeting Angels” (Tables 69–71), “Symbols of the Four Kingdoms "(Table 45), "Etymasia with Peter and Paul" (Table 46–53), "Angel and Prophet Daniel" (Table 87), "The faces of righteous women and righteous men" (Table 79–85), " Prophets Isaiah and David" (Tables 73–74), "St. Macarius", "Antony the Great" (Tables 105–106, 108), etc., belongs to a younger generation that has already moved away from the pictorial traditions of the 14th century 45. His drawing, compared to the drawing of the first master, is stricter and more precise. He avoids bold, asymmetrical shifts, he likes clean parabolic lines, his favorite compositional formula is the circle, because it is the clearest and calmest. It is with the circle that he most often brings the outlines of heads closer together. All his art is marked by the highest artistry. He knows how to give his graceful elongated figures a captivating grace (in this regard, the trumpeting angels are especially noteworthy), he knows how to subtly reveal the silhouette of a figure, extracting purely musical effects from the line of the sketch (cf. the figures of angels and the apostles Peter and Paul on the sides of the “etimasia”) , he knows how to give faces an expression of incomparable gentleness and nobility. This second master, whom we have every reason to identify with Andrei Rublev, opposes the first master as an artist of a more contemplative nature and as a person of a more subtle mental organization. There is something truly classical about his crystal clear art.
45 From the second group it is not difficult to build a bridge to the “Trinity” and to the best quality holiday icons of the Annunciation Cathedral; for example, the angels (especially those standing behind Peter and Paul) are very close to the angels of the “Trinity” and to the angels from the “Baptism” in the Cathedral of the Annunciation. There are also points of contact with the icons of the Trinity iconostasis (cf. King David in a circle with a similar figure on the “Descent into Hell” icon). It is interesting to note that the image of Peter (to the left of the "Etymasia") is undoubtedly inspired by the official figure of the Annunciation Cathedral. This once again shows how much the art of Feofan and his immediate circle attracted the attention of Rublev.
We do not know what impression the composition of “The Last Judgment” would have made on us if its right side, where scenes of hellish torment were presented, had been preserved. I would like, however, to think that in this case it would be very different from Byzantine images on the same topic. In Byzantium the idea of punishment and retribution was usually emphasized. In the painting of the Assumption Cathedral, the idea of forgiveness triumphs. It is she who brings both masters together, no matter how different they are in their temperament. And in the angels, and in the apostles, and in the saints there is no severity. They are full of friendliness, full of readiness to help their neighbor. That is why the faces of the righteous glow with such joy: they have nothing to fear, they know in advance that the judge will be merciful to them. The masters who worked in the Assumption Cathedral were able to give even the scene of the Last Judgment an enlightened character. In their interpretation of this event, they decisively broke with the Byzantine tradition, which made itself felt so strongly in the frescoes of Nereditsa. They humanized all the images of saints and made conciliatory notes sound stronger. In this regard, one of the most expressive images The painting is of the Apostle Peter (Tables 90–91). He turned to the crowd of righteous people following him, as if addressing them with words of encouragement. His whole appearance testifies to his trust in people; he is firmly convinced that with one kind word you can set them on the right path. Hence this open, friendly facial expression. And although he has some individual traits, he is rather perceived as the ideal type of person of that time: he displays spiritual strength and With. 28
With. 29¦ moral purity, which in the artist’s eyes were the most valuable properties of the Russian character.
In the system of painting of the Assumption Cathedral, undoubtedly, a prominent place was occupied by the figures of holy warriors, who were usually located in the lower register. One of these figures (on the central southwestern pillar) has reached us 46. With her courageous appearance and strong-willed character, she clearly shows how close the ideals of military valor were to Rublev. Having witnessed great historical events in which the power of Russian weapons triumphed, Rublev should have perfectly understood the significance of the feat of arms. And, if all the figures of warriors he painted had been preserved, we would probably have had a whole gallery of images magnificent in their expression of masculine strength.
46 N. Voronin, op. cit., p. 59, fig. 2.
Rublev's activities in the Assumption Cathedral were not limited to the execution of frescoes. He also took part in painting icons for the iconostasis. There are serious reasons to believe that the general composition of the iconostasis was conceived by Rublev and that he attracted members of his artel to participate in this complex and very labor-intensive task. In any case, the icons that have come down to us clearly indicate that several masters labored here and, moreover, worked in very different manners.
When in 1773–1774 a new iconostasis was built in the Assumption Cathedral, designed in the magnificent forms of Elizabethan baroque, the old icons were sold to the peasants of the village of Vasilyevsky, Shuisky district. Here they remained until 1922, when, by government decision, twenty-seven icons were transported to Moscow for restoration (thirteen large icons of the Deesis order, two later icons of archangels of the same size, ten “holidays” and two icons with images of prophets) . The rank includes icons of Christ, the Mother of God, the Forerunner, the archangels Michael and Gabriel, the apostles Peter, Paul, Andrew and John the Theologian, Saints Basil the Great, Gregory the Theologian, John Chrysostom and Nicholas (six icons, including icons of the prophets, are kept in the Russian Museum, the rest are in the Tretyakov Gallery). Of the “holidays,” only five date back to the Rublev era, the other five were written again on pumice-coated boards. “Candlemas” and “Baptism” are in the Russian Museum, “Ascension”, “Annunciation” and “Descent into Hell” - in the Tretyakov Gallery. The presence of four archangels is explained by the fact that two icons of the archangels were painted on old pumice boards, which previously contained images of George and Dmitry.
| IX. Workshop of A. Rublev. Apostle Peter | X. A. Rublev. Apostle Paul | 119a. A. Rublev. Savior is in power | 119b. A. Rublev. Angel. Detail of the icon “Savior in Power” |
| 120a. Workshop of A. Rublev. Our Lady | VIII, 120b. A. Rublev. John the Baptist | 121a. Workshop of A. Rublev. Gregory the Theologian | 121b. Workshop of A. Rublev. Andrew the First-Called |
| XI, 122. A. Rublev. Ascension | 123. Workshop of A. Rublev. Annunciation | 124. Workshop of A. Rublev. Candlemas | 125. Workshop of A. Rublev. Descent into Hell |
| VIII–XI, 119–125. Icons from the iconostasis of the Assumption Cathedral in Vladimir. Moscow, Tretyakov Gallery and Leningrad, Russian Museum. 1408 | |||
The iconostasis of the Assumption Cathedral is the largest among the monuments of this kind that have come down to us 47. The icons included in the rank, about three meters high, formed a composition grandiose in its monumental scope (Tables 119–125). Gigantic figures facing the center stood out clearly against the golden background. Treated very flatly, the figures influenced primarily by their silhouette. And the masters who created them took this into account perfectly: they simplified their essays to the utmost, achieving such an amazing laconicism, next to which the artistic language of the 16th–17th centuries seems eloquent and overly fractional. Only an era that subtly sensed the beauty of architectural forms could give birth to such perfect creations.
47 The rank icons of Theophanes the Greek are 2.10 in height; rank icons of the Trinity Cathedral - 1.89. Consequently, the icons of the Assumption Cathedral are more than a meter larger than them (3.14).
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With. thirty¦ Undoubtedly, the rank icons were conceived by Rublev himself, as evidenced by the perfection of the linear outline and rhythmic movement. Most of the figures are arranged according to Rublev’s favorite rhomboidal principle: the figure is widest in its middle part and tapers upward and downward. This gives her a particularly spiritual character, since her feet barely touch the ground, while her body is hidden behind a wide, loose robe. The close connection between the bureaucratic icons and Rublev is also evidenced by their marvelous coloring, conceived as a single whole. Dark green tones alternate with golden yellow and red, blue with cherry. This range is designed to be perceived from a great distance, so it is extremely sparing. But the stinginess of color combinations does not make them poor. Here the rule is once again confirmed that color, if it only has integrity and unity, is based not on the quantity of colors, but on their quality, or rather, on the quality of the color composition. The color is given in large, unbroken planes, which helps to capture the figure at one glance. In all these artistic techniques one can feel the traditions of centuries-old culture. When creating the iconostasis of the Assumption Cathedral, Rublev relied on Theophan’s heritage. He had to remember well the rite of the Annunciation Cathedral, and he gave further development to the principles contained in it. By increasing the size of the figures by almost one meter, decisively subordinating them to planes, simplifying the silhouettes, and increasing the intensity of local color, Rublev achieved even greater monumentality compared to Feofan.
By associating the idea of the Deesis rank entirely with Rublev, we by no means want to attribute to him all the icons included in the rank. It is quite natural that when completing fifteen three-meter figures, Rublev had to resort to the help of students, otherwise the work would have dragged on for years. Although the icons have come to us in very poor preservation (washed out, numerous losses and corrections), even in this state they provide sufficient material for one to discern in them far from the same quality. The strongest figures are Christ (Table 119), the Forerunner (Table VIII), Paul (Table X), the weakest are the archangels. The latter were written not by Rublev, but by his students.
Most of the holiday icons that have come down to us should also be associated with the students and followers of Rublev and Daniil. “The Descent into Hell” (Table 125) and “The Annunciation” (Table 123) certainly cannot be considered Rublev’s works. They go back to the same icon paintings as similar icons from the Trinity Cathedral 48. They have a variety of colors that is not typical for Rublev, their drawing is heavy, they are devoid of Rublev’s subtle rhythm. Even worse is “Baptism”, which suffered especially badly from numerous later edits that distorted the original drawing 49 . Incomparably better is the “Candlemas” (Table 124), almost exactly repeated on a similar icon of the Trinity Cathedral. But, no matter how good this thing is, undoubtedly very close to Rublev, it still lacks individual Rublev signs. We find the latter only in one icon - in the “Ascension”, which stands out for its high quality of execution (Table 122, XI).
48 The prototype of the “Annunciation” should be sought in the Greek icon from the Trinity-Sergius Lavra (now kept in the Tretyakov Gallery). See V. Lazarev, History of Byzantine painting, II, M., 1948, table. 321. Yu. A. Lebedeva (“Andrei Rubljow”, S. 53–54) gives the icon “Annunciation” to Rublev with a question mark. “The Descent into Hell” by I. E. Grabar (“Andrei Rublev”, pp. 79, 109) is attributed to Rublev himself.
49 Yu. N. Dmitriev (“State Russian Museum. Guide. Old Russian Art”, Leningrad–M., 1940, p. 45) gives “Baptism” to Rublev, and he also attributes “Candlemas” to Rublev.
At one time it was already noted that the “Ascension” from the Assumption iconostasis goes back to the icon of Prokhor in the Annunciation Cathedral. The fact in itself is quite remarkable, since it proves the direct succession of Rublev from Prokhor: from him With. thirty
With. 31¦ Rublev was supposed to inherit the iconographic drawings. In the distribution of the main color accents, Rublev also follows his teacher. But the most interesting thing is how he refines and harmonizes his range, giving it an overall silvery tone. His colors are softer, more delicate, more poetic. The vibration of color makes the surface vibrate, causing a feeling of internal movement and generating in the viewer a very special lyrical emotion. Rublev amazingly combines all these white, blue, golden yellow, cherry, silver-green, pink, blue, pistachio, pinkish-cherry colors, from which he extracts a melody unknown to the Byzantines. Here it is especially clear to see how the dramatic intensity of color, characteristic of the Byzantines, gives way to Rublev’s extraordinary poetic coloring. By poeticizing and softening the paint, he thereby poeticizes and softens the images of his saints.
The iconostasis of the Assumption Cathedral clearly shows that already in Vladimir, Daniil and Rublev were surrounded by students who actively helped them in completing a huge order. If Daniel really was the author of a group of paintings that was more archaic in style, then we can definitely say that he did not participate in the work on the iconostasis: none of the icons reveals his hand. Since this hand is very difficult to identify among the icons of the Trinity iconostasis, the creative person of Daniel remains unclear 50. Therefore, the question of whether he was the author of one of the groups of Assumption paintings cannot be resolved with complete certainty.
50 I. E. Grabar (“Andrei Rublev”, pp. 72, 85, 95–97) attributes to Daniel the painting of the Assumption Cathedral in Zvenigorod (Varlaam and Tsarevich Joasaph, Pachomius with an angel), the “Assumption” from the Kirillo-Belozersky Monastery and officials icons of the Trinity Cathedral (“John the Theologian”, “Basily the Great” and “Gregory the Theologian”). As already noted, I. E. Grabar identifies Prokhor from Gorodets with Daniil Cherny.
Apparently, while still in Vladimir, Andrei Rublev painted a wonderful icon, which is kept in the local museum (Tables 126–127). It is a free copy of the famous Byzantine image of the Vladimir Mother of God, kept in the Assumption Cathedral and transported in 1395 to Moscow 51. As E.E. Golubinsky 52 suggested, the image of the Vladimir Mother of God was then returned to Vladimir and only in 1480 was finally brought to Moscow. In any case, in 1410 the image of the Vladimir Mother of God was in Vladimir, since that year it was stripped (“torn”) by the Tatars who plundered the city 53 . Since the image was revered as the greatest shrine, the people of Vladimir, naturally, did not want to give it to Moscow 54. However, they were forced to yield to pressure from the Moscow Grand Duke, and soon after 1410 the icon of Our Lady of Vladimir was again transported to Moscow. Probably, in connection with all these events, Rublev was instructed to make a copy of the famous icon, so that it could replace the image that wandered between Vladimir and Moscow 55. But what Rublev did cannot be called a copy. He rethought the theme of Tenderness in his own way, creating something completely new compared to the Byzantine icon.
51 See A. Anisimov, Vladimir Icon Mother of God, Prague, 1928, p. 18.
52 E. Golubinsky, History of the Russian Church, II–1, M., 1900, pp. 332–333.
53 " Complete collection Russian Chronicles", XVIII, p. 160. Cf. E. Golubinsky, decree. cit., II–1, p. 333; M. Tikhomirov, Andrei Rublev and his era. - “Questions of History”, 1961, No. 1, pp. 5–6.
54 Wed. I. Grabar, Andrey Rublev, p. 102.
55 Wed. A. Anisimov, decree. cit., p. 20.
The half-figure of the Mother of God is perfectly inscribed in the rectangle of the board, standing out with a clear silhouette light background(at one time it was golden ocher). By increasing the tilt of Mary’s head compared to the prototype, the artist achieved an expression of special softness. Pressing the baby to her cheek, who, knowing nothing, tenderly reaches out to her mother, Mary grieves over the fate of her son. But there is nothing ecstatic, impetuous, or exaggerated in this sadness. This is enlightened sadness, purified from everything external and therefore perceived as a symbol of the greatest maternal love. In accordance with this ideological plan, there is not a single hard line on the icon, not a single sharp With. 31
With. 32¦ stains. The lines are smoothly curved, invariably gravitating towards a parabola, the transitions from light to shadow are distinguished by an amazing airiness (“written with smoke” - as Russian icon painters put it), the delicate pinkish tone of the carnation imperceptibly acquires a light greenish tint in the shadows, the dark cherry-colored maforium of the Mother of God is subtly harmonized with the golden-ocher tunic of Christ and with his bluish-blue clave, as well as with a blue cap peeking out from under the maforium. In this icon, well preserved and skillfully cleaned, everything sounds as if on mute. Only a great master could achieve such warmth of expression and lyrical mood, which makes one inclined to attribute the icon of Tenderness to the brush of Rublev himself 56 .
56 I. E. Grabar (“Andrei Rublev,” pp. 101–103) was the first to recognize Rublev’s hand in this icon. At one time, I was inclined to attribute it to the school of Rublev (“History of Russian Art,” III, p. 144), but a new careful study of the original convinced me of the correctness of the attribution of I. E. Grabar. Yu. A. Lebedeva (“Andrei Rubljow”, S. 65–66) connects the icon with the school of the master.
The chronicle news from 1408 about the work of Daniil and Andrei Rublev in the Assumption Cathedral in Vladimir says that they “began to paint” this church on May 25. It is clear that they could not complete the entire extensive painting in one summer season. To do this, they needed at least two summer seasons (in Rus', due to the cold climate, church paintings were carried out only in the summer months, no later than September). Therefore, in 1409, Daniil and Andrei Rublev should have been in Vladimir. All literary sources are silent about their further activities, until the middle of the third decade, and the tenth years were the time of Rublev’s full creative maturity. During these years, two of his best works appeared - the Zvenigorod Deesis rite and the Trinity icon.
Until the recent past, the Zvenigorod rank, found in 1918 in a barn near the Assumption Cathedral on Gorodok, was associated with the early activities of Rublev 57. As justification, the origin of this order was given from the Cathedral of the Nativity of the Mother of God in the Savvino-Storozhevsky Monastery near Zvenigorod, allegedly built before 1406 - the year of the death of the founder of the monastery, Savva Storozhevsky 58. But, as it now turns out, the Deesis rite could not have been part of the iconostasis of this cathedral, and the time of construction of the cathedral remains controversial. Therefore, the dating of the Zvenigorod rank is not limited by anything 59. If we proceed from the style of this work, then it reveals a number of features that characterize the style of writing not of the early, but of the mature Rublev, who had already completed work on the Vladimir frescoes.
57 V. Lazarev, Andrei Rublev and his school. - “History of Russian Art”, III, pp. 124–126; M. Alpatov, Andrey Rublev, pp. 14–15; V. Antonov in the “Catalogue of the exhibition dedicated to the six hundredth anniversary of Andrei Rublev”, M., 1960, pp. 9, 12–14, 38; K. Оnasch, Ikonen, S. 387–388.
58 V. Bryusova, Frescoes of the Assumption Cathedral on the Gorodok mountains. Zvenigorod (abstract of the dissertation), M., 1953, pp. 9–10. About the time of construction of the cathedral, see N. Brunov, Cathedral of the Savvino-Storozhevsky Monastery near Zvenigorod. - Proceedings of the Ethnographic and Archaeological Museum of Moscow state university, M., 1926, pp. 16–23; M. Ilyin, From the history of Moscow architecture of the time of Andrei Rublev. - “Questions of History”, 1960, No. 12, pp. 93–95; B. Ognev, Some problems of early Moscow architecture. - “Architectural Heritage”, M., 1960, pp. 45, 49, 52–53, 56–57; M. Tikhomirov, Andrei Rublev and his era. - “Questions of History”, 1961, No. 1, pp. 9–10. M. N. Tikhomirov, who used the 15th century source “Service to Savva Storozhevsky,” convincingly proved that Savva built wooden temple. Consequently, the stone temple, which is mentioned in a late (16th century) and unreliable source (written by Markel “The Life of Savva of Storozhevsky”), was erected later, after the death of Savva (that is, after 1406). M.A. Ilyin is inclined to date the stone cathedral of the Savvino-Storozhevsky Monastery to 1423–1425.
59 I. E. Grabar (“Andrei Rublev”, pp. 95, 109) dates the Zvenigorod rank to 1408–1425, Yu. A. Lebedeva (“Andrei Rubljow”, pp. 71–73) - the end of the second - the beginning of the third decade , and she completely arbitrarily takes away the “Apostle Paul” icon from Rublev, attributing it to the master’s student.
Only three icons have survived from the Zvenigorod rank - the Savior (Table 128–130), the Archangel Michael (Table 131) and the Apostle Paul (Table 132). At first glance, they amaze with the extraordinary beauty of their cold, light colors, creating a mood of special enlightenment in the viewer. Blue, pink, faded violet and cherry colors are given here in such impeccably correct combinations with the gold background that purely musical associations are born in those contemplating the icon. For Rublev, color was the means by which he revealed the inner world of the saint. That is why his Savior, and his Paul, and his angel have such irresistible attractiveness. We perceive them as bearers of a good beginning, they are characterized by amazing gentleness, there is nothing of Byzantine severity in them. In its deep humanity, the Savior resembles the famous figure of Christ in the tympanum of the “Royal Portal” of Chartres Cathedral. In both Rublev and the early Gothic master, the image of the deity is so humanized that it completely loses its abstract cult character. Hundreds of connecting threads stretch between deity and man, and man no longer looks at the image of the deity with fear and trembling, With. 32
With. 33¦ and with hope. This is how Rublev modifies the traditional iconographic type. And he endows him with uniquely Russian features. According to the apt observation of N.A. Demina, Rublev’s Spas is “the embodiment of typically Russian good looks. Not a single element of the face is overly emphasized - everything is proportional and consistent: he is Russian, his eyes are not exaggerated, his nose is straight and thin, his mouth is small, the oval of his face, although elongated, is not narrow, there is no asceticism at all, his head has a thick mass of hair rises with calm dignity on a strong, slender neck. The most significant thing about this new look is the look. It is directed directly at the viewer and expresses lively and active attention to him; he feels a desire to delve into a person’s soul and understand him. The eyebrows are freely raised, which is why there is no expression of either tension or sorrow, the gaze is clear, open, and benevolent. Before us is a strong and active person who has enough mental strength and energy to give himself to support those who need it. The Zvenigorod Spas is larger than the life size of a person. He is full of greatness. In addition, there is a rigor of inner purity and spontaneity in him, there is complete trust in a person” 60. This vivid description of Rublev’s creation correctly highlights the new things that the artist introduced into the interpretation of one of the most traditional images of medieval art.
60 N. Demina, Features of heroic reality of the 14th–15th centuries in the images of people by Andrei Rublev and artists of his circle. - Proceedings of the Department of Old Russian Literature, M.–L., 1956, p. 319.
Rublev rethought the Byzantine heritage no less creatively in the image of the Apostle Paul. The artist must have known the Vysotsky rank, sent from Constantinople to the Vysotsky monastery between 1387 and 1396 61. This rank was too large a monument of Byzantine painting for it to remain unnoticed by Rublev. His apostle Paul is inspired by the corresponding half-figure of the Vysotsky rank. And so, when you compare both of these monuments, you again easily perceive the essential difference between them: Rublev’s Pavel is softer, more heartfelt, simpler; The half-figure of the apostle is much lighter and more cheerful in color; it lacks the intense black and white modeling of the Byzantine original. All this taken together leads to the fact that the Byzantine icon, in comparison with the Rublev icon, seems dry and gloomy. She is characterized by that shade of fanaticism that is completely absent in Rublev.
61 See V. Lazarev, New monuments of Byzantine painting of the 14th century. 1. Vysotsky rank. - “Byzantine temporary book”, 1951 (IV), pp. 122–131, fig. 7.
The Zvenigorod rank belongs to Rublev not only by its highest quality, but also by the very specific stylistic analogies that these icons find in other works of the master: Archangel Michael is the brother of the angels of the “Trinity”, the Apostle Paul is close to Paul from the rank of the Trinity Cathedral (cf . especially the interpretation of the cheekbones and forehead), the Savior in its general spirit resembles Christ from the painting of the Assumption Cathedral in Vladimir and on the icon of Baptism in the Annunciation Cathedral. In the Zvenigorod rite, as well as in the paintings of the Assumption Cathedral, Rublev appears to us as a fully established master who has developed his own artistic language.
In the full bloom of his creative powers, Rublev painted the icon “Trinity” (Tables 136–139, XV, XVI). He created this icon in memory of Sergius of Radonezh. The most likely date for its execution is 1411, when a wooden church was built at the burial site of Sergius. Like the later stone Trinity Cathedral, erected in 1423–1424 in its place, it was dedicated to the Trinity 62. Apparently from the old one, wooden church the icon ended up in a new stone one, where it remained until With. 33
With. 34¦ before transferring it to the Tretyakov Gallery. Here she attracts everyone's attention as a monument of irresistible charm. Rublev put all the power of his genius into this thing, and he managed to create such a perfect work of art that ensured his immortality. If only one icon of the Trinity had been preserved from Rublev, we would still consider him a great master.
62 E. Golubinsky, St. Sergius of Radonezh and the Trinity Lavra created by him, ed. 2nd, M., 1909, pp. 92, 106, 107. The Trinity icon cannot be separated by a significant period of time from the Vladimir paintings (1408), since the angels show a very great resemblance to the angels behind the apostles Peter and Paul (on the fresco with "Etymasia"). "Trinity" is undoubtedly not a work of Rublev's old age, but a work from the period of his heyday. Therefore, the possibility of dating the icon to the 20s, when the Trinity Cathedral was built, is excluded.
When you study Russian painting of the 14th century, one curious fact catches your eye: since the second half of this century, the number of icons depicting the Trinity has sharply increased. This topic was especially popular in the circle of Sergius of Radonezh. It was to the Trinity that Sergius dedicated the monastery he founded, and when his disciples and closest followers founded new monasteries in the north, they most often dedicated them to the same Trinity 63 . For Sergius, the image of the Trinity signified unity and harmony. It is not for nothing that Epiphanius the Wise writes in his “Life of Sergius” that the latter erected the Church of the Trinity, “so that by looking at the Holy Trinity the fear of the hated discord of this world could be overcome” 64 . This is quite consistent with the practical activities of Sergius of Radonezh, who energetically opposed princely quarrels and civil strife. There was, however, another reason that explains to us the wide distribution of Trinity icons in the second half of the 14th century. We are talking about heretical movements that, from the end of the 13th century, began to grow and expand in Rus' and within which anti-trinitarian movements occupied far from the last place.
63 G. Fedotov, Saints of Ancient Rus', Paris, 1931, pp. 153 ff., 176 ff.
64 “The Life of Sergius Epiphanius the Wise.” - Monuments of ancient writing and art, vol. 58, St. Petersburg, 1885.
It is known that the Bogomils 65 and the Cathars 66 already rejected the church dogma of the triune deity. The Strigolnik sect, which took deep roots in Novgorod and Pskov in the 14th century, also denied the equality of the three persons of the Trinity. The Strigolniki argued that when three angels appeared to Abraham, the latter saw only God and two angels, and not the three faces of the Holy Trinity. In justifying their point of view, the Strigolniki, like the later sect of Judaizers, eventually came to completely deny the possibility of depicting the Trinity 67 . But they were not alone in their anti-Trinitarian attitudes. As A.I. Klibanov convincingly showed, anti-Trinitarian protests also found a place in Rostov 68 . They fall on the 80s, when Jacob (1386–1392) was the bishop of Rostov. In Rostov, the anti-Trinitarian heresy was called “Armenian,” and Metropolitan Cyprian already wrote about it. In his response to Sergius’s closest student, Rostov resident Afanasy Vysotsky, he calls the Armenian heresy “the most vile of all heresies.” Its main adherent was a certain Marcian, who singled out Christ from the Trinity and did not recognize the worship of icons. That these anti-Trinitarian currents, undermining the strongholds of Orthodoxy, generated a wide response is proven by two more interesting facts.
65 See D. Obolensky, The Bogomils, Cambridge, 1948, Index s. v. Trinity.
66 A. Borst, Die Katharer, Stuttgart, 1953, S. 154 f.
67 N. Kazakova, Ideology of strigolnichestvo. - Proceedings of the Department of Old Russian Literature, 1955 (XI), p. 116; N. Kazakova and Y. Lurie, Antifeudal and heretical movements in Rus' in the 14th - early 16th centuries, M.–L., 1955, p. 120; К. Оnasсh , Andrej Rublev, Byzantinisches Erbe in russischer Gestalt (Ketzergeschichtliche Hintergründe der Dreieinigkeitsikone Rublevs).- Akten des XI Internationalen Byzantinisten-Kongresses, 1958, München, 1960, S. 428. А. И. Клибанов («Реформационные движения в России in the 14th - first half of the 16th centuries,” M., 1960, p. 165) is wrong when he asserts that “the Strigolniki had not yet opposed icon veneration and were not anti-Trinitarians.” There are serious reasons to believe that the Novgorod heretics of the late 15th century joined the traditions of the Strigolniks in this regard.
68 A. Klibanov, op. cit., pp. 160–166.
On the Novgorod icon “Fatherland”, which dates back to the end of the 14th century, there is an inscription on top that clarifies the plot of the icon: “O (te)ts and Sin and s(v)ts (and) Spirit" 69 . So that the viewer does not have any doubts about the equality of all the faces of the Holy Trinity, the artist gave two more inscriptions: on the sides of the figure of God the Father, above the throne, and on the disk, which Emanuel holds with both hands. These inscriptions read - IC XC. Thus, both God the Father and the Holy Spirit, symbolized by the dove depicted on the disk, are equated with Christ. Since in medieval iconography God the Father, having the appearance of the Ancient of Days, was usually interpreted not only as the image of God the Father, but also as the image of his Son (hence the crosshair on the halo and the clav on the right sleeve), With. 34
With. 35¦ thereby the inseparability and equality of the three persons of the Holy Trinity received even more visual expression. Thus, the Novgorod icon painter sought to refute the heresy of the anti-Trinitarians.
69 K. Onasch, Ikonen, Taf. 24, pp. 356–357. Wed. H. Gerstinger, Über Herkunft und Entwicklung der anthropomorphen byzantinisch-slavischen Trinitätsdarstellungen des sogenannten Synthronoi - und Paternitas (Otechestwo) Typus. - Festschrift W. Sas-Zaloziecky zum 60 Geburtstag, Graz, 1956, S. 79–85.
The second fact relates to the literary field 70 . In his “Life of Sergius,” Epiphanius the Wise embarks on far-reaching discussions about the role of the triple principle in the events of Old Testament and New Testament history. After listing a number of specific examples, Epiphanius makes a declarative statement: “...the triple number is the beginning of all good things...” 71 . Epiphanius attaches truly cosmic significance to this “three-numberedness.” He writes: “Why am I informing you of three numbers, but for the sake of not mentioning something larger and terrible, who is a three-numbered deity with three shrines, three images, three beings in three persons, one deity, the holy trinity and father and son and the holy spirit of the triune deity, one power, one power, one dominion” 72. Undoubtedly, such a persistent, almost manic mention of tripartite numbers was nothing more than a response to the activities of anti-Trinitarians. To Epiphanius the Wise, who wrote the Life of Sergius at the beginning of the 15th century, the fight against heretics and rebuffing their teachings seemed to be a very vital matter, which explains the activity of his preaching about the great benefits of tripartite numbers.
70 A. Klibanov, op. cit., pp. 160–161.
71 “The Life of Sergius Epiphanius the Wise.” - Monuments of ancient writing and art, vol. 58, St. Petersburg, 1885, p. 17.
72 Ibid., p. 18.
When Andrei Rublev received the order to create the Trinity icon, this topic undoubtedly had vital significance both for himself and for his contemporaries 73 . It was as if he was given the task of proving the equality of the three persons of the Holy Trinity for the edification of dissenters. This moment probably played some role in his plan. But, like any great work of art, Rublev’s “Trinity” has many aspects. And therefore it would be wrong to explain its most complex philosophical content by the struggle against anti-Trinitarian concepts alone. The latter characterize the historical environment in which the master painted his icon. They could also be one of the incentives for its creation. However, they are unable to explain to us the full depth of Rublev’s artistic concept.
73 Prof. was the first to point this out. Onash. See K. Onasch, Andrej Rublev, Byzantinisches Erbe in russischer Gestalt, S. 428–429.
When working on the Trinity icon, Rublev undoubtedly relied on Byzantine models. He probably used some kind of panagia (round saucer), the bottom of which was usually decorated with an image of the Trinity 74. But if on the Greek panagia the figures of angels were purely mechanically subordinated to the round shape of the saucer, then in Rublev the circle acquired a deep inner meaning, inevitably flowing from the entire creative plan, the organic expression of which it was. As we will see later, no other compositional formula would be possible here, because only construction in a circle - this figure, ideal in its centric balance, could create that mood of solemn peace and special enlightenment that the artist was striving for.
74 Cp. V. Lasareff, Byzantine Ikons of the Fourteenth and Fifteenth Centuries. - Burlington Magazine, 1937 (LXXI), p. 256, plate IV D.
In Rublev’s “Trinity” they wanted to see echoes of Gothic and Italian art. She was brought closer to the works of both Duccio and Simone Martini, believing that the grace of Rublev’s angels was inspired by the images of Siena painters. This point of view on the icon of the Russian master is quite widespread in the literature 75. In the light of the latest research, it can definitely be argued that Rublev did not know the monuments of Italian art, and therefore, could not borrow anything from them. Its main source was Byzantine painting of the Palaiologan era. And besides With. 35
With. 36¦ metropolitan Constantinople painting. He had every opportunity to study her works in Moscow, where the works of Constantinople craftsmanship were always highly valued. It was from here that he drew the graceful types of his angels, the motif of bowed heads, and the rectangular table. But it is characteristic that he did not limit himself to using the Constantinople tradition. He also knew eastern monuments, otherwise it would have been difficult to explain such details of his icon as the higher position of the middle angel or the placement of the side angels in front of the meal 76 . Based on the organic combination of Constantinople and Eastern traditions, the iconography of Rublev’s “Trinity” was formed. And yet we perceive it as a completely original solution, to the extent that the artist was able to breathe new life into the traditional iconographic type.
75 D. Ainalov, History of Russian painting, vol. 1, St. Petersburg, 1913, p. 16; N. Sychev, Icon of St. Trinity in the Trinity-Sergius Lavra. - Notes of the Department of Russian and Slavic Archeology of the Russian Archaeological Society, 1915 (X), pp. 58 ff.; N. Punin, Andrei Rublev. - “Apollo”, 1915, pp. 18, 22, 23; G. Millet, Recherches sur l"iconographie de l"évangile au XIV-e, XV-e et XVI-e siècles, Paris, 1916, p. 681; R. Van Marle, The Development of the Italian Schools of Painting, II, The Hague, 1924, p. 67.
76 M. Alpatov, La “Trinité” dans l "art byzantin et l"icone de Roublev. - “Echos d'Orient”, 1927 (146), p. 174.
The biblical legend tells how three beautiful young men appeared to the elder Abraham and how he, together with his wife Sarah, treated them under the shade of the oak of Mamre, secretly guessing that the three faces of the Trinity were embodied in them. Byzantine and Eastern Christian artists usually conveyed this episode with great detail. They depicted a meal laden with food and Abraham and Sarah busily serving the angels; they even introduced a side episode with the slaughter of a calf. For them this scene was first and foremost historical event that occurred in a certain place and at a certain hour. Rublev deliberately refuses such an interpretation. In his icon, everything secondary and unimportant is discarded: the figures of Abraham and Sarah are omitted, the episode with the slaughter of the calf is missing, and numerous dishes that burden the meal have been eliminated. Only three figures of angels, a meal, a Eucharistic cup, an oak of Mamre, a house and a rock remained. With such an interpretation, any action, any hint of the historical nature of the event depicted on it was expelled from the icon. The figures of angels were perceived as a symbol of the triune deity and as a prototype of the Eucharist.
In Rublev's icon, created for prolonged contemplation, there is no movement or action. Three angels sit in complete silence on low seats. Their heads are slightly bowed, their gaze is directed into infinity. Each of them is immersed in their own thoughts, but at the same time they all act as bearers of a single experience - humility. The compositional center of the icon is a bowl with the head of a sacrificial calf 77. Since the calf is the Old Testament prototype of the New Testament lamb, the cup should be considered as a symbol of the Eucharist. The hands of the middle and left angel bless the cup. These two gestures provide the key to revealing the complex symbolism of the composition. The middle of the angels is Christ. In thoughtful concentration, bowing his head to the left, he blesses the cup, thereby expressing his readiness to accept the sacrifice for the atonement of human sins. He is inspired to this feat by God the Father (the left angel), whose face expresses deep sadness. The Holy Spirit (right angel) is present as an eternally young and inspired principle, as a “comforter”. Thus, here is presented an act of the greatest, according to the doctrine christian church, sacrifices of love (the father condemns his son to an atoning sacrifice for the world). But the artist does not limit himself to this. It simultaneously captures an act of the greatest obedience - the son’s expression of readiness to suffer and sacrifice himself to the world. Rublev here transforms the traditional iconographic type into a profound symbol, which forces us to perceive this old theme in a completely new way.
77 In interpreting the ideological content of the “Trinity”, I am largely based on the work of N. A. Demina, dedicated to the Rublev icon (“The Trinity” by Andrei Rublev, M., 1963). However, in the interpretation of individuals of the “Trinity”, my point of view differs significantly from the interpretation of N.A. Demina. Following M.V. Alpatov (op. cit., p. 36), she identifies the central figure with God the Father (N. Demina, op. cit., pp. 46–52). The groundlessness of such a statement is not difficult to refute, since it is in direct contradiction with the entire course of development of the iconographic type of the “Trinity”. See next note.
78 Recently an attempt was made (Un moine de l "Eglise d" Orient, La signification spirituelle de l "icône de la "Sainte Trinité" peinte par Andre Roublev. - "Irenikon", 1953 (26), pp. 133–139) a new, but, I note, completely untenable and extremely subjective interpretation of Rublev's "Trinity". According to this interpretation, the central figure depicts God the Father, the right (from the viewer) - Christ, the left - the holy spirit. No less arbitrary is another explanation of Rublev's "Trinity", belonging to A. Wenger (“Bulletin de spiritualité et de théologie byzantines.” - “Revue des Etudes Byzantines”, 1955 (XIII), pp. 183–184): the central figure is God the Father, the left angel is Christ, the right angel is the holy spirit. Both of these interpretations are easily refuted by the fact that in all Cappadocian frescoes depicting the “Trinity” (Tokale Kilisse, Karanlek Kilisse, Elmale Kilisse, Charekle Kilisse), it is the central figure that is designated by the inscription as Christ (G. de Jerphanion, Les églises rupestres de Cappadoce, I, pp. 325–326, 409, 441–442, 461, fig. 46, pl. 128–1). An even more significant argument in favor of the correctness of our interpretation is that on Russian copies of Rublev’s “Trinity”, dating back to the 15th century (panagia and a tiny relief in the Historical Museum in Moscow), the halo with a crosshair characterizing Christ is only around the head of the central figure (this crosshair is lost on Rublev’s icon). Often in the “Trinity” scene, all three figures are endowed with halos with crosshairs (as, for example, in the Charekle Kilisse fresco). But if only one halo with a crosshair is given, then with its help the figure of Christ always stands out (and in the fresco of Theophanes the Greek in the Church of the Transfiguration in Novgorod). Among the Russian icons of the 14th century, only on the icon of the so-called Zyryansk “Trinity”, stored in the Vologda Museum of Local Lore, God the Father is represented in the center. But from here it would be premature to draw a conclusion about a similar solution in the Rublev icon. We must not lose sight of the fact that Zyryan’s “Trinity” is a deeply archaic monument both in its ideological concept and in its manner of writing, due to which it offers little for the correct interpretation of the works of the Moscow school. Wed. V. Antonov, About the original place of Andrei Rublev’s “Trinity”. - Mr. Tretyakov Gallery. Materials and Research, I, M., 1956, p. 28.
In his “General History of Arts” (vol. III, M., 1955, p. 192), M. V. Alpatov is inclined to see in the three angels the embodiment of “the spiritual movements of the deity: commanding love, readiness for self-sacrifice and attraction to love.” This interpretation is absolutely arbitrary and ahistorical. The book L. Ouspensky und W. Lossky (“Der Sinn der Ikonen”, Bern-Alten, 1952, S. 201–207) contains many correct comments regarding the theological content of Rublev’s “Trinity”. The authors quite rightly note: “Die Engel sind auf der Ikone in der Reihenfolge des Glaubenbekenntnisses aufgeordnet. Ich glaube an Gott den Vater, den Sohn und den heiligen Geist.”
P. 36
With. 37¦ The culture of the Russian monastery of the 15th century was far from being as primitive as it seemed to old researchers. The works of Basil the Great, Isaac the Syrian, John Climacus, and Dionysius the Areopagite were carefully read and carefully commented on. From here elements of ancient philosophy - Platonism and New Platonism - penetrated into Russian church literature, and from here the impulses for a complex symbolic interpretation of religious images were drawn. Andrei Rublev, who was a monk at the Trinity Monastery and the Andronikov Monastery, undoubtedly took part in those speculative conversations that took place in the immediate circle of Sergius, Savva and Nikon. And he should have known that the image of the Trinity was interpreted by Byzantine theologians not only as an image of the triune deity and a prototype of the Eucharist, but also as a symbol of faith, hope and love. John Climacus says directly: “Now, after all that has been said, these three remain, all connecting and containing: faith, hope and love, and most of all love, for by it God is called.” And further: “In my understanding, faith is like a ray, hope is like light, and love is like the circle of the sun. Yet they constitute one radiance and one lordship” 79. We find something similar in “The Enlightener” by Joseph Volotsky: “With such an image of the Trinity, the triholy hymn to the triholy and consubstantial and life-giving Trinity descends to the earth with countless desires and immeasurable love, and in spirit we ascend to its incomprehensible prototype, and from this material image our mind takes off. and we honor the thought of divine desire and love, and not the thing (in the “Trinity” icon. - V.L.), but the appearance and image of its beauty, since the veneration of the icon turns into the worship of its prototype” 80. From these quotes it becomes clear why Rublev used the circle as the basis for the composition of his icon. The circle has long been revered as a symbol of heaven, deity and love. In the formulation of the dogma of the Trinity of virtues, love (i.e., God) is likened to the circle of the sun, and its comprehension is associated with a mysterious “circular angel-like movement” 81.
79 John Abbot of Mount Sinai Ladder, Trinity-Sergius Lavra, 1898, word 30, p. 246.
80 Joseph Volotsky, Enlightener, 2nd edition, Kazan, 1882, p. 131.
81 V. Lossky, Negative theology in the teachings of Dionysius the Areopagite. - Seminarium Kondakovianum, 1929 (III), p. 142.
Symbolic design is typical for works of medieval art. The Rublev icon is no exception in this regard. And in it, moments of a symbolic order play a significant role, and the symbolic interpretation also extends to minor details of the icon - to the building, the oak of Mamre and the rock. These three elements of composition contribute nothing to the characterization of a particular environment. They do not clarify it, but, on the contrary, contribute to the impression of timelessness and spacelessness. The tree is not so much the oak of Mamre as the tree of life, the tree of eternity. The luminous chambers are not only the house of Abraham, but also a symbol of Christ the Steward and a symbol of silence, that is, perfect obedience to the will of the father. The mountain is an image of the “rapture of the spirit” (this is how it is usually interpreted in the Bible and Gospel). One could easily continue the interpretation of the symbolic content of the Rublev icon. However, what has been said is quite enough to understand the exceptional complexity of its ideological origins.
For a modern viewer, although he is unfamiliar with all the subtleties of medieval theology, the Rublev icon still makes an irresistible impression. How can we explain this? Of course, because in Rublev’s “Trinity” symbolism of a purely church type develops into something incommensurably more significant - into a symbol of human love and friendship. That is why the icon is filled with such unfading freshness. Its ideological content is much deeper than a simple set of church symbols. With. 37
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Old sources indicate that Rublev painted the Trinity icon in praise of St. Sergius. In other words, the icon was created in memory of the man who throughout his life called for an end to the fratricidal feudal feuds that undermined the strength of Rus', who took an active part in the ideological preparation of the Battle of Kulikovo, who preached friendship and love for one’s neighbor, who was always inclined to lend a helping hand little people. Reality only partially justified Sergius' hopes. Despite the fact that the Principality of Moscow had embarked on a path of rapid growth and the hour of liberation from the Tatar yoke was approaching, life continued to remain difficult, full of dangers, and unsecured. Already in 1382, Tokhtamysh came into exile near Moscow. Having burst into the Kremlin, the Tatars carried out a terrible massacre. They devastated the outskirts of Moscow, ravaged Kolomna, Mozhaisk, Volokolamsk, Pereyaslavl, Yuryev and Vladimir, they restored the tributary relations of the Russian lands to the Horde. In 1408, the Tatars, led by Edigei, made a new raid on Rus'. Not being able to take possession of Moscow, they subjected its surroundings to terrible devastation (including the Trinity Monastery), and also burned and plundered Serpukhov, Dmitrov, Rostov, Pereyaslavl, and Nizhny Novgorod. Added to this were unabated princely civil strife, pestilence and famine. “Violence on the part of the strong, cunning, deceit on the part of the weak, distrust, weakening of all social bonds among everyone” - these are the features that dominated, according to S. M. Solovyov, in Russian life of that time 82. Under these conditions, the personality of Sergius acquired a very special meaning. She had an irresistible moral authority, and dreams of national emancipation and social peace were associated with her. In the minds of the people of the 15th century, Sergius was not only a great heart-teller, but also a great lover of humanity. That is why Andrei Rublev put into the icon painted in his memory the idea of peace, the idea of harmonious agreement of three souls. For him, the angels, symbolizing the triune deity, were a living reminder of the covenants of Sergius. Here the passionate dream of the best Russian people about the social peace and harmony that they sought in vain in their contemporary reality and which were unrealizable in the historical conditions of that time was embodied in perfect artistic forms. And since this dream was pure, noble and highly humane, it acquired an exceptional breadth of sound.
82 S. Solovyov, History of Russia since ancient times, IV, ed. 3, pp. 339–341.
As in any genius work of art, in Rublev’s “Trinity” everything is subordinated to the main idea - composition, linear rhythm, and color. With their help, Rublev achieves that impression of quiet tranquility that his icon generates in any unprejudiced viewer. There is something soothing, affectionate about it, conducive to long and close contemplation. Before the “Trinity” we want to “be united and silent”; it makes our imagination work hard, it evokes hundreds of poetic and musical associations, which, strung together one on the other, endlessly enrich the process of aesthetic perception. After coming into contact with Rublev’s creation, the viewer leaves internally enriched, which once again speaks of its exceptional artistic merits.
When you begin to peer into the Rublev icon, what is first striking about it is the extraordinary spirituality of the angels. They have such tenderness and tenderness that it is impossible not to succumb to their charm. These are the most poetic images of all With. 38
With. 39¦ ancient Russian art. The bodies of angels are slender, light, as if weightless. The angels are wearing simple Greek chitons, over which are thrown loose folds of himation. These clothes, with all their linear stylization, still make the viewer feel the beauty of the young, flexible body hiding behind them. The figures of the angels expand somewhat in the middle, in other words, they are built according to the rhomboidal principle so beloved by Rublev: they taper upward and downward. This gives them amazing lightness. There is no sense of heaviness in their poses and gestures. Thanks to the exaggerated pomp of hairstyles, faces seem especially fragile. Each of the angels is immersed in himself. They have no eye contact with each other or with the viewer. The light grace of their poses is so restrained, as if the slightest hesitation could spill that inner precious mood of which they are the happy owners 83 . Among all the creatures ancient Russian artists Rublev's angels seem to be the most ethereal. But there is not even a shadow of asceticism in them. The bodily principle is not sacrificed to the spiritual, it merges entirely with it. This is the reason why, when looking at Rublev’s angels, images of classical Greek art are so often recalled.
83 N. Demina, “Trinity” by Andrei Rublev, pp. 72–73.
In the “Trinity” icon, the circle motif is always felt as the leitmotif of the entire composition. It sounds in the bowed figure of the right angel, and in the tilt of the mountain, tree and head of the middle angel, and in the parabolic outline of the figure of the left angel, and in the stools moved towards each other. But, unlike Italian tondos with their somewhat deliberate compositional techniques, this leitmotif sounds quietly, as if on mute. The artist is not afraid to disrupt the circular rhythm with the vertical position of the house, knowing full well that by doing this he will only bring greater flexibility and freedom to his composition. And he is not embarrassed by the bowed position of the head of the middle angel, which violates the symmetry in the upper part of the icon, because he confidently restores his balance, moving the pedestals slightly to the right. The Eucharistic cup is also shifted to the right, which creates an even greater counterbalance to the head of the middle angel, tilted to the left. Thanks to the extensive use of such free asymmetric shifts, the composition acquires a rare elasticity. While completely retaining its centric character and distinguished by the balance of masses, it at the same time possesses a purely symphonic richness of rhythms, to such an extent are the echoes of the main circular melody varied.
By basing his composition on a circle, in other words, a geometric rather than a stereometric figure, Rublev thereby subordinated the composition to the plane of the icon board. Although the side angels sit in front of the meal, and the middle one behind it, all three figures seem to be located within the same spatial zone. This zone is minimal in its depth, and its depth is in strict accordance with the height and width of the icon board. From this proportionality of three dimensions is born that complete harmony that makes the Rublev icon such a perfect work of art. If the figures were more voluminous and the space deeper, then the harmony would be immediately disrupted. It is precisely because Rublev interprets his figures purely in silhouette and makes line and color spots the main means of artistic expression that he manages to preserve that flat rhythm that has always so attracted Russian icon painters and thanks to which his composition has such amazing lightness. With. 39
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Building his composition in a circle and thereby subordinating it to the plane of the icon board, Rublev deliberately does not use light and shadow modeling. The latter is replaced by a line, which he masters with great skill. There is something so melodious, so melodic in his lines, they are warmed by such a deep feeling that you perceive them as music translated into graphic language. To be convinced of this, it is enough to follow with your gaze the smooth running of lines outlining the figures of angels. These lines are soft and at the same time elastic, in them a circular melody is repeated in dozens of echoes, always unexpectedly new and enchantingly beautiful. But Rublev is not content with just rounded lines. He knows how to alternate them with straight lines, and with diagonally directed ones, and with those forming sharp angles, thanks to which he brings an extraordinary richness of rhythms to his composition. And he knows how to use lines to reveal the ideological content of the image and clarify individual motives of movement. So, for example, the cascade of straight lines of the middle angel’s cloak draws the viewer’s gaze to his right hand, pointing to the Eucharistic chalice (the ideological and compositional center of the icon). The oblique folds of the himation of the right angel emphasize its inclination towards the center. The curved clave of the middle angel echoes the tilt of his head. The parabolic lines of the silhouettes of the right and middle angel, mountain and tree rush to the left - to the figure of the left angel, symbolizing God the Father. The legs of the seat, the pilasters of the building and the straight toe of the left angel enclose his figure in a sphere of straight lines, which detains the viewer's attention. Finally, with subtle tact, the artist plays with the lines of the staffs: the tilted staff of the right angel points to the starting point of the mountain, the more directly placed staff of the middle angel fixes our gaze on the tree, the vertical staff of the left angel echoes the straight lines of architecture. Thus, each angel's staff points to his emblem 84.
84 N. Demina, op. cit., pp. 71–72.
Perhaps the most remarkable thing about Rublev’s icon is its color. First of all, it affects us with its marvelous colors, which have an incomparable melodiousness. It is the colors in combination with smooth lines that determine the artistic appearance of the icon - clear, pure and harmonious. The color scheme of the “Trinity” could be called friendly, because it expresses with striking clarity the friendly agreement of the three angels 85 .
85 Wed. L. B. Alberti, Three books about painting, p. 55 (translated by A. G. Gabrichevsky): “After all, there is some friendship between flowers, so that one, joining the other, gives it dignity and charm.”
Rublev, apparently, selected his colors not in bright sunlight, but on a bright, diffused summer day, when the most intimate and subtle shades of objects seem to become clearer and begin to flicker with soft consistency 86. It is curious that Rublev has almost no shadow. If he introduces a dark spot or a concentrated color, it is only to emphasize the light nature of the color adjacent to it. Thanks to this understanding of color, the Rublevsky palette is distinguished not only by its extremely lightened character, but also by its rare transparency. In a strange way, it resembles the palette of one of the greatest Italian colorists - Piero della Francesca.
86 N. Demina, op. cit., p. 73.
The color structure of the icon is determined by the threefold sound of the cabbage roll. This pure lapis lazuli - the most precious and highly revered paint among medieval masters - is repeated in the himation of the middle angel, in the tunics of the side angels and in the subfolders of the wings, and the artist gives it in shades of varying strengths - from With. 40
With. 41¦ the brightest strokes of blue on the himation of the central figure to light and very gentle heavenly tints on the subfolders. The figure of the middle angel is highlighted not only by the intensity of the cabbage roll, but also by the thick, rich tone of the dark cherry chiton. Due to the fact that she rests on a snow-white throne, there is no heaviness in her and she seems as weightless as the figures of the side angels. The robes of the latter are painted in lighter colors: the silver-purple cloak of the left angel has blue spaces, the silver-green cloak of the right angel has light green spaces. This delicate and pure color, reminiscent of the tone of green rye, finds distant echoes in the greenish shades of the mountain, house and meadow. The seats and wings of angels are an intense golden yellow color. They concealed the transition from bright clothes to the gold background, which was almost completely lost. The golden hue is also characteristic of faces. The artist achieved the finest harmony of colors; they complement each other and echo each other. Each of them sounds with such impeccable purity that, leaving the hall where “Trinity” is exhibited, the viewer will feel the sound of these amazing colors for a long time. And the memory of Rublyov’s cabbage roll remains in his mind as an unforgettable artistic impression.
Rublev's "Trinity" has caused countless imitations. She was the favorite icon of ancient Russian artists. But none of them managed to rise to it in their own work. Even old copies do not convey even a hundredth part of her charm. Rublev created it in one of those happy moments inspiration that only geniuses have. He himself probably could not have written a perfectly accurate repetition of this thing. Everything that he learned from his Russian teachers, from Theophanes, from Byzantine painting, he cast here into forms that were classical in their maturity. He combined complex medieval symbolism with the purity and spontaneity of the feelings of a Russian monk, who retained a living memory of the great deed of Sergius. He took the colors for his icon not from the gloomy Byzantine palette, but from the nature that surrounded him with its white birch trees, green rye, golden ears of corn, and bright cornflowers. And he managed to create such a work, which we rightfully consider as the most beautiful Russian icon and as one of the greatest works of all ancient Russian painting.
The turn of the first and second decades was the time of Rublev’s highest creative growth. One small icon in the Tretyakov Gallery, depicting “The Savior in Power” (Table 140, XVII), dates back to these years. Christ seated on the throne is given surrounded by seraphim and symbols of the evangelists, as on the central icons of the Deesis ranks from the Vladimir Assumption Cathedral and from the Trinity Cathedral in Zagorsk. The excellent preservation of the icon in the Tretyakov Gallery makes it possible to restore many of the lost details of large official icons. Christ has a tragic expression on his face. And at the same time, he is characterized by a very special inner enlightenment. The faces of the seraphim are also extremely expressive, full of drama. The clean and clear color scheme is based on a combination of red, faded green and golden brown colors, with which the gold of the assists is skillfully juxtaposed. The author of the icon, executed with the care of a miniature, was an excellent draftsman. The design of the face, hands and drapery satisfies the most stringent With. 41
With. 42¦ requirements. Iconographically, the type of Christ shows great similarity with the central icons of the Assumption and especially the Trinity rank, where the drapery motif is repeated almost without changes. The face of Christ finds its closest analogy in the fresco of the Assumption Cathedral in Vladimir. All this inclines us to attribute the icon to the brush of Rublev himself.
This small icon ends the middle period of Rublev’s work, when the master created the best of his works. With. 42
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Biographical information about Rublev is extremely scarce and contains few reliable facts. This is indicated in various sources different date birth. Most likely, he was born in the Moscow principality (according to other sources - in Novgorod) around 1360-1370, and was brought up in a family of hereditary icon painters. He took monastic vows at the Trinity-Sergius Monastery under Nikon of Radonezh (according to another hypothesis, at the Spaso-Andronikov Monastery under Abbot Andronik).
Andrey is the monastic name of the painter; the worldly name is unknown (most likely, according to the then tradition, it also began with “A”). An icon signed “Andrei Ivanov son of Rublev” has been preserved; it is late and the signature is clearly fake, but perhaps it is indirect evidence that the artist’s father was really named Ivan.
Rublev's work developed on the basis of the artistic traditions of the Moscow principality; he was also well acquainted with Byzantine and South Slavic artistic experience. The first mention of Andrei in the chronicle appeared only in 1405, indicating that Theophan the Greek, Prokhor the Elder and monk Andrei Rublev painted the Annunciation Cathedral in the Moscow Kremlin. Apparently, by 1405, Andrei had thoroughly succeeded in his skill in icon painting, if the monk was also entrusted, together with Theophanes the Greek, with such a responsible work - the creation of the iconostasis, an extremely important detail of the interior decoration of the temple.
The second time Andrew is mentioned in the chronicle was in 1408, when he painted with Daniil Cherny and other masters in the Assumption Cathedral in Vladimir (the painting was partially preserved) and created icons for his monumental three-tier iconostasis, which became an important stage in the formation of the system of high Russian iconostasis. Of Rublev’s frescoes in the Assumption Cathedral, the most significant is the composition “The Last Judgment,” where a traditionally formidable scene turned into a bright celebration of the triumph of justice, affirming the spiritual value of man. Rublev's works in Vladimir indicate that already at that time he was a mature master who stood at the head of the school of painting he created.
Only 3 years have passed, and Andrey already has assistants and students. Everyone was drawn to him, because by that time Andrei had already fully formed his own individual, real Russian style. IN
In the 1420s, Andrei and Daniil Cherny supervised the work in the Trinity Cathedral of the Trinity-Sergius Monastery. At the end of the 14th - beginning of the 15th centuries (according to other studies, around 1412, or 1425-1427), Rublev created his masterpiece - the icon “ Life-giving Trinity"(f.2, located in the State Tretyakov Gallery, Lavrushinsky Lane, 10, room 60), on the subject of "Abraham's hospitality." Rublev filled the traditional biblical story with deep not only theological, but also poetic and philosophical content. Departing from traditional canons, he placed a single cup in the center of the composition (symbolizing sacrificial death), and repeated its outlines in the contours of the side angels. The central (symbolizing Christ) angel took the place of the victim and is highlighted by an expressive contrast of spots of dark cherry and blue, orchestrated by an exquisite combination of golden ocher with delicate cabbage roll and greenery. The composition inscribed in a circle is permeated with deep circular rhythms, subordinating all the contour lines, the consistency of which produces an almost musical effect.
On the formation of Rublev’s worldview big influence influenced by the atmosphere of national upsurge of the 2nd half of the 14th - early 15th centuries, which was characterized by a deep interest in moral and spiritual problems. In his works within the framework of medieval iconography, Rublev embodied a new, sublime understanding of the spiritual beauty and moral strength of man. These qualities are inherent in the icons of the Zvenigorod rank (“Savior” (f.3), “Apostle Paul” (f.4), “Archangel Michael” (f.5), all attributed to one period: the turn of the XIV-XV centuries, according to others research, 10s of the 15th century, all works in the Tretyakov Gallery), where laconic smooth contours and a broad brushwork are close to the techniques of monumental painting.
In the last years of his life (1427-1428), Andrei Rublev worked on the paintings of the oldest surviving Moscow temple - the Spassky Collection of the Andronikov Monastery in Moscow (f. 6, Andronevskaya Square, 10), where he died during a pestilence on October 17, 1428 and he was buried here.
The necropolis of the monastery has not survived; it was destroyed in 1927. In 1947 In the year of the celebration of the 800th anniversary of Moscow, a reserve was established in the Andronikov Monastery, in the wake of the post-war patriotic upsurge.
Since 1959 The Andrei Rublev Museum began to operate on the territory of the monastery, demonstrating the art of his era, and since 1985 the museum complex received its current official name - the Central Museum of Ancient Russian Culture and Art named after Andrei Rublev.
Rublev Andrey
ANDREY RUBLEV
I am firm, I know so sweetly
I am familiar with the art of monks,
That the wife's face is like heaven,
Promised by the creator.
Hoc is a tall tree trunk;
Two thin arches of eyebrows
Spread over him, wide,
The bend of palm branches.
Two prophetic sirens, two eyes,
They sing sweetly beneath them,
The eloquence of the story
All the secrets of the spirit are revealed.
An open forehead is like the vault of heaven,
And curls - clouds above him,
They, probably, with lovely shyness
The gentle seraphim touched.
And right there, at the foot of the tree,
The lips are like some kind of heavenly color,
Why Mother Eve
Blagoy broke the covenant.
All this with a praiseworthy brush
Andrei Rublev drew it for me,
And this life's work is sad
Became a blessing from God.
© Nikolay Gumilyov
Andrey Rublev is the most famous and revered master of the Moscow school of icon painting, book and monumental painting of the 15th century.
Andrew was born around 1375/1380.
The name of Andrei Rublev is surrounded by legends, and in the twentieth century. - scientific hypotheses. Real ideas about his art appear after the restoration clearing of his Trinity icon in 1904, but in full - starting in 1918, when frescoes in Vladimir were cleared and icons of the Zvenigorod rank were found.
The first mention of him was in 1405: according to the chronicle, he painted the Annunciation Cathedral of the Moscow Kremlin (the frescoes have not survived) together with Theophan the Greek and Elder Prokhor from Gorodets. Andrei Rublev is called a “monk,” i.e., a monk, and is listed last in the list of names, i.e. was the youngest.
According to a later source - “The Tale of the Holy Icon Painters” (XVII century) it is known that Andrei Rublev lived in the Trinity Monastery under Nikon of Radonezh, who became abbot after the death of Sergius of Radonezh (1392). It is believed that here he was tonsured a monk (according to another hypothesis, in the Andronikov Monastery in Moscow).
In 1408, according to the chronicle, together with Daniil Cherny, he painted the ancient (12th century) Assumption Cathedral in Vladimir; named second after Daniel.
In 1395, Tamerlane invaded Russia. Moscow Prince Vasily Dmitrievich, wanting to inspire himself and strengthen his army, instructed Metropolitan Cyprian to order the bringing of the miraculous icon of the Mother of God of Vladimir from Vladimir to Moscow, in order to bring before it a fervent prayer for help to be sent to him from the Queen of Heaven. From that time on, the great shrine of the Vladimir Assumption Cathedral, for which the cathedral itself was built by Grand Duke Andrei, was no longer returned to Vladimir. To console the people of Vladimir, who had lost their main shrine, the Grand Duke ordered to decorate the cathedral church with skillful painting, which was done by Daniil Ikonnikov and Andrei Rublev. These artists, according to the chronicle, began to paint the temple on May 25, 1408 and, according to the previous features, they restored and updated the murals inside the entire cathedral, both in the buildings of Andrei Bogolyubsky and in the vestibules built by Vsevolod.
The painting of the Assumption Cathedral has been partially preserved. Icons were also created for his monumental three-tier iconostasis, which became an important stage in the formation of the system of high Russian iconostasis.
Of Rublev's frescoes in the Assumption Cathedral, the most significant is the composition "The Last Judgment", where a traditionally formidable scene turned into a bright celebration of the triumph of justice, affirming the spiritual value of man. Rublev's works in Vladimir indicate that already at that time he was a mature master who stood at the head of the school of painting that he created.
Vladimir Assumption Cathedral 
Painting of Daniil Cherny in the Assumption Cathedral. Last Judgment
Andrei Rublev and Daniil Cherny in the Assumption Cathedral reveal the theme of the Last Judgment and the Second Coming of the Lord Jesus Christ in the spirit of the hesychast theology of light: “The judgment is that light has come into the world” (John 3.19).
And here the architecture with all the complexity of the curves of the arches, vaults and walls is no less important than the image itself, inscribed precisely in these vaults... the sequence of events, the composition, designed to be perceived right here - and not at all in a museum hall. In the center of the traditional composition of the painting of the western arch of the central nave - the arch through which the worshiper entered the temple and from which he could begin the review, the “Prepared Throne” is depicted, which is worshiped by the Virgin Mary, the Myrrh-Bearing Women and the angels - do you see how they are inscribed in a semicircle? At the zenith of the arch of the central nave is the image of Christ coming into the world. His entire figure is directed in movement towards those waiting. The formidable majesty of Christ does not transform his image into a gloomy symbol of inevitable retribution, nor does it deprive him of the aura of bright and joyful power. He is not just a formidable judge, but is the embodiment of virtues, he is omniscient and wise, and therefore merciful and condescending to the human race. Look - along the slopes of the vault are the apostles seated on twelve thrones, and behind them are hosts of saints and angels. The colors of the frescoes are dull and calm. The faces of saints and angels are meek. Rublev’s painting seems to be intended to assure that God is full of mercy and compassion for humanity. The entire composition is permeated with quiet light and filled with the joy of anticipation. Harmony and agreement, wisdom and nobility are combined in the images of the apostles talking with angels. “Perfect love casts out fear” - and in no one there is not a shadow of fear, as, for example, in Durer, who was discussed for a long time here a hundred years later.. In Rublev, the light coming into the world is transformative love. None of the Russian masters will ever achieve such clarity and purity. Subsequent generations will be “saved by fear,” and the theme of the Second Coming of the Lord from the compositions “The Last Judgment” will fade into the background, and the depiction of hellish torment prepared for sinners will come to the fore, in the depiction of which artists will achieve a kind of perfection.
Fresco, western part of the central nave. View from the east. Assumption Cathedral. From the composition “The Last Judgment” 
Apocalyptic beasts Daniil Cherny and Andrei Rublev. Fresco, Western part of the central nave. View from the east. Assumption Cathedral. From the composition “The Last Judgment”
At the very end of the vault, at the zenith of the arch leading to the space under the dome, Rublev painted the “beasts of the kingdoms” from the “vision” of the prophet Daniel. Symbolic animals moving one after another are masterfully inscribed in a circle. Here is a bear hanging his head low, as if looking out for a lost trail. The inscription inside the circle above the beast is the kingdom of “Babylon”, above the winged lion is “Roman”. The Kingdom of Macedon is represented by a winged panther. And finally, the fourth beast, strange, many-horned - the beast of the “Antichrist”. All animals, except the last one, with its dead, heavy gaze, lack the features of predatory ferocity. Their moving silhouettes are so inscribed in a circle that they create the appearance of a closed, fast movement. The animals seem to be diligently catching up with each other, hurrying to go through their earthly circle in order to make way for the eternal kingdom of goodness and justice.
Thus, the sequence of images located along the central axis of the composition, when read from east to west, corresponds to the sequence of plots of the vision of the prophet Daniel: the vision of the four beasts, the coming of the Son of Man to the Judgment and the Series of earthly pernicious kingdoms, which are contrasted here with the Kingdom of the righteous - “in hand of God."
Trumpet angel, prophet Isaiah, apostles and angels, vision of the prophet Daniel Daniil Cherny and Andrei Rublev. Painting, view north wall central nave. From the composition “Apostles and Angels”, Assumption Cathedral. 
Apostles and angels. Painting on the south wall. From the composition “Apostles and Angels”, Assumption Cathedral. 
Procession of the Righteous to Paradise
A lively crowd of righteous people moves in one direction. The apostles lead this joyful procession.
Paul is depicted in front of everyone. He rises above the moving crowd, pointing with a decisive gesture towards the place of eternal joy. Paul turned to the crowd, in his left hand he solemnly and invitingly holds a scroll with an inscription. Rublev clearly writes the words: “Come with me...” Let this call dawn, gather all the righteous in a single movement. Let those for whom he is now painting these frescoes also read it. Next to Paul he depicts Peter, who steps forward with long strides. In Peter's outstretched hand is the key to the heavenly abodes. In the close group of apostles, the artist will highlight the elder John and the young Thomas. Let the continuers of their work, heirs on earth, follow the apostles and disciples. Let their countless host be represented by the most famous, the most revered - John Chrysostom, the long-bearded Basil the Great, the round-faced Nicholas, Gregory the Theologian with a wide bushy beard. A little closer to the viewer, as if overtaking the host of saints in movement and approaching the apostles, the inspired prophets are already walking. And behind them are the hermits, led by Sava the Sanctified and Anthony the Great, the founder of monasticism. The march should be closed by martyrs and martyrs, those who suffered and shed blood for loyalty to their convictions - young men, mature men with a firm gaze, young gentle girls. The general spirit of the Vladimir frescoes is the fulfillment of the words once spoken by Christ: “but I will see you again, and your heart will rejoice, and no one will take your joy away from you.” This is how Andrei Rublev solves the theme of the Last Judgment. But in the context of the hesychast mystical tradition, this turn from the darkness of hell to the light of Christ’s gospel is not so unexpected. It is traditionally believed that this approach reveals the true spirit of Orthodoxy to a greater extent than the dark eschatology that triumphed in subsequent eras. After all, at every Liturgy, the liturgy proclaims: “we expect a good answer at the terrible Judgment Court of Christ.”
Prophets in Paradise
On a white background, in heavenly light, among the trees, “forefathers” in light clothes on their “bosoms” and behind the throne - righteous souls...
Rublev A. “Trinity”
Around 1412 or around 1427, Rublev created his masterpiece - the Trinity icon (Tretyakov Gallery).
Rublev filled the traditional biblical story with deep poetic and philosophical content.
Departing from traditional iconography, he placed a single bowl in the center of the composition, and repeated its outlines in the contours of the side angels. The clothes of the middle angel, a red chiton, a blue himation, and a sewn stripe - clav, clearly refer us to the iconography of Jesus Christ. Two of those sitting at the table turn their head and body towards the angel written on the left, in whose appearance one can read paternal authority. His head is not bowed, his body is not bowed, but his gaze is turned to other angels. The light purple color of the clothes indicates royal dignity. All this is an indication of the first person of the Holy Trinity. Finally, the angel on the right side is depicted in outerwear smoky green color. This is the hypostasis of the Holy Spirit, behind which the mountain rises. There are several more symbols on the icon: a tree and a house. The tree - the Mamvrian oak - turned into Rublev's tree of life and became an indication of the life-giving nature of the Trinity. The house embodies God's Economy. The House is depicted behind the back of an angel with the features of the Father (Creator, Head of the House), the Tree is behind the back of the middle angel (Son of God), the Mountain is behind the back of the third angel (Holy Spirit).
The central angel is highlighted by the expressive contrast of spots of dark cherry and blue, as well as an exquisite combination of golden ocher with delicate cabbage roll and greenery. And the outer contours form a 5-gon, symbolizing the star of Bethlehem. “Trinity” is designed for distant and near points of view, each of which differently reveals the richness of shades and masterly work of the brush. The harmony of all elements of the form is an artistic expression of the main idea of the “Trinity” - self-sacrifice as the highest state of spirit that creates harmony in the world and life.
In the 1420s according to the testimony of "The Life of Sergius of Radonezh" (edited by Epiphanius the Wise and Pachomius the Serb) and "The Life of Nikon" - sources of the 1430-1450s. - both masters paint the church of St. Trinity in the Trinity Monastery, built in 1423-1424. over the tomb of Sergius of Radonezh instead of the old wooden one (1411).
He also created icons for the iconostasis of the Trinity Cathedral.
Icons have been preserved; they are made in different manners and are of unequal artistic quality. The time when new internecine wars were brewing in Rus' and the harmonious ideal of man, which had developed in the previous period, did not find support in reality, also affected Rublev’s work. In a number of works, Rublev managed to create impressive images; in them one can feel dramatic notes that were not previously characteristic of him ("The Apostle Paul"). The coloring of the icons is more gloomy compared to earlier works; in some icons the decorative principle is enhanced, in others archaic tendencies appear. Some sources call the painting of the Spassky Cathedral of the Andronikov Monastery (c. 1427, according to other studies, at the turn of the 14th-15th centuries; only fragments of ornaments have survived) as Rublev’s last work.
After the death of Daniel, who was buried in the Trinity Monastery, Andrei Rublev returned to Moscow to the Andronikov Monastery, where he performed his last work - the painting of the Church of the Savior (c. 1426-1427), completed c. 1428
The formation of Rublev's worldview was greatly influenced by the atmosphere of national upsurge of the 2nd half. XIV - beginning XV centuries, which is characterized by a deep interest in moral and spiritual problems. In his works within the framework of medieval iconography, Rublev embodied a new, sublime understanding of the spiritual beauty and moral strength of man. These qualities are inherent in the icons of the Zvenigorod rank (“Savior”, “Apostle Paul”, “Archangel Michael”, all - the turn of the 14th-15th centuries, according to other studies, 1410s-10s of the 15th century, Tretyakov Gallery, where laconic smooth contours , a broad brushwork style is close to the techniques of monumental painting.
Rublev's creativity is one of the pinnacles of Russian and world culture. The perfection of his creations is seen as the result of a special hesychast tradition. Already during Andrei’s lifetime, his icons were highly valued and revered as miraculous.
Hesychast tradition
, to which Andrei Rublev belonged, suggests an outpouring of divine energy in the world, permeating it with uncreated light. This is the power and wonder of images and words. The name (title) of a thing or person is the essence of his soul. The word "hesychasm" comes from the Greek - "silence, silence." Hesychasts taught that the ineffable Logos, the Word of God, is comprehended in silence. Contemplative prayer, rejection of verbosity, comprehension of the Word in its depth, light and silence - this is the way to know God. The history of hesychasm allows us to better imagine the spiritual and historical context of the era that became the golden age of the Russian icon. Rublev is, first of all, a monk who went through the school of solitary prayer, obedience and humility. Outside of hesychasm, the work of this master will not only be incomprehensible, but may also be misinterpreted. In turn, it is at these heights of spiritual art that the connection between icon painting and icon veneration with the theological and mystical depths of Orthodoxy is clearly visible. Rublev's images are always distinguished by their balance and calm state of mind; they are like quiet and bright, clean and transparent water. Of great importance for hesychast practice is the contemplation of the Tabor light - the light that the apostles saw during the transfiguration of the Lord Jesus Christ on the mountain. Light is one of the main categories of the theology of the icon. There have been entire periods and eras in the history of the Church when reflections on light stood at the center of life, became the basis of culture, and shaped politics. The 14th century was such an era.
Andrey Rublev. Our Lady of Vladimir. Late XIV - early XV centuries. 
Savior is in power. 1408 Andrey Rublev 
Andrey Rublev. Apostle Paul 1410-1420
A number of works are also attributed to him, the attribution of which to Rublev’s brush has not been definitely proven: frescoes of the Assumption Cathedral on the “Gorodok” in Zvenigorod (late 14th - early 15th centuries; fragments have survived), icons - “Our Lady of Vladimir” (circa 1409, Assumption Cathedral , Vladimir), "The Savior is in Power" (1408, Tretyakov Gallery), part of the icons of the festive rite ("Annunciation", "Nativity of Christ", "Candlemas", "Baptism", "Resurrection of Lazarus", "Transfiguration", " Entrance to Jerusalem" - all around 1399) of the Annunciation Cathedral of the Moscow Kremlin (the iconostasis of this cathedral, according to the latest research, comes from the Kremlin Archangel Cathedral), part of the miniatures of the "Khitrovo Gospel" (late 14th - early 15th centuries, Library of the USSR named after V.I. Lenin, Moscow). R.'s creativity is one of the pinnacles of Russian and world culture.
Adrei Rublev died on January 29, 1430 in the Andronikov Monastery (the date was established by P.D. Baranovsky based on an 18th-century copy of an inscription on a lost tombstone).
In 1988, Andrei Rublev was canonized.
St. Andrey Rublev
We find evidence of the spiritual recognition of the holiness of St. Andrew in Stroganov’s “Iconographic Original” (late 16th century). This original was apparently compiled among court icon painters and enjoyed the widest influence and authority. The original says: “Reverend Father Andrei of Radonezh, an icon painter, nicknamed Rublev, painted many holy icons, all miraculous... and before that he lived in obedience to the Venerable Father Nikon of Radonezh. He commanded with him to paint an image of the Most Holy Trinity, in praise of his father, the saint Sergius the Wonderworker..." Here Saint Andrew is called the venerable (as, somewhat lower, is Daniel), all his icons are recognized as especially blessed; it is indicated that he belongs to the spiritual tradition of Saints Sergius and Nikon. The name of Saint Andrew (together with Daniel) is also found in ancient monthly books. On miniatures of manuscripts of the 16th century. Saint Andrew is depicted with a halo (Osterman chronicler; personal life of Saint Sergius, late 16th century, from the former collection of the Trinity-Sergius Lavra). The cited sources confirm that in the XV-XVII centuries. no one doubted the holiness of Andrei Rublev, as well as the high righteousness of Daniel. According to tradition, in the Trinity-Sergius Monastery the memory of St. Andrew was celebrated on July 4 (17), on the day of remembrance of St. Andrew of Crete.
Memory
Memorial Day: July 4/17In 1947, a reserve was established in the Spaso-Andronikov Monastery, and since 1985 - the Central Museum of Ancient Russian Culture and Art named after Andrei Rublev.
Central Museum of Ancient Russian Culture and Art named after. Andrey Rublev.
In front of the main entrance to the Central Museum of Art and Culture there is a monument to the Venerable Andrei Rublev by sculptor Oleg Komov.
Monument to Rublev. 1985 Work by Oleg Konstantinovich Komov.
A crater on Mercury is named after Andrei Rublev.
“Andrei Rublev” (“The Passion for Andrei”) is a film by Andrei Tarkovsky.
Andrey Rublev - a series of commemorative coins of the Bank of Russia.
In 1961, a USSR postage stamp dedicated to Andrei Rublev was issued.
Sculpture of Andrei Rublev on the pediment of the Omsk State Library (sculptor V. Trokhimchuk).
Popular science film “Andrei Rublev”, filmed in 1987 by the film studio “Lennauchfilm” (director - L. Nikitina, cameraman V. Petrov).
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On August 22, Channel One aired a story about the frescoes of St. Andrei Rublev in the Assumption Cathedral of Vladimir, which are “on the verge of destruction.” “Experts say that they are in a catastrophic state and need serious restoration. Moreover, urgently,” the TV report said. A journalist from Channel One interviewed the general director of Vladspetsrestavratsiya OJSC, art critic Alexander Skvortsov, who noted that the frescoes during their existence “by some miracle survived the fire, but now the roof here is leaky. A hole in the roof for the temple is all the same.” "It's a natural disaster." “And as a result, the water has reached Rublev’s frescoes. Almost already on the frescoes. And this is a disaster. If we don’t install a new roof, they won’t allocate money, and that’s it. A year or two - and Rublev will no longer exist,” sounds the alarm. .Skvortsov.
In the Channel One report, after art critic Skvortsov, the floor was given to the general director of the Vladimir-Suzdal Museum-Reserve Alisa Aksenova, who, not paying attention to such “little things” as a hole in the roof, talked about something else. It turns out that the preservation of the icons of St. Andrew is hindered by... Orthodox believers. The fact is that the cathedral is in joint use of the diocese and the museum-reserve. And now Ms. Aksenova comes out with a “constructive” proposal to turn the temple into a museum. “What can we talk about, we have a cathedral. Services are going on there. It’s raining, people naturally come in wet clothes. The humidity instantly rises,” she claims. It turns out that the problem is “wet parishioners.”
Channel One also gave the floor to the secretary of the Vladimir-Suzdal diocese, Archimandrite Innokenty (Yakovlev), who drew attention to the fact that the cathedral is used much more intensively by the museum-reserve itself. Every day there are a huge number of groups. There are an order of magnitude more tourists in the cathedral. "We cannot allow Rublev's frescoes to perish, Lately there was no attention to the frescoes, we just look at the frescoes and pray to them. Of course, it is necessary to sound the alarm, but this problem should be approached scientifically. The scientific and technical base of the museum for preserving the frescoes is insufficient. The diocese believes that constant monitoring should be established for the frescoes, which should be carried out by a research institute that has a serious scientific and technical base. Scientists must examine the frescoes. If they come up with a justification according to which services in the cathedral can be held no more than twice a week, then we will serve only twice a week,” said Archimandrite Innokenty (Yakovlev).
And his students, they were commissioned to write a three-tiered iconostasis for the Assumption Cathedral. The cathedral was painted with frescoes later - in 1513-1515. As the chronicle says, the cathedral was decorated "and horseman Dionysius, priest Timofey, Yarets, and Konya"Unfortunately, everything that we see now was done in the 17th century. What kind of paintings were originally, we will never know. The ancient frescoes, oddly enough, were not painted over with new layers of paint, which is usually practiced, but knocked down along with plaster by order of Tsar Alexei Mikhailovich, the first sovereign of the Romanov dynasty. But chroniclers write that he ordered them to be copied “as samples.” Up to 150 masters worked on the new paintings, who arrived in Moscow from different cities. It is believed that they used made copies and recreated the original internal appearance of the cathedral.
If you are interested, then let's look at some icons and stories.
In the background of the photo is the iconostasis. You understand that photographs were taken at the risk of expulsion from the temple. But I don’t want to take them from the Internet. Therefore, I ask for a discount on quality due to " harmful conditions labor."
In Ancient Rus', the first large iconostats appeared in the 15th century. What is an iconostasis? These are several rows of icons, in the center of which is Christ seated on the throne, to whom the praying Saints are facing. In addition, icons with scenes from the life of Christ and the Mother of God, church holiday icons, images of the apostles and prophets are placed here. That is, this is a kind of church encyclopedia. Believe me, reading it is extremely interesting. Especially here, in this ancient temple.
The iconostasis of the Assumption Cathedral, which we now see, was created in 1653.
The most important row in the iconostasis is the Deesis rank. He is second from the bottom here, above the royal doors. The central icon is “Savior in Power”. In the center is the Savior, and in the corners in shiny halos are apocalyptic animals that personify the “created world” - the universe with four cardinal directions. " And in the midst of the throne and around the throne were four living creatures, full of eyes in front and behind. And the first living creature was like a lion, and the second living creature was like a calf, and the third living creature had a face like a man, and the fourth living creature was like a flying eagle."( From the Revelation of John the Theologian ).
If you are interested in art and icons, then you could not help but notice that the evangelists St. Luke is always depicted with a bull, St. Mark with a lion, St. John with an eagle, and St. Matthew with an angel.
Next to the Savior are John the Baptist, Archangel Michael and the Apostles.
The most honorable places in the iconostasis are to the right and left of the royal doors. On the right is a very ancient icon called “The Savior - Golden Robe”. It is also called “The Savior of Emperor Manuel” because, according to legend, it was written by the Byzantine Emperor Manuel. This is a genuine, very ancient icon, dating back to the 11th century. And although it was completely rewritten in 1700, this, of course, does not detract from its value. It is believed that this icon was brought to Moscow by Ivan the Terrible in 1570 after his campaign against Kazan.
What's unusual about it? If you are attentive, you should notice that there is no usual blessing gesture of the Savior's right hand. He points to the Gospel. According to legend, Emperor Manuel depicted the Savior according to the canon - blessing with his right hand. But one day he got angry with the priest for something and wanted to kick him out. And that same night he dreamed of the Savior himself, who pointed down with his hand, i.e. humble your pride. When the emperor woke up, he saw that the same thing had happened on the icon. Then this icon came to Novgorod and Patriarch Nikon placed it in the most honorable place so that the kings would remember that spiritual power is always above secular power.
Next to the icon of the Savior - Golden Robe there is another most valuable temple icon from the 14th-15th centuries. "Assumption" written by Dionysius.
Unfortunately, I was not able to take a good photograph of the second place of honor in the iconostasis - the image of the Mother of God. Here you can see it to the left of the royal gates. It was in this place, before the VOSR, that the miraculous “Our Lady of Vladimir” of the 12th century always stood - the oldest Russian shrine. I have already told and shown you a little about her. There are so many articles devoted to this icon that I won’t repeat myself. I will only note that now it is located in Zamoskvorechye, in the Church of St. Nicholas the Wonderworker in Tolmachi - the home church of the Tretyakov Gallery. I don’t know what a house temple is. But I will try to go there as soon as possible. Because this image is unique. And the fact that this icon survived wars, fires, civil strife, under different authorities and divisions of this very power, suggests that it is truly miraculous.
Let's take another look at my favorite image. “Our Lady of Vladimir” from the 12th century is on the left. Maximilian Voloshin’s poem is dedicated to her. "... I'm numb -
There are no strength, no words on the tongue...
How tender are the hands hugging a baby, how anxious and sorrowful and at the same time how merciful and understanding of everything about us, the look. And how the Baby clung to Her, how he wrapped his arms around Her neck. And also pay attention - only on this icon can we see the left heel of the Child.
On the right is a list (copy), i.e. “in measure and likeness” of the shrine, created in 1514 for the Assumption Cathedral of the Moscow Kremlin, which is now on the iconostat. Copies were always made from miraculous icons, which were also revered no less than shrines. They were in the temple, but it was they who were used during religious processions, during holidays, or for some other church requirements in order to preserve the original. http://www.pravoslavie.ru/put/30910.htm
There are still many ancient and highly revered icons in the Assumption Cathedral. But, unfortunately, I was not able to photograph them.
Let's look at the paintings of the cathedral. Most of the walls are occupied by paintings dedicated to earthly life. Holy Mother of God- the cathedral is called the Dormition of the Blessed Virgin Mary.
Before us, as I understand it, is traditional Byzantine-Old Russian painting. We see that everything is depicted in one plane, details are not described, especially for faces. The faces are calm, because these are the faces of saints - they are already there, where there is no earthly vanity. Maybe that’s why it’s so calm in this temple?
Icon painters, depicting any subject, had to strictly follow certain canons. But each of them tried to convey all the nuances of a certain event with color. Look at this color scheme. How many shades there are in it! But we are always in a hurry. We always don’t have enough time to sit down calmly, raise our heads to that other world and understand what the unknown master who lived many, many centuries ago wanted to tell us.
On the pillar columns, which give the temple a surprisingly unique appearance, 135 saints and martyrs are depicted.
The lower tiers of the walls depict Ecumenical Councils, congresses of the highest church hierarchs, which took place in the 4th-7th centuries, and there are also huge icons with the lives of saints. And indeed, it is a real encyclopedia of ancient Russian life. But how little we know about her.
On the western wall, according to the canon, the Last Judgment is depicted. The image is very interesting. At the top left in front of the Savior are kneeling Adam and Eve, depicted in clothes and with halos, i.e. they are forgiven. And below them is the vile serpent, Far below are demons, sinners and fiery Hell. I can’t figure out what the animals represent.
In the 17th century, two shrines were brought to Moscow from Georgia: a piece of Jesus Christ’s clothing and one of the nails with which He was nailed to the cross. According to legend, this nail protects the place where it is located. These shrines were placed in a copper openwork tent, which symbolizes Golgotha. This tent was made in 1624 by the “head of the boiler shop” by order of Tsar Mikhail Fedorovich. Now there is the tomb of the Holy Patriarch Hermogenes, who died of hunger in captivity.
If you remember, I already reported that the first to be buried in the Assumption Cathedral was St. Metropolitan Peter, who is considered its founder. After this, Russian archpastors began to be traditionally buried here, and here they were ordained. And at the tomb of Metropolitan Peter, the appanage princes and boyars swore allegiance to the sovereign.
I want to show you the Royal Church site, which in the old days was called the Monomakh Throne. 2001 marked 450 years since its creation. Just imagine - this wooden carved place of worship is 450 years old! All Russian tsars and emperors visited it. Therefore, it is not only a work of art, but also a most valuable historical relic. It was created by Novgorod craftsmen on the orders of Ivan the Terrible and crowned with a double-headed Byzantine eagle, " which was supposed to indicate the continuity of Moscow power from the First and Second Rome." And which then became Russian coat of arms. The throne stands on four pillars in the form of terrible animals, which symbolizes state power and strength. " I revere this place more precious than gold for its antiquity, and also because all the sovereign ancestors, the Russian Sovereigns, stood on it.” ( Peter the First)<
Catherine the Second, as the Autocrat of All Russia, laid the crown on herself while on the Monomakh throne, as evidenced by this wonderful engraving taken from Wikipedia. By the way, here, in the Assumption Cathedral, Catherine the Second converted to Orthodoxy.
The Assumption Cathedral was not only a venue for church services, it also hosted secular and other worldly events. Crowning, weddings, funerals, ordination, abdication, adoption of Orthodoxy, coronation of emperors and empresses - all these events took place in the main temple of the Russian state. And how good it is that some of them were captured on canvas by artists. After all, no one could even imagine digital cameras back then. Even in their wildest fantasies, the people did not go further than flying carpets and walking boots. And since my “forbidden” photographs have already been shown to you, the next part will contain art reproductions discovered on the Internet.
The first to be married in the Assumption Cathedral in 1498 was the grandson of Ivan the Third, Dmitry. It should be noted that the coronation took place according to the Byzantine rite. (Another trace of Byzantium). Since 1547, Ivan the Fourth was already crowned with the royal crown. And even False Dmitry was crowned king in 1605, and a year later he “took a shlyub” with Marina Mnishek. Chroniclers left a record that, due to her very short stature, a stool was made for the royal Pole so that she could venerate the icons.
"Confirmation of the sovereign Emperor Alexander II during his coronation in the Assumption Cathedral of the Moscow Kremlin on August 26, 1856"
Mihai Zichy, being a court artist for Alexander II, captured all sorts of solemn moments in the life of the sovereign and his royal family. The moment of the coronation of Maria Alexandrovna is depicted here.
Congratulations brought to His Majesty Emperor Alexander II by members of the imperial family after the coronation on August 26, 1856." Still the same artist Mihai Zichy.
The last coronation in the Assumption Cathedral took place on May 14, 1896. The last Russian Emperor Nicholas II was crowned. Moreover, he wished to be crowned on the throne of Mikhail Fedorovich, the founder of the Romanov dynasty. And although in the following picture the sovereigns are depicted in coronation robes, I read that Nicholas II was in the uniform of the Life Guards of the Preobrazhensky Regiment, and Alexandra Fedorovna was in a brocade dress embroidered by the nuns of the Moscow St. John's Monastery. A throne was placed for the empress that belonged to Ivan the Third, which was brought as a gift to her husband by Sophia Paleologus.
Coronation is wonderful. But the Assumption Cathedral also experienced difficult times. In July 1812, Emperor Alexander the First visited the Assumption Cathedral. to venerate the relics of the saints and vow to defeat Napoleon.
We all know well how Moscow greeted the French. Fortunately, the Kremlin survived the fires. Many valuables from the churches were taken away before Napoleon's army entered Moscow. But a lot remains. Especially massive values. The famous silver chandelier (chandelier for candles), made by craftsmen in 1660 and weighing over 60 pounds, shrines of saints covered with silver boards, icon frames decorated with precious stones and pearls - all this was stolen and taken away. It was necessary to think of this - to arrange a forge in the middle of the cathedral in order to melt down the vestments from the icons. And even leave inscriptions on the pillars about how many pounds of gold and silver were melted down. And in order not to be mistaken, scales were hung on the hook where the silver chandelier hung and the gold and silver bars obtained from the smelting were weighed on them. 375 icons were scratched and mutilated. Nails were driven into the eyes of the Saints. And the cathedral was heated by fires, so all the paintings were covered with soot. The royal gates were hammered with nails, and the bodies of the metropolitans were thrown out of the shrines. And, of course, they made a stable here.
Painting by Vasily Vasilyevich Vereshchagin.
Some of the jewelry was returned. To this day, in the center of the cathedral hangs a giant chandelier "Harvest", cast from captured silver captured by the Cossacks from the French. And on April 23, 1814, a solemn service was held in the cathedral in honor of the victory over Napoleon.
In November 1917, the Assumption Cathedral was damaged by artillery shelling, but services were still held there. And what happened next throughout Russia is eloquently illustrated by Ilya Glazunov’s painting.
In March 1918, all Kremlin cathedrals were closed, but V.I. Lenin graciously allowed the last service to be held in the Assumption Cathedral on Easter. And then another seizure of valuables began. The most valuable relics were used to pay the indemnity for the Treaty of Brest-Litovsk, and the value was determined by the weight of priceless works of church art. All precious jewelry was removed from the Vladimir Mother of God and transferred to the State Storage. But it should be noted that in 1924 this icon, like several other ancient icons, were restored and transferred to the Tretyakov Gallery.
Since June 20, 1955, the Kremlin has been open to free access. And a museum was organized in the Assumption Cathedral. Since the 1990s, divine services have been regularly held in the Assumption Cathedral of the Moscow Kremlin.
Used literature: http://www.russiancity.ru/text/mos01.htm
Guide "Moscow Kremlin"
