Andrey Rublev presentation on history. Theme of the lesson: "The great icon painter Andrey Rublev"
Ionov Ivan 8 "A"
Biography and creativity
Andrei Rublev (+ c. 1430), icon painter, student of Theophan the Greek, reverend. At first he was a novice at the Monk Nikon of Radonezh, and then a monk in the Spaso-Andronikov Monastery in
Thessalonica Nativity of Christ Presentation of the Lord Entry of the Lord into
Sergius of Radonezh, compiled by his disciple Epiphanius, decorated with numerous miniatures (list of the 16th century), Andrei Rublev is depicted in three forms: sitting on the stage and writing on the wall of the temple the image of the Savior Not Made by Hands; coming to the newly built stone church in the Lavra and being buried by the Lavra brethren. The largest works of Andrei Rublev are icons, as well as frescoes in the Cathedral of the Assumption in Vladimir (1408). The deisis of the work of Theophanes the Greek and Andrei Rublev, as well as the entire golden-domed Church of the Annunciation in the royal court, near the royal treasury, burned down during a great fire in Moscow in 1547. The monk died in the Andronikov Monastery on January 29, 1430.
The greatest masters of ancient Russian painting, including Dionysius, were deeply influenced by his work. At the Stoglavy Cathedral (1551), Rublev's icon painting was proclaimed a role model: it was directly instructed "to paint icons from ancient images by the painter, as Greek painters wrote, and as Andrei Rublev and other notorious painters wrote."
A great deal of work on the restoration of his works and the clarification of his artistic biography, done in the 20th century, led to the formation of the romantic “Rublev legend”, extracting the heroized figure of the artist from the anonymous, ascetic, supra-individual environment of medieval creativity.
Locally revered as a saint since the 16th century, Andrei Rublev has now become one of the all-Russian saints: he was canonized by the Russian Orthodox Church in 1988; the church celebrates his memory on July 4 (17
July N.S.).
The works of Andrei Rublev belong to the highest achievements of Russian and world spiritual art, which embodied the sublime understanding of the spiritual beauty and moral strength of the man of Holy Russia. These qualities are inherent in the icons of the Zvenigorod rank (“Savior”, “Apostle Paul” (located in the Russian Museum),
“Archangel Michael”, everything is the turn of the XIV-XV centuries), where laconic smooth contours, a wide manner of writing are close to the methods of monumental painting.
In k. XIV - n. 15th century Rublev created his masterpiece - the icon “Trinity” (located in the State Tretyakov Gallery, on the plot “hospitality of Abraham”. He filled the traditional biblical plot with deep poetic and philosophical content. Moving away from traditional canons, he placed a single bowl 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 flowers, orchestrated by an exquisite combination of golden ocher with a delicate "stuffed cabbage" and greenery. The composition inscribed in a circle is permeated with deep circular rhythms subjugating all lines of contours, the consistency of which produces an almost musical effect.
"Trinity" is designed for distant and near points of view, each of which reveals the richness of shades, the virtuoso work of the brush in a different way. 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 the spirit, creating the harmony of the world and life. In 1405, together with Theophan the Greek and Prokhor from Gorodets, he painted the Annunciation Cathedral of the Moscow Kremlin (the frescoes have not survived), and in 1408, together with Daniil Cherny and other masters, the Assumption Cathedral in Vladimir (the painting was partially preserved) and created icons for its monumental three-tiered iconostasis, which became an important stage in the formation of the system of high Russian iconostasis.
Of Rublev's frescoes in the Assumption Cathedral, the most significant composition "Last Judgment" where the traditionally formidable scene turned into a bright celebration of the triumph of Divine justice. The works of Andrei Rublev in Vladimir testify that by that time he was a mature master who was at the head of the school of painting he created.
In 1425 - 1427, Rublev, together with Daniil Cherny and other masters, painted the Trinity Cathedral of the Trinity-Sergius Monastery and
created the icons of his iconostasis. The time when new internecine wars were brewing in Russia and the harmonious ideal of man, which had developed in the previous period, did not find support in reality, and affected the work of Rublev. The color of later icons is more gloomy; in some icons, the decorative principle is enhanced, in others archaic tendencies are manifested. Some sources call the painting of the Spassky Cathedral of the Andronikov Monastery (c. 1427) the last work of Rublev. A number of works are also attributed to him, the belonging of which to Rublev’s brush has not been definitely proven: the frescoes of the Assumption Cathedral on the “Town” in Zvenigorod (late XIV - n. XV centuries), icons
- “Vladimir Mother of God” (c. 1409, Assumption Cathedral, Vladimir), “Savior in Strength” (1408), part of the icons of the festive rank (“Annunciation”, “Nativity of Christ”, “Meeting”, “Baptism”, “Resurrection of Lazarus ”, “Transfiguration”, “Entrance to Jerusalem” - all around 1399) of the Annunciation Cathedral of the Moscow Kremlin, part of the miniatures of the Khitrovo Gospel.
Since 1959, the Andrei Rublev Museum has been operating in the Andronikov Monastery, demonstrating the art of his era.
Art critic M.V. Alpatov
wrote: "The art of Rublev is, first of all, the art of great thoughts, deep feelings, compressed by the framework of laconic images-symbols, the art of great spiritual content", "Andrey Rublev revived the ancient principles of composition, rhythm, proportions, harmony, relying mainly on his artistic intuition ".
Spas Almighty
Andrei Rublev1410 - 1420s 158 x 106 cm lime board, pavoloka, gesso, tempera (the right board of the Savior icon is pine, the icon was added during a later restoration. The central part of the icon-painting face of Jesus from Zvenigorod Moscow, State Tretyakov Gallery.
Epiphany
Andrei Rublev (?) first half of the 15th century 81 x 62 cm
lime board, ark, shallow husk. Pavoloka, gesso, tempera icon. Festive rite Annunciation Cathedral of the Moscow Kremlin
Transfiguration
Andrey Rublev Moscow school 1405 g. 80.5 x 61 cm linden board, ark, shallow husk. Pavoloka, gesso, tempera icon. Festive rite Annunciation Cathedral of the Moscow Kremlin
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Russian icon painting Independent work Answer the questions: When did church art appear in Russia? What icon painters do you know? What icon does a novice icon painter usually paint first? Why?slide 2
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The main dates of the life and work of Andrei Rublev About 1360 - was born in central Russia. 1370-1390s - studied and worked in the team of Moscow artists. Until 1405, he became a monk with the name Andrei, lived in the Spaso-Andronikov monastery near Moscow. 1405 - together with the artists Feofan Grek and Prokhor from Gordets, he painted the Annunciation Cathedral of the Moscow Kremlin. 1408 - together with the artist Daniil Cherny, he painted frescoes and icons in the Assumption Cathedral in Vladimir. Around 1408 - painted icons that later received the name “Zvenigorod rank” Between 1422 and 1427 - painted the icon “Trinity” 1427-1430 - created murals of the Spassky Cathedral of the Spaso-Andronikov Monastery. On January 29, 1430, he died and was buried in the Spaso-Andronikov Monastery.
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The State Tretyakov Gallery has the most valuable and most complete collection of works by Andrei Rublev and the masters of his circle in our country. Rublyov's collection arose in the gallery in the post-revolutionary period. Its formation is associated with a new stage in the study of ancient Russian painting.
Slide 7
From the works of Andrei Rublev and Daniil Cherny in the Assumption Cathedral in Vladimir, the icons of the iconostasis have survived to this day, forming a single ensemble with frescoes, partially preserved on the walls of the temple
Slide 8
In 1768-1775, the dilapidated iconostasis of 1408, due to inconsistency with the tastes of the Catherine's era, was taken out of the cathedral and sold to the village of Vasilyevskoye near Shuya (now the Ivanovo region). The iconostasis of the Assumption Cathedral included icons of the deesis, festive and prophetic rows. In accordance with the size of the cathedral, its iconostasis is one of the largest that has come down to us. Thus, the Deesis icons (eleven of them in the gallery's collection) are 3.14 meters high.
Slide 9
The ideological concept of the Deesis composition (translated from Greek, Deesis means prayer) is connected with the theme of the Last Judgment and reflects the idea of the intercession and prayer of the saints “for the human race” before the Savior. In the era of the Horde invasion, the theme of the Last Judgment in Russia is understood as the coming triumph of truth and justice.
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The central icon of the Deesis "The Savior in Power" depicts Jesus Christ with the revealed text of the Gospel, sitting on a throne. The red rhombus framing Christ, the bluish-green oval and the red quadrangle symbolize his glory and "powers", heavenly (in the oval) and earthly (symbols of the four evangelists at the corners of the rhombus)
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In the image of the Mother of God, a capacious, monumental, flowing silhouette is emphasized, broken by an accentuated gesture of outstretched hands in prayer. The whole image is imbued with a meek and sad prayer, intercession "for the human race"
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In the image of John the Baptist, attention is focused on the theme of majestic sorrow, “spiritual lamentation,” according to an old expression. John calls for repentance, as stated in a large inscription in a charter on an unrolled scroll in his hand
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The presence in the deesis composition among the praying saints of two figures of the archangels, Michael and Gabriel, goes back to a long tradition of depicting the “heavenly powers” worshiping him on the sides of the central image of Jesus Christ (the Savior). In the painting of Andrei Rublev, the images of angels are given special importance. In the fresco ensemble of the Assumption Cathedral in Vladimir, numerous faces of angels present an exceptional beauty and variety of a spectacle that draws a person into the world of sublime feelings and moods. The angels on the icons of the deesis organically complement the images of angels trumpeting into heaven and earth, twisting the vault of heaven, standing behind the apostles in the Last Judgment, worshiping the Mother of God, solemnly sitting on the throne
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The Tretyakov Gallery also holds Andrei Rublev's most famous work, the famous Trinity. Created in the prime of his creative powers, the icon is the pinnacle of the artist's art. At the time of Andrei Rublev, the theme of the Trinity, embodying the idea of a triune deity (Father, Son and Holy Spirit), was perceived as a kind of symbol of time, a symbol of spiritual unity, peace, harmony, mutual love and humility, readiness to sacrifice oneself for the common good. Sergius of Rado Nezhsky founded a monastery near Moscow with the main temple in the name of the Trinity, firmly believing that “by looking at the Holy Trinity, the fear of the hated strife of this world was overcome” The icon was in the Trinity Cathedral of the Trinity Monastery, which later became a Lavra, until the twenties of our century. During this time, the icon has undergone a number of renovations and copybooks. In 1904-1905, on the initiative of I.S. Ostroukhov, a member of the Moscow Archaeological Society, a well-known icon collector and trustee of the Tretyakov Gallery, the first thorough clearing of the Trinity from later records was undertaken. The work was supervised by the famous icon painter and restorer V.P. Guryanov. The main notes were removed, but the inscriptions were left on the inserts of the new gesso, and in accordance with the methods of the then restoration, additions were made in the places of loss that did not distort the author's painting slide 17
Academician D.S. Likhachev noted that “the national ideals of the Russian people are most fully expressed in the works of their two geniuses - Andrei Rublev and Alexander Pushkin. It was in their work that the dreams of the Russian people about the best person, about ideal human beauty, were most clearly affected ... The era of Rublev was the era of the revival of faith in man, in his moral strength, in his ability to sacrifice himself in the name of high ideals "
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Slides captions:
The work of Andrei Rublev
Biography Biographical information about Rublev is extremely scarce: most likely, he was born in the Principality of Moscow (according to other sources - in Novgorod) around 1340/1350, was brought up in a family of hereditary icon painters, took monastic vows in the Spaso-Andronikov monastery.
Rublev's work developed on the basis of the artistic traditions of the Moscow principality; he was also well acquainted with the Byzantine and South Slavic artistic experience. The first mention of Andrei in the chronicle appeared only in 1405, indicating that Theophanes the Greek, Prokhor the Elder and the monk Andrei Rublev painted the Annunciation Cathedral in the Moscow Kremlin.
In 1411 or 1425-27 he created his masterpiece Trinity.
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 1425-27, Rublev, together with Daniil Cherny and other masters, painted the Trinity Cathedral of the Trinity-Sergius Monastery and created the icons of its iconostasis. The icons have been preserved; they are executed in different manners and are unequal in artistic qualities.
The time when new internecine wars were brewing in Russia and the harmonious ideal of man, which had developed in the previous period, did not find support in reality, and affected the work of Rublev. In a number of works, Rublev managed to create impressive images, they feel dramatic notes that were not previously characteristic of him (“The Apostle Paul”).
The coloring of the icons is more gloomy compared to early works; in some icons, the decorative principle is enhanced, in others archaic tendencies are manifested.
Some sources call the painting of the Spassky Cathedral of the Andronikov Monastery (in the spring of 1428; only fragments of ornaments have been preserved) Rublev's last work.
A number of works are also attributed to him, the belonging of which to Rublev’s brush has not been definitely proven: frescoes of the Assumption Cathedral on the “Town” in Zvenigorod (end of the 14th - beginning of the 15th centuries; fragments have been preserved), icons - “Our Lady of Vladimir” (about 1409, Assumption Cathedral, Vladimir) , and others.
Rublev's work 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.
Rublev died during a pestilence on October 17, 1428 in Moscow, in the Andronikov Monastery.
In 1947, a reserve was established in the Andronikov Monastery, since 1985 - the Andrei Rublev Central Museum of Ancient Russian Culture and Art. In front of the main entrance to the TsMiAR there is a monument to St. Andrey Rublev by the sculptor Oleg Komov.
A crater on Mercury is also named after Andrey Rublev.
Life and art
Russian icon painter
Andrey Rublev
teacher of World Artistic Culture GBOU secondary school No. 84 of the Petrogradsky district
St. Petersburg
Andrei Rublev is a name that has become a symbol of Holy Russia, a symbol of the incomprehensible ancient Russian art, a symbol of the great Russian man, as he can and should be.
Andrei Rublev is a Russian icon painter, canonized by the Orthodox Church as a saint, the most famous and revered master of the Moscow school of icon painting, book and monumental painting of the 15th century.
"The art of Andrei Rublev is, first of all, the art of great thoughts, deep feelings, compressed by the framework of laconic images-symbols, the art of great spiritual content"
According to art historians who carefully study the life and work of the Russian icon painter, “Andrey Rublev revives the ancient principles of composition, rhythm, proportions, harmony, relying mainly on his artistic intuition.”
In all likelihood, the icon painter was born in the Principality of Moscow (according to other sources in Novgorod) around 1360. The sources are silent about the real name of the icon painter, because ANDREY RUBLEV is a name adopted in monasticism, a fictional pseudonym.
Andrei Rublev came from educated circles, he was distinguished by an extraordinary depth and subtlety of perception, as evidenced by all his work.
The earliest information about the artist comes from the Moscow Trinity Chronicle. Among the events of 1405, it is reported that “the same spring, more often than not, the stone church signed the holy annunciation to the prince of the great courtyard, and the masters byahu Theophanes the iconic Greek, and Prokhor the old man from Gorodets, and the black Andrei Rublev.”
Mentioning the name of Andrei Rublev last, according to
the then tradition meant that he was the junior in the artel. But at the same time, he was already quite a recognized and respected master to take part in an honorary order to decorate the house church of Vasily Dmitrievich, the eldest son of Dmitry Donskoy.
Second time in history
Andrei Rublev is mentioned
in 1408, when he was painting with Daniil Cherny
in the Cathedral of the Assumption
Vladimir. It's only been
3 years, and Andrei already had assistants and students, by that time the icon painter had already fully formed his own individual, real Russian style.
The work of Andrei Rublev is one of the pinnacles of Russian and world culture. The perfection of his creations is seen as the result of a special Orthodox tradition in icon painting.
In the 1420s, as chronicles testify, Andrei, together with his “companion” Daniil Cherny, supervised work in the Trinity Cathedral of the Trinity-Sergius Monastery. These murals, like many others, unfortunately, have not been preserved.
In 1411 or 1425-27, Rublev creates his masterpiece - "Trinity". Traditional
Rublev filled the biblical story with deep theological content. Moving away from traditional iconography,
he placed in the center of the composition a single bowl,
and repeated its outlines in the contours of the side angels. The clothes of the middle angel clearly refer us to the iconography of Jesus Christ. Two of those sitting at the table with their head and movement of the camp are turned to the angel, written on the left, in the guise of which paternal authority is read.
His head is not bowed, his camp is not bowed, and his gaze is turned to
other angels. The light purple color of the clothes testifies to 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 a smoky green outer garment. 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 at Rublev into the tree of life and became an indication of the life-giving power of the Trinity.
The house embodies God's dispensation.
The formation of Rublev's worldview was greatly influenced by the atmosphere of the national upsurge of the 2nd half of the 14th - early 15th 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.
In 1478, the abbot of the Trinity Sergius Monastery, the elder Spiridon, said about Andrey “the amazing and illustrious icon painter, the monk of the Andronikov Monastery, was distinguished by such virtues that he was awarded unusual gifts and succeeded in perfection so much that he did not find time for worldly affairs.”
Andrei Rublev died on October 17, 1428 in Moscow, in the Andronikov Monastery, where in the spring of 1428 he completed his last work on the painting of the Spassky Cathedral.
The icon painter was buried near the bell tower in the Andronikov Monastery of the Spassky Cathedral.
Painting by the icon painter Andrei Rublev of the Spassky Cathedral of the Andronikov Monastery. 1592 .
Russian State Library, Moscow, Russia
Facial Life
reverend
[f. 304, III, No. 21 / M.8663
(Troitsk. III-21)], l. 230
(L. 227 after 1853 ed.)
In 1947, a reserve was established in the Spaso-Andronikov Monastery, since 1985 - the Andrei Rublev Central Museum of Ancient Russian Culture and Art. In front of the main entrance is a monument to St. Andrei Rublev by sculptor Oleg Komov.
In Vladimir, a monument to Andrei Rublev is located in front of the entrance to Pushkin Park. This is the last work of the sculptor Oleg Komov.
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ART Education Center, All-Russian competition "Pride of the Fatherland": Anniversaries of Russia in 2015 (history and culture)
History lesson presentation
The work was completed by: Nikolaeva Liya, student of grade 11 A, MBOU "Secondary School No. 19", Abakan, Republic of Khakassia Head: Popova Natalya Anatolyevna, teacher of history and social studies, MBOU "Secondary School No. 19"
Andrey Rublev
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Andrei Rublev is the most famous and revered master of the Moscow school of icon painting, book and monumental painting of the 15th century. In 1988 he was canonized by the Russian Orthodox Church as a reverend.
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Personality
The idea of Rublev has been preserved as a man of a kind, humble disposition, "full of joy and lordship." He was characterized by great inner concentration. Everything he created is the fruit of deep thought. Those around were amazed that Rublev studied the works of his predecessors for a long time, treating the icon as a work of art.
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Biography
Andrei Rublev was born in the late 60s of the XIV century in the small town of Radonezh, not far from the Trinity-Sergius Lavra. In all likelihood, in his youth Andrei was a novice of this monastery, and then he took the rank of a monk.
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Andrey is a monastic name; the worldly name is unknown (most likely, according to the then tradition, it also began with "A"). The icon signed “Andrey Ivanov son of Rublev” has been preserved; it is late and the signature is clearly fake, but it may be indirect evidence that the artist's father was really called Ivan.
Name
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The worldview of the artist was influenced by: - victory on the Kulikovo field; - economic rise of Muscovite Russia; - the growth of self-consciousness of the Russian people, the atmosphere of the national upsurge of the 2nd half of the 14th - early 15th centuries, which is characterized by a deep interest in moral and spiritual problems.
Spas from the Zvenigorod rank, turn of the XIV-XV centuries
Slide 7
Battle of Kulikovo and Rublev
During the Battle of Kulikovo in 1380, Rublev was already a member of the princely artel of craftsmen, who moved from city to city and was engaged in the construction and decoration of churches. At that time, many churches were being built in Russia, in each of which icon painters were supposed to work.
Slide 8
The first who began to collect information about Andrei Rublev was Joseph Volotsky, the largest church and statesman who played a significant role in the history of Russia at the turn of the 15th-16th centuries. He traveled to many Russian monasteries, where he found some more witnesses to the life of an outstanding icon painter. Of course, he also collected icons of the great master.
Joseph Volotsky
Slide 9
So, we find the earliest reports about the icons of Andrei Rublev precisely in the inventories of the monastery founded by the Monk Joseph.
Icon for the village
Only from the documents of the Joseph-Volotsky Monastery it became known that the icons of the Rublev painting were revered very highly, and the cost of such icons even at that time was even equated to the price of several villages.
Slide 10
It is impossible to consistently follow Rublev's creative path, because the ancient Russian icon painters never signed or dated their works. The historical evidence of the life and work of Andrei Rublev that has come down to us is extremely poor in chronological data and largely contradict each other.
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Rublev linked only three precisely dated documents. The first of them is an annalistic mention that in 1405 the Church of the Annunciation was painted "in the prince's court". The second chronicle tells about the work of Andrei Rublev in 1408 on the painting of the cathedral church - the white stone Assumption Cathedral in Vladimir, where at that time there was a residence (seat) of the head of the Russian Orthodox Church. The third mention, also accurately dated, is a well-known evidence from the acts of the Stoglavy Cathedral in 1551.
Rublev in history
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The works of Andrei Rublev have survived very little: frescoes in the Assumption Cathedral in Vladimir and the famous icon "Trinity" from the iconostasis of the Trinity Cathedral of the Trinity Monastery. Of the two dates for writing the "Trinity" proposed by the sources - 1411 and 1425-1427 - the latter seems more likely. Other works listed by the sources either did not survive, or belong not to Andrei Rublev, but to students - members of the artel, headed by Daniil Cherny and Andrei Rublev.
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Rublev's work developed on the basis of the artistic traditions of the Moscow principality; he was also well acquainted with the Byzantine and South Slavic artistic experience.
Rublev's work
The first mention of Andrei in the annals appeared only in 1405, indicating that Theophanes the Greek, Prokhor the Elder and the monk Andrei Rublev painted the Annunciation Cathedral in the Moscow Kremlin. Apparently, by 1405 Andrei had thoroughly succeeded in his mastery of icon painting, if the monk was entrusted with such a responsible job, and, moreover, with Theophanes the Greek.
Slide 14
It can also be added that in many respects his work was determined by the tradition of hesychasm. It is associated with the most intimate images of Orthodox iconography, including the works of St. Andrei Rublev, and Russian iconography was able to reach such significant heights, primarily due to the revival of the hesychast tradition in Russia. Now it is no longer denied that the main qualities of hesychasm - silence and silence as the only true path of "inner doing" - constituted the core of spiritual life in the monasteries of the era of St. Sergius of Radonezh. These traditions were unshakably observed in the Andronikov Monastery of the Savior, since it is said in hagiographic sources about Andrei Rublev and his spiritual fathers that they were very fond of - "very much" - silence and silence.
Vow of silence
slide 15
The second time in the annals about Andrei is mentioned in 1408, when he made paintings with Daniil Cherny in the Assumption Cathedral in Vladimir. 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.
Assumption Cathedral
slide 16
Daniil Cherny was Andrei Rublev's closest friend; together with him he painted the Assumption Cathedral in Vladimir (1408) and the Trinity Cathedral of the Trinity-Sergius Monastery (1425-1427).
Brusilov Stanislav. Andrey Rublev and Daniil Cherny
Assumption Cathedral
Slide 17
In 1420, Andrei and Daniil Cherny supervised work in the Trinity Cathedral of the Trinity-Sergius Monastery. These paintings have not survived. In 1411 or 1425-27 he created his masterpiece Trinity.
Trinity Cathedral of the Trinity-Sergius Monastery
Slide 18
In k. XIV - n. 15th century Rublev created his masterpiece - the icon “Trinity” (located in the State Tretyakov Gallery, on the plot “hospitality of Abraham”. He filled the traditional biblical plot with deep poetic and philosophical content. Moving away from traditional canons, he placed a single bowl 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 flowers, orchestrated by an exquisite combination of golden ocher with a delicate “stuffed cabbage” and greenery.
Trinity
Slide 19
It should be assumed that the significance of Andrei Rublev for his time was largely due to the icon of the Life-Giving Trinity, painted with the blessing of Metropolitan Cyprian "in praise" of St. Sergius of Radonezh, "abbot of the Russian Land."
Salvation of Russia
This miraculous icon actually saved tormented Russia, helped to bring it together, since the main idea that formed the basis for the creation of the image of the Trinity was the call proclaimed by St. Sergius: "So that the fear of the hated strife of this world is overcome by looking at the Holy Trinity." We can say that in the era of Sergius of Radonezh, our national idea was found, which was embodied by the image of the Trinity by Andrei Rublev.
Slide 20
After the Bolshevik coup, when the persecution of the Russian Church began, this call of St. Sergius was again remembered, and priest Pavel Florensky repeated it again at the walls of the Trinity-Sergius Lavra, urging fellow citizens to wake up from their godless intoxication, not to succumb to the campaign "to overthrow the heavens." In those "cursed days" from the lips of Father Pavel Florensky a famous phrase sounded, which became winged: "There is the Rublev Trinity, therefore, there is God."
20th century
slide 21
In 1947, a reserve was established in the Spaso-Andronikov Monastery, since 1985 - the Andrei Rublev Central Museum of Ancient Russian Culture and Art. In front of the main entrance to the TsMiAR there is a monument to St. Andrei Rublev by sculptor Oleg Komov. In Vladimir, a monument to Andrei Rublev is located in front of the entrance to Pushkin Park. This is the last work of the sculptor Oleg Komov. A crater on Mercury is named after Andrey Rublev.
Memory
In 1961, a USSR postage stamp dedicated to Andrei Rublev was issued. Sculpture by Andrei Rublev on the pediment of the Omsk State Library (sculptor V. Trokhimchuk). The popular science film "Andrey Rublev", filmed in 1987 by the film studio "Lennauchfilm" (director L. Nikitina, cameraman V. Petrov).
