About Reverend Andrey Rublev. Reverend Sergius and Andrei Rublev
The names of two great, deeply revered Orthodox saints, Saints Savva Storozhevsky and Andrei Rublev, are firmly connected with the picturesque places of Zvenigorod near Moscow. But the memory of St. Savva, a disciple of Sergius of Radonezh, hegumen of the Nativity Monastery on Mount Storozhe, never dried up in these places. But in order to firmly connect the name of the great icon painter with Zvenigorod, the researchers had to work hard. And the very history of Andrei Rublev's "registration" in this town near Moscow is almost detective.
Zvenigorod secret
This story begins in 1918. Art historians lacked evidence for the assumption put forward - the frescoes found fragmentarily in the Assumption Cathedral in Zvenigorod were executed by the brilliant Andrei Rublev. To substantiate this hypothesis, it was necessary to find here other works of the master that would clearly say: yes, Rublev worked in Zvenigorod. After all, neither chronicles nor other sources give any information about this. About the works of the famous icon painter in Moscow, in Vladimir, in the Trinity-Sergius Monastery - yes, they say. And about Zvenigorod - not a word.
The participants of that scientific expedition of 1918 were extremely lucky. Three icons were brought to light: the images of the Savior, the Archangel Michael and the Apostle Paul - the so-called Zvenigorod rank of Andrei Rublev. These masterpieces of Russian icon painting have become the greatest discovery of Russian and world art criticism. But how were they found? The official version was: under a pile of firewood in a barn. Only recently it turned out that a local priest drew the attention of scientists to the ancient icons temporarily stored in the pantry. And the barn with "ownerless" boards appeared, obviously, as a cover for the fact of seizure.
Be that as it may, the Zvenigorod rank asked art critics a riddle. Three of his icons are part of the deesis - the main row of icons in the iconostasis. This is the so-called "prayer" - the central figure of Christ is on the sides in prayer of the Mother of God, John the Baptist, the archangels Michael and Gabriel, the apostles Peter and Paul, the saints. The number of forthcoming and, accordingly, icons depends only on the size of the temple and the width of the altar partition. The Zvenigorod rank, which included the image of the Apostle Paul, was supposed to consist of at least seven icons. So, scientists had doubts - could it fit in full width in the Assumption Cathedral? Then the answer to this question was “no” and they began to look for another temple, which originally belonged to Rublev's deesis. Tried different variants, and all subsequent searches denied the Zvenigorod rank of Zvenigorod origin. So did Rublev work in Zvenigorod?
The question is complex, somewhat mysterious. We will return to it below.
In the Assumption Cathedral
No less mysterious is the origin of Andrei Rublev himself. Biographical information about the great artist is so insignificant that researchers simply speculate about some pages of his life. His ancestral roots could be in Radonezh, and in Pskov, and in the Tver regions, and in Belozersk, and in others. Not a native Muscovite, Rublev, as an artist, could take his first steps on Moscow land in the Trinity-Sergius Monastery, where he received monastic vows. And he could also in the grand-ducal art workshops of the Kremlin, where he worked on decorating books with miniatures. It is possible to combine these hypotheses, assuming that the layman Rublev left the Kremlin workshops in the late 1390s to become a monk in the monastery of Sergius of Radonezh. And only after that he became known as a master of large icon-painting forms. And this could happen, for example, at the suggestion of Savva Storozhevsky, who in 1399 moved from the Trinity Monastery to Mount Storozh near Zvenigorod. Prince Yuri Zvenigorodsky invited Savva there, asking the elder to found a new monastic monastery.
Prince Yuri, the second son of Dmitry Donskoy, was considered, according to his father's will, a contender for the Moscow throne, the heir of his elder brother, Grand Duke Vasily I. Zvenigorod, the largest of the cities near Moscow at that time, was the capital of his specific principality. Through the efforts of Yuri, he turned in those years into one of the cultural centers of the Moscow land. The ambitious prince of Zvenigorod, who competed with his elder brother, did not want to concede to Moscow in anything. He provided the greatness of his specific capital with a wide program of construction and decoration of the city, inviting for this the best masters - architects, artists, artisans. He erected a powerful, impregnable wooden fortress on a hill above the Moscow River (princely Kremlin - Gorodok). It contains the white-stone Assumption Cathedral, a fine example of early Moscow architecture (unfortunately, it has now lost much of its beauty). In the suburban Savvin monastery he built a stone Cathedral of the Nativity. The main thing in this architectural and artistic program was, of course, the spiritual component.
As the godson of Sergius of Radonezh and the spiritual son of Savva Storozhevsky, a disciple of both of them, a church philanthropist and temple builder, Prince Yuri was deeply imbued with the idea of the religious transformation of Rus'. Sergius of Radonezh was the inspirer of this national revival on the paths of holiness, the unity of the people in an impulse to Christ, to turning into Holy Rus'. He also became one of the main ideologists of the liberation of Rus' from Tatar-Mongol slavery. Sergius blessed Dmitry Donskoy for a mortal battle with the Tatar horde of Mamai. Both the Radonezh abbot himself and his contemporaries considered this battle on the Kulikovo field a great sacrificial feat of Rus', the martyrdom of Russian soldiers “for the holy churches and for Orthodox faith". The whole era in which Rublev lived is permeated with the memory of the significant event of the Kulikovo victory.
As the son of Dmitry Donskoy and heir to the throne of Moscow, Prince Yuri saw it as his duty to continue the work of his father and "mentor of the Russian land" Sergius - to unite Rus' for further victories. This is evidenced by the program of fresco painting of his Assumption Cathedral in Gorodok. This painting was created around 1401-1404. Researchers have long had no doubts that some of the frescoes were painted by monk Andrei. This is the very first major work of the famous master that has come down to us. Perhaps the name of the promising artist, the Trinity monk, was suggested to Prince Yuri by Savva Storozhevsky. The content of the temple wall painting was, of course, affirmed by Yuri Zvenigorodsky himself.
Little has survived over the centuries. The best fragments of frescoes are located on the eastern pillars of the temple, delimiting the altar part, on their faces facing the center of the cathedral. Rublev here owns the authorship of the medallions with the martyrs Flor and Laurus. These two images closed the frieze, encircling the top of the entire eastern, altar wall of the temple and containing images of Christian martyrs for the faith. If we recall that Sergius gave his blessing for the Battle of Kulikovo on August 18, the day of the memory of Florus and Laurus, then the idea of the temple painting will be clear. At least a significant part of it is the glorification of the sacrificial feat of the Russian people who went to the Kulikovo field to drink the cup of death there and accept the crowns of martyrdom "for their friends."
In all the further work of Andrei Rublev, "an icon painter exceedingly large", a deep thinker and theologian, "excelling in wisdom", a humble ascetic, prayer book and the most lyrical artist, this theme of heroism, drama and sacrifice of the era will come through. An amazing time in the history of the country, when scattered, wounded Rus' gathered itself together, restored its spiritual strength.
"Trinity"
A few years later, around 1410, fate would again bring monk Andrei to Zvenigorod. By that time, he was already a famous, recognized icon painter and mural painter, a performer of important princely orders, who, together with his friend Daniil Cherny, painted the former main temple of Rus' - the Assumption Cathedral in Vladimir. Two years later, in 1408, Rus' was subjected to another Tatar invasion. Many cities and monasteries were devastated and burned, many temples needed restoration and new decoration. The Zvenigorod fortress turned out to be too tough for the “agarians” (its walls on high ramparts, smeared with clay, and it was impossible to set fire to it). But the Savvino-Storozhevskaya monastery was probably burned down. Like the Trinity-Sergius, the restoration of which took the Trinity Abbot three years. Of course, both princes, Moscow and Zvenigorod, donated to the revival of the deserted Sergius Monastery. But, according to one of the modern versions, the contribution of Yuri, who burned with the zeal of faith and ambition, turned out to be priceless.
This contribution, perhaps, was the same Zvenigorod rite, the deesis, ordered by the prince to the first icon painter of Rus' Andrei Rublev. The author of this version (art critic V.V. Kavelmacher) believes that the Zvenigorod rite was written for the wooden Trinity Church, built in 1411. 12 years later, when the stone Trinity Church was already erected on the site of the wooden one, Rublev's deesis, for a number of reasons, did not find a place in it. After some time, he returned to Zvenigorod, where he continued to exist as a local iconostasis.
But there is another version proposed by the ruble expert V. A. Plugin. According to her, Andrei Rublev wrote the Zvenigorod rite ... after all, for the Assumption Cathedral in Gorodok, where he was found. The circle of searches is closed. Prince Yuri wished that in his house church there was an iconostasis of the famous painter, a great master of "theology in colors." For this, the prince did not regret the integrity of the fresco painting. After all, a new wide deesis rose from wall to wall, closing the very pillars with Florus and Laurus (which is why scientists had doubts about the belonging of the rank to this temple). And it did not consist of seven icons, but at least nine.
Be that as it may, both researchers agree on one thing. The Zvenigorod rank was one iconostasis ensemble with the top work of St. Andrew - the icon of the Life-Giving Trinity. They are related by many stylistic features, color features, compositional and graphic characteristics, and finally, the perfection of execution. Time separated them, but before that they were an indissoluble unity. The meek Savior, perfect in his humanity, the archangel Michael full of subtle lyricism, the apostle Paul deepened in himself - and the undying harmony of the three angels, the image of the indescribable trinity of the Divine. An iconic hymn of Divine love…
This means that the "Trinity", if it was not born in Zvenigorod, was in any case written by order of the Zvenigorod prince. And it was created “in praise” of Sergius of Radonezh, from whom special veneration of the Holy Trinity began in Rus'. It can be said that Sergius saved Rus', directing her gaze to the Trinity, teaching love and overcoming the "hateful strife of this world", spiritual and national unity in the image of the Trinity.
"Were Begged"
Monk Andrei was one of the many "chicks of the nest" of Sergiev, a direct successor to his deeds of prayer and service to his neighbor, by which he meant the entire Orthodox people of Rus'. It is not surprising that in the 1420s, the already venerable elder Andrei was called from Moscow to the Trinity Monastery, where a great event was taking place. Sergius of Radonezh is glorified as a saint, and his newfound relics are transferred to the new, stone Trinity Church. Prince Yuri Zvenigorodsky again acted as a trustee of the construction. But the order for the painting of the temple and its iconostasis, the sovereign icon painters Andrei Rublev and Daniil Cherny, received not from him, but from the Trinity hegumen Nikon. The “Legend of the Holy Icon Painters” testifies that “wonderful virtuous elders and painters” were “begged” by Nikon to take on this great work. And he adds: both icon painters "formerly were in obedience to the Monk Nikon." From this detail, we know that once Andrei and Daniel were considered monks of the Sergius monastery, after the death of Sergius himself (in 1392). And in another source, Daniel is called Andrew's teacher. Most likely, this was the spiritual guidance of an older, more experienced monk by a younger, novice monk. After all, both were icon painters and, probably, when Andrei appeared in the monastery, they immediately “found” each other, divided one cell into two, worked together, fasted and prayed - already until the end of their lives.
Why did Abbot Nikon have to beg them? Both were already in old age. Maybe they were overcome by infirmities, illnesses. Or maybe, in the last years of their lives, they intensified their prayerful labors, completing or significantly limiting their artistic work. But it is precisely this detail - “they were begged” - that indicates that Rublev's creative flowering, his maturity as an icon painter, were left behind. After all, an artist who still feels the creative forces in himself, who has not said the “main thing”, cannot refuse work that allows him to express precisely this “main thing”. So the main thing for Rublev was his "Trinity". And not in the mid-1420s, as this icon was dated before, it was born, but earlier. The new “praise” to Sergius from the glorious icon painters was the church of the Holy Trinity painted and decorated under their leadership.
This work was occupied by a crowded artel of artists. Andrei and Daniil only managed this "choir", in which each of the talented icon painters, gathered from everywhere by Nikon, led his party. Rublev in this iconostasis belongs to the general idea and drawing of the compositions: most likely, he acted here as a denominator, that is, he outlined the drawing of the icons. But not only. For example, the icon “The Appearance of an Angel to the Myrrh-Bearing Women” definitely says that Rublev also created new, unprecedented iconographic plots.
The Trinity iconostasis can still be seen in the cathedral. This is the only iconostasis associated with the name of Andrei, which has come down to us in full. But the frescoes were knocked down and rewritten in the 17th century. One can only hope with certainty that the later murals repeat the scheme and compositions of the murals of the 1420s.
Andronikov Monastery
The Andronikov Monastery itself, which now houses a museum named after the great icon painter, is a place of peace and quiet. Slowly walking in a circle darkened from time, but still beautiful, picturesque temple, one can imagine how the hand of the humble monk Andrei touched these stones. How he sat on the platform above the entrance to the temple and painted his last work - the image of the Savior Not Made by Hands (this is how his miniature of the 17th century captured it). And how, having already left this temporary life, “in the radiance of glory” he appeared in the cell to Daniel, who fell ill, calling him to “eternal and endless bliss…”.
How to get to Zvenigorod:
By bus No. 881 from Strogino metro station, by bus No. 455 from Tushinskaya metro station, by bus No. 452 from Kuntsevskaya metro station. You can also take a train to the Zvenigorod station, but from there you will have to get to the city by taxi or local bus. The former Gorodok, now a wooded hill with the remains of ramparts and the Assumption Church, is located on the western outskirts of the city. Two kilometers from it, along the highway to the southwest, is the Savvino-Storozhevsky Monastery.
In the saints of Russian Orthodox Church there are many icon painters, but the most famous, of course, is Andrei Rublev. Probably everyone knows this name in our country, not even the most educated person, and outside of Russia it is well known, especially after Tarkovsky's film, but what do we know about the great icon painter? Talks about it famous historian Christian Art Irina YAZYKOVA.
Andrey Rublev painting the Spassky Cathedral of the Andronikov Monastery (miniature) late XVI V.)
The happy fate of Andrei Rublev
We can say that his fate was happy: he was famous already during his lifetime, chronicles and the lives of saints mention him, princes and monasteries ordered icons for him, he worked in Moscow, Vladimir, Zvenigorod. He was not forgotten even after his death, the glory of Rublev as the first icon painter in Rus' was preserved for centuries. The Stoglavy Cathedral (1551) recognized Rublev's work as a role model. Joseph Volotsky in his “Message to the icon painter” also cites the example of Andrei Rublev and his associates, who “are very devoted to icon painting and so much diligence about fasting and monastic life of property, as if they were worthy of Divine grace and taco in Divine love to succeed, as if never exercise about earthly things, but always raise the mind and thought to an immaterial light, as if on the very feast of the Holy Resurrection of Christ, sitting on the seats and in front of you, having Divine and honest icons and steadily looking at them, Divine joy and lordship will be fulfilled. And not only on that day I do such things, but also on other days, when I am not diligent in painting. For this sake, Lord Christ glorify those at the final hour of death.In the manuscript of the 17th century, The Legend of the Holy Icon Painters, Andrei Rublev is called a holy ascetic and seer of God. The Old Believers greatly appreciated Rublev, collectors sought to acquire his works, in their eyes he was the embodiment of canonical iconography and ancient piety. Thanks to this, even in the 19th century, when iconography seemed to have been consigned to oblivion, the name of the ascetic icon painter was preserved as a standard of church art.
Andrey Rublev was not forgotten in Soviet times, despite the theomachic and iconoclastic pathos Soviet science, his name was a symbol of ancient Russian culture. By decision of UNESCO in 1960, a worldwide celebration of the 600th anniversary of Rublev was organized. The Andrey Rublev Museum of Ancient Russian Culture was opened in Moscow. And his works, collected mainly in the Tretyakov Gallery, have become the object of close attention of scientists.
Life pieced together
Many books and articles have been written about the Monk Andrei Rublev, his work has been thoroughly studied. But, if you think about it, what do we know about the life of an icon painter as a holy ascetic? Biographical information is extremely scarce, his life has to be collected literally bit by bit.He was born in the 1360s. It is difficult to determine the exact date of his birth. But the date of death is known: January 29, 1430. This date was established by the famous restorer P. D. Baranovsky on a copy of the 18th century. from the inscription on the tombstone of the Spaso-Andronikov Monastery. The slab itself was lost in the 1930s, when the monastery cemetery was destroyed. It is known that Rublev died at an advanced age, he was about 70 years old, which means that he was born between 1360 and 1370.
This time was terrible: the Tatars ruled in Rus', they ravaged cities, robbed temples and monasteries, took people into captivity. At the same time, there was a constant internecine struggle between the princes, it was especially bloody between Moscow and Tver, who claimed the grand prince's label. Twice - in 1364 and 1366. - A plague swept through Moscow and Nizhny Novgorod. In 1365, Moscow was on fire, in 1368 it survived the invasion of the Lithuanian prince Olgerd, and in 1371 there was famine.
In the midst of this chaos and turmoil, the future creator of images of heavenly harmony grew and was brought up. Unfortunately, we do not know anything about his parents or about the environment from which he came. True, his name may suggest something. Firstly, only noble people had surnames in those days. Secondly, it can indicate the hereditary craft that his father or a more distant ancestor was engaged in. Rublev, most likely, comes from the verb "cut" or from "rubel", the so-called long pole or roll, a tool for dressing leather.
Nothing is known about how early Andrei Rublev took up the icon-painting craft, where and from whom he studied. We do not know anything about his early work. The first mention of it is contained in the Chronicle under 1405, where it is reported that, by order of the Grand Duke Vasily Dmitrievich, the Annunciation Cathedral of the Moscow Kremlin was painted by an artel, headed by three masters: Feofan the Greek, Prokhor the Elder from Gorodets and the monk Andrey Rublev. The fact that Rublev's name is mentioned suggests that he was already quite a respected master. But his name is third, which means that Andrei was the youngest of the named icon painters.
Rublev was a monk, that is, a monk. And the name Andrei, apparently, is not a generic or baptismal one, but a monastic one. Most likely, he took monastic vows at the Trinity Monastery, under Nikon of Radonezh, a disciple and successor of St. Sergius of Radonezh. There are records of this in manuscripts of the 18th century. Perhaps he found Sergius himself, who died in 1392. Many of the master's works will also be associated with the Trinity Monastery. Last years Andrei lived in the Spaso-Andronikov Monastery, also founded by a disciple of Sergius, St. Andronicus. In this monastery he ended his earthly journey.
The standard of church art
Andrey Rublev was involved in the circle of St. Sergius of Radonezh, the great teacher of monasticism, who played a huge role in the spiritual awakening of Rus'. Sergius or his disciples were able to convey to Andrei the experience of deep prayer and silence, that contemplative practice that is commonly called hesychasm, and in Rus' was called "smart doing." Hence the prayerful depth of Rublev's icons, their deep theological meaning, their special heavenly beauty and harmony.The second time the name of Rublev is mentioned in the Chronicle under 1408 in connection with the painting of the Assumption Cathedral in Vladimir. He carried out this work together with the icon painter Daniil Cherny, who is called his "friend and companion." Daniil was also a monk, possibly a Greek or a Serb, as evidenced by the nickname - Black. The chronicler calls him the first, which means that Daniel was the eldest: by age or by rank. The whole future fate of Andrei Rublev, up to his death, will be connected with this person.
The Assumption Cathedral in Vladimir was considered the cathedral of the Russian Church, and its painting was a responsible matter. The cathedral was built in the 12th century under Andrei Bogolyubsky, but its murals were destroyed in 1238 during the Tatar-Mongol invasion. By order of the Grand Duke Vasily Dmitrievich, the temple is painted anew. An iconostasis was also erected and a copy of the ancient miracle-working Vladimir Icon of the Mother of God was created. Both masters - both Andrei and Daniel - act here not only as icon painters, but also as genuine theologians: the surviving composition "The Last Judgment" speaks of a deep mystical experience and a surprisingly bright understanding of eschatology, as the aspiration of the Church towards the coming Savior.
In the middle of the 1420s. Andrei Rublev and Daniil Cherny supervise work in the Trinity Cathedral of the Trinity-Sergius Monastery. The murals of the temple have not reached us, but the iconostasis has remained. For the same church, Rev. Andrei paints his famous icon "Trinity", in which the trinitarian dogma finds its highest pictorial embodiment. According to the Chronicle, the image of the Trinity was ordered by Nikon of Radonezh "in memory and praise of St. Sergius", whose relics are buried in the Trinity Church. This icon embodies the pure prayer of monk Andrei, which was taught by his spiritual teacher Sergius, who bequeathed "by looking at the Holy Trinity to overcome the hated strife of this world." In the form of three angels, the Trinitarian God appears before us: the Father, the Son and the Holy Spirit, and in their silent conversation the mystery of the sacrifice of Christ, offered for the salvation of mankind, is revealed. Truly, Andrei Rublev was a God-seer: only a person who repeatedly contemplated this mystery of the Divine Triune Love could paint the image of the Trinity in such a way.
Universal Master
Book miniatures are also attributed to the master. For example, sheets and screensavers of the Khitrovo Gospel. Old Russian artists often illuminated books. Copying and decorating books was one of the most common monastic obediences. In general, the book culture of the ancient Russian monasteries was extremely high, the circle of reading of the monks was very diverse. Andrei Rublev was also a bookish man, who read a lot and was very educated in those days. In any case, it is clear that the miniatures of the "Gospel of Khitrovo" were made by a master who subtly feels beauty and deeply understands the meaning of what is depicted.Andrei Rublev was a universal master: he painted icons and frescoes, and was engaged in book miniatures. It is likely that, together with Metropolitan Cyprian and Theophan the Greek, he was involved in the development of a high Russian iconostasis, which, in line with Cyprian's liturgical reform, was a harmonious, deeply thought-out theological system that created the image of the Heavenly Church.
The last years of Andrei Rublev's life were associated with the Spaso-Andronikov Monastery. Unfortunately, the murals of the Spassky Cathedral, made by him, have not been preserved. But the life of the icon-painter in this monastery was a feat and service, prayer and creativity, because he always lived like that.
Rublev is a recognized icon painter, but, above all, he was a monk, his life was completely devoted to the service of the Church. His holiness was already evident to his contemporaries. Immediately after his death, in the 15th century, the local veneration of St. Andrew the iconic was established in the Trinity-Sergius and Spaso-Andronikov monasteries, of which he was a resident. Rev. Andrei Rublev was canonized by the Church as a saint only in 1988. The Church celebrates his memory on July 17 (4).
Text: Irina YAZYKOVA
Reverend Sergius is the God-given Governor of the Russian Land, whose Heart accepted the exorbitant Burden of a fiery feat. In all the most difficult moments of our history, it was “the power of the Reverend that relentlessly nourished and preserved the Russian Land he loved” (1).
“Like a saint, Sergius is equally great for everyone,” wrote the famous Russian writer B. Zaitsev. - His feat is universal. But for a Russian, there is just something that excites us: a deep consonance with the people, a great typicality - a combination in one of the scattered features of Russians. Hence the special love and the worship of him in Russia, the silent elevation to the people's saint, which is unlikely to have fallen to another ”(1). P.A. Florensky named Reverend Sergius as the Founder, Builder and Guardian Angel of Russia.
History has left us little evidence of His great feat, the beginning of which was laid in the dense northern region. The Life of Sergius, written by his contemporary Epiphanius the Wise, disappeared without a trace after the manuscript was handed over to the church, and later revised lists of the Life appeared.
How many people over the past six centuries have tried to touch the Great Image in order to ignite their small spark from His Great Fire! Different people at different times folded a beautiful mosaic canvas of the Great Image from their “pebbles”, adding something of their own to the portrait. And probably, many were occupied with the thought - is there a true image of St. Sergius?
Already the earliest depictions of Him can be divided into two types. The first can be attributed to icons that depict the generalized appearance of the Saint, which was the Trinity Abbot in the minds of many people, such as the image of Sergius engraved on the silver frame of the Gospel - it was made six months after His death by an artist who, most likely, did not saw the Saint in person. Perhaps a drawing was used here that does not bear much resemblance to the original. Subsequently, a large number of similar ecclesiastical and secular images of Sergius appeared, similar to the images of other saints and "interlocutors" of Sergius, such as Dmitry Prilutsky or Kirill Belozersky.
The face of the Reverend appears before us differently on the embroidered tomb cover, donated, according to legend, in 1424 to the Trinity-Sergius Monastery by the son of Dmitry Donskoy, the great Moscow prince Vasily. Probably, the veil began to be embroidered shortly after the discovery of the relics of Sergius on July 5, 1422. The basis of this image could be a personal vision of the Saint or, more likely, acquaintance with any lifetime images that could be made, for example, by Sergius' nephew Fyodor, who was not alien to artistic skill.
By the time of the discovery of the relics can be attributed ancient icon St. Sergius, written, perhaps, by one of his students and once located in Novgorod, in the cross bishop's church in honor of St. Sergius of Radonezh. On this icon, the same features of the Reverend are visible, as on the famous cover from his holy relics.
Here is how the remarkable Russian philosopher, Prince E.N. Trubetskoy, once described this cover: “In the sacristy of the Trinity-Sergius Lavra there is an image of St. Sergius embroidered with silk, which cannot be seen without deep emotion. This is the cover on the shrine of the Reverend, presented to the Lavra by Grand Duke Vasily, son of Dmitry Donskoy ... The first thing that strikes in this image is the breathtaking depth and strength grief: this is not a personal or individual grief, but sorrow for the whole Russian land, destitute, humiliated and tormented by the Tatars.
Peering attentively into this veil, you feel that there is something even deeper in it than sorrow - that prayer rise into which suffering is transformed; and you walk away from it with a sense of calm. It becomes clear to the heart that holy sadness reached heaven and there found a blessing for sinful, long-suffering Russia. (...)
It is felt that this fabric was embroidered with love by one of the Russian "myrrh-bearing women" of the 15th century, who, perhaps, knew St. Sergius and, in any case, experiencing direct impression of his feat that saved Russia.
It is difficult to find another monument of our antiquity, where the spiritual power that created Russian icon painting would be so clearly revealed” (4).
Speaking about the amazing beauty and power of this creation, Pavel Florensky claims that this is a peculiar, almost unappreciated fine art, "the achievements of which are inaccessible even to the best painting."
Now let's turn to the research of a modern author. G.Yu.Yasko in his article "The Phenomenon of Russia" writes about the striking similarity of the Rublevsky "Spas" (from Zvenigorod) with the image of St. Sergius on the embroidered cover.
Rublev’s “Savior” is one of three icons of the Deesis tier found in 1918 in Zvenigorod “on the town”, in a woodshed near the Assumption Cathedral, for which they were painted by the famous icon painter Rev. Andrei Rublev (1360–1430).
The history of those distant events is as follows: the alleged customer of the rank, Yuri Zvenigorodsky, was closely associated with the Trinity-Sergius Monastery, because Sergius of Radonezh himself was his godfather. Over his grave, Yuri built a stone Trinity Cathedral, the walls of which were painted by Rublev's artel. The "Tale of the Holy Icon Painters" says that "Reverend Father Andrei of Radonezh, an icon painter nicknamed Rublev" "previously lived in obedience to the Reverend Father Nikon of Radonezh." The order of Yuri Zvenigorodsky Rublev performed between 1408 and 1422.
Rublevsky "Spas" has features that remind us of St. Sergius, - says G.Yu.Yasko. “The artist had to meet in life this “forever riveting look” in order to transfer it to the image with such magical persuasiveness,” the author of the article writes. And then quite rightly asserts: "There is no doubt that Andrei Rublev saw the Reverend. The image of this Giant Dukhane could not be imprinted in ... the mind of a brilliant artist ”(5).
We see a similar image on Rublev's icon "The Savior in Strength", painted in 1425-1427 for the iconostasis of the Trinity Cathedral of the Trinity-Sergius Lavra. From the Rublevsky "Savior" subsequently came a number of similar icon-painting images.
Let us turn once again to the work of E.N. Trubetskoy “Three Essays on the Russian Icon”: “... In the visions of the Russian icon painter of the 15th century, they are clothed in art form the exceptionally rich treasures of religious experience revealed to the world by a whole generation of saints; the spiritual ancestor of this generation is none other than St. Sergius of Radonezh himself. The strength of his spiritual influence, which is undoubtedly felt in the works of Andrei Rublev, and not in them alone, gave rise to some researchers to talk about a special "school of icon painting" of St. Sergius. This, of course, is an optical illusion: there was no such “school” at all. And yet, there is no smoke without fire. Not being the founder of the “new school”, St. Sergius nevertheless had a huge indirect influence on icon painting, for he was the founder of the spiritual atmosphere in which they lived the best people late XIV- [beginning] XV century. That general turning point in Russian spiritual life, which is associated with his name, was at the same time a turning point in the history of our religious painting. Before St. Sergius, we see in it only individual glimpses of the great national genius; in general, it is an art predominantly Greek. Icon painting became completely original and national only in those days when St. Sergius appeared, the greatest representative of a whole generation of great Russian ascetics ”(4).
The pinnacle of the joint work of the Teacher and the student was the famous icon "Holy Life-Giving Trinity", painted by Rublev "in praise of Sergius." In 1918, its final clearing was carried out, which made it possible to see, in the words of Pavel Florensky, “this azure that is not equal to anything in the world - more heavenly than the earthly sky itself ... this inexpressible grace of mutual inclinations, this pre-eminent silence of speechlessness, this endless submission to each other”, (7) in a word, all that we call the “Trinity”.
“There is a “Trinity” of Rublev, therefore, there is a God,” says P.A. Florensky. It is impossible not to quote his other words: “Andrey Rublev embodied an equally incomprehensible, as well as crystal-solid and unshakably true vision of the world. But in order to see this world, in order to absorb this cool, life-giving breath of the spirit into your soul and into your brush, the artist had to have the Heavenly Archetype before him, and the earthly reflection around him, - to be in a spiritual environment, in a peaceful environment. Andrei Rublev ate, like an artist, what was given to him. And therefore, not the Reverend Andrei Rublev, the spiritual grandson of the Reverend Sergius, but the ancestor of the Russian land - Sergius of Radonezh - should be revered as the true creator of the greatest of the works not only of Russian, but, of course, of the world's brush. In the icon of the Trinity, Andrei Rublev was not an independent creator, but only a brilliant implementer of the creative concept and basic composition given by St. Sergius” (7).
We know about the possibility of such cooperation from the Teaching of Living Ethics. In support of the foregoing, we read in “The Facets of Agni Yoga”: St. Sergius “can also be called the patron of true art, for Andrei Rublev was His disciple and His close collaborator. Much more can be said about this Great Spirit, but the time has not yet come” (2).
“There are few historical records about the Great Spirits of the Past, but nevertheless their Appearances shine powerfully. How can this be explained, if not by spatial indestructible records, which are true magnets by virtue of their purity ”(3).
Literature
1. Banner of St. Sergius. Moscow: RIO Dennitsa, 1991.
2. Facets of Agni Yoga. T. 8. Novosibirsk, 1995.
3. Roerich E.I. Letters. T. 2. M.: MCR, 1999.
4. Trubetskoy E.N. Three essays on the Russian icon. Novosibirsk, 1991.
5. Yasko G.Yu. Russian phenomenon. New era. 2002, no. 2 (25). pp. 48 - 61.
6. Demina N.A. Andrei Rublev and artists of his circle. M., 1974.
7. Florensky P.A. Trinity-Sergius Lavra and Russia. At the watersheds of thought.
Novosibirsk, 1991.
8. Plugin V.A. Worldview of Andrey Rublev. M., 1974.
9. Borisov N.S. Sergius of Radonezh. ZhZL. M .: Young Guard, 2001.
10. Kosorukov A.A. Sergius of Radonezh, the builder of Russia's eternal path. Moscow: Belovodie, 2004.
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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 symbol of the reflection of universal existence, the highest truth, a symbol of spiritual unity, peace, harmony, mutual love and humility, readiness to sacrifice oneself for the common good. Sergius of Radonezh founded a monastery near Moscow with the main temple in the name of the Trinity, firmly believing that "looking at the Holy Trinity conquered the fear of the hated strife of this world."
The Monk Sergius of Radonezh, under the influence of whose ideas the worldview of Andrei Rublev was formed, was a holy ascetic and an outstanding personality in the history of mankind. He stood up for overcoming civil strife, actively participated in political life Moscow, contributed to its rise, reconciled the warring princes, contributed to the unification of Russian lands around Moscow. A special merit of Sergius of Radonezh was his participation in the preparation of the Battle of Kulikovo, when he helped Dmitry Donskoy with his advice and spiritual experience, strengthened his confidence in the correctness of the chosen path and, finally, blessed the Russian army before the Battle of Kulikovo. The personality of Sergius of Radonezh had special authority for his contemporaries, a generation of people from the era of the Battle of Kulikovo was brought up on his ideas, and Andrei Rublev, as the spiritual heir to these ideas, embodied them in his work.
In the twenties of the 15th century, an artel of craftsmen, headed by Andrei Rublev and Daniil Cherny, decorated the Trinity Cathedral in the monastery of St. Sergius, erected over his coffin, with icons and frescoes. The iconostasis included, as a highly venerated temple image, the icon of the Trinity, traditionally placed in the lower (local) row on the right side of the Royal Doors. There is evidence from one of the sources of the 17th century that the abbot of the monastery Nikon instructed Andrei Rublev "to write the image of the Holy Trinity in praise of his father, St. Sergius."
The plot of the "Trinity" is based on the biblical story about the appearance of a deity to the righteous Abraham in the form of three beautiful young angels. Abraham and his wife Sarah treated the strangers under the shade of the oak of Mamre, and Abraham was given to understand that the deity in three persons was embodied in the angels. Since ancient times, there have been several versions of the image of the Trinity, sometimes with details of the feast and episodes of the slaughter of the calf and the baking of bread (in the gallery's collection, these are icons of the Trinity of the XIV century from Rostov Veliky and the XV century from Pskov).
In the Rublev icon, attention is focused on three angels and their condition. They are depicted seated around the throne, in the center of which is placed the Eucharistic chalice with the head of a sacrificial calf, symbolizing the New Testament lamb, that is, Christ. The meaning of this image is sacrificial love. The left angel, meaning God the Father, blesses the cup with his right hand. The middle angel (Son), depicted in the gospel robes of Jesus Christ, lowered to the throne with his right hand with a symbolic signet, expresses obedience to the will of God the Father and readiness to sacrifice himself in the name of love for people. The gesture of the right angel (Holy Spirit) completes the symbolic conversation between the Father and the Son, affirming the lofty meaning of sacrificial love, and consoles the doomed to sacrifice. Thus, the image of the Old Testament Trinity (that is, with details of the plot from the Old Testament) turns into an image of the Eucharist (Good Sacrifice), symbolically reproducing the meaning of the Gospel Last Supper and the sacrament established on it (communion with bread and wine as the body and blood of Christ). The researchers emphasize the symbolic cosmological significance of the compositional circle, in which the image fits succinctly and naturally. In the circle they see a reflection of the idea of the Universe, the world, unity, embracing the multiplicity, the cosmos. When comprehending the content of the Trinity, it is important to understand its versatility. The symbolism and ambiguity of the images of the "Trinity" date back to ancient times. For most peoples, such concepts (and images) as a tree, a bowl, a meal, a house (temple), a mountain, a circle, had a symbolic meaning. The depth of Andrey Rublev's awareness of ancient symbolic images and their interpretations, the ability to combine their meaning with the content of Christian dogma suggest a high level of education, characteristic of the then enlightened society and, in particular, of the artist's likely environment.
The symbolism of the "Trinity" is correlated with its pictorial and stylistic properties. Among them, color is the most important. Since the contemplated deity was a picture of the heavenly mountain world, the artist, with the help of paints, sought to convey the sublime "heavenly" beauty that was revealed to the earthly gaze. The painting of Andrei Rublev, especially of the Zvenigorod rank, is distinguished by a special purity of color, the nobility of tonal transitions, the ability to give color a luminosity of radiance. Light is emitted not only by golden backgrounds, ornamental cuts and assists, but also by the gentle melting of bright faces, pure shades of ocher, peacefully clear blue, pink and green tones of angels' clothes. The symbolism of the color in the icon is especially noticeable in the leading sound of the blue-blue, called Rublev's cabbage rolls. Comprehending the beauty and depth of content, correlating the meaning of the "Trinity" with the ideas of Sergius of Radonezh about contemplation, moral improvement, peace, harmony, we seem to come into contact with the inner world of Andrei Rublev, his thoughts, embodied in this work.
