Andrei Rublev: icons and paintings. Seven famous icons of Andrey Rublev

Have you ever been to the great Tretyakov Gallery? No, go. And if there were, then probably your inspection began with the art of the ancient Russians - icon painting. And among them it is impossible not to notice the most famous icon - the "Trinity". This great masterpiece was performed by the monk Andrei Rublev. There are a number of other icons, but there are very few of them. You can't take his painting off the Moscow Kremlin church.

In general, very little is known about Andrei Rublev. It is not known when he was born, but the exact date of his death is known. It is not known how much he managed to create his works in his entire life and how many of them died without reaching us. Many icons art historians cannot specifically attribute to his handiwork. And here they can be understood, because he did most of his work together with someone else. And therefore, confusion may arise, and as a result, the wrong addressee of the work.

They only admit that he probably lived in the Trinity Monastery, where he became a monk. True, the first mention of it in 1405 is known. In this mention, it was written that at that time he was decorating the Annunciation Cathedral in the Moscow Kremlin with icons and frescoes, and not alone, but with Theophan the Greek and Prokhor from Gorodets.

His name on this mention is at the very end, since he was the youngest both in rank and in age. He also worked in Vladimir in 1408 together with Daniil Cherny. What they did in the Vladimir Assumption Cathedral is now kept in the Tretyakov Gallery, and the most valuable of the icons.

They also work with Daniil Cherny in the Church of the Holy Trinity in the Trinity Monastery. For three years they worked on frescoes and icons. Soon Cherny dies and then Andrei goes back to Moscow, to the Andronikov Monastery. There, presumably around 1428, he creates his legendary icon of the Savior, which was located in the Church of the Savior on the territory of the monastery.

I repeat, not much has been preserved, but what remains for us, the descendants, is quite enough to understand what Rublev's art was like. Almost all of his works are now kept in the Tretyakov Gallery. His most famous work, The Trinity, was located over the tomb of Sergius of Radonezh for a long time. Now they are trying to save it and try not to spoil it. Therefore, this work is kept under glass, and moreover, a special microclimate has been created inside the frame, which is better not to be disturbed, otherwise the consequences will be inevitable.

In his art, he combined two traditions - asceticism and the classical harmony of the Byzantine manner. His work seems somehow soft, somehow welcoming. This is clearly noticeable if we compare the work of the Byzantine masters and what Rublev did. The plots are, as it were, the same, but the craftsmanship is different and completely different. Goodness, it is goodness in faces that always attracts us in his works.

The monk died in the same Andronikov monastery on January 29, 1430. The master died, and his works continued to live for him. Many of his icons were either completely or partially restored only in the 20th century. "Saved" him and completely accidentally discovered restaurateurs in Vladimir. At the time, this find made a lot of noise. In the early 70s of the 20th century, another Andrey by the name of Tarkovsky directed the film "Andrey Rublev" or "Passion for Andrei". Tarkovsky made a unique film that tells us about Rublev and the time in which he lives and shows what is the difference between the world of art and the world of reality. The film turned out to be so strong in its content that the Soviet bureaucrats banned it almost immediately and put it on the shelf for many years.

A lot has been written and said about Andrei Rublev. Moreover, he was canonized in 1988 and began to celebrate his day.

Alexey Vasin

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

This is a general view of the cathedral in summer:

The cathedral is a complex of multi-temporal buildings. Initially, it was built in 1158–1161 under Prince Andrei Bogolyubsky on the high bank of the Klyazma in the city center and was conceived not only as the main temple of the Vladimir-Suzdal principality, but also as the main temple of all Russia. The chronicler reports that “God brought craftsmen from all lands to Vladimir,” including foreign masters of white stone technology from the Romanesque West. This was a demonstration of the rejection of Kiev aid and artistic traditions. White stone for the construction of the cathedral was brought from the Volga Bulgaria. In 1161, the walls were painted by skillful Greek painters. On September 21, 1164, the greatest shrine of Russia, the Miraculous Icon of the Mother of God, was transferred to the cathedral, for which it, in fact, was built. Since then, the image began to be called the Vladimir Icon of the Mother of God (Andrei Bogolyubsky loved to pray in front of her. Now this Byzantine icon is in the church at the Tretyakov Gallery). After a fire in 1185 under Prince Vsevolod III, the cathedral was reconstructed. As a result of reconstruction by the 13th century, the cathedral became vast, five-domed, with a gilded central and silver-plated side domes, and its top received two tiers of zakomar. Inside its walls, vaults and pylons are covered with frescoes.
The Assumption Cathedral has preserved fragments of frescoes by unknown masters of the middle of the 12th century and the creation of the brilliant master of ancient Russian painting Andrei Rublev, who worked on the painting of the cathedral in 1408. He also painted icons for the iconostasis. In the 18th century Rublev's iconostasis was replaced by a luxurious baroque iconostasis.
Main altar:

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

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

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

Apostles and Angels:

Christ in Glory:

Apocalyptic beasts, not at all scary, rather funny:

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

Andrei Rublev (+ c. 1430), icon painter, student of Theophan the Greek, reverend.
At first he was a novice at the Monk Nikon of Radonezh, and then a monk at the Spaso-Andronikov Monastery in Moscow, where he died and was buried.
Locally revered as a saint since the 16th century, Andrei Rublev has now become one of the all-Russian saints: he was canonized by the Russian Orthodox Church in 1988.
Monument to Andrei Rublev near the cathedral (from a postcard):

And finally, a view of the cathedral at night:

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

Monasticism

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

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

First masterpieces

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

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

"The Holy Trinity"

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

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

List of works

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

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

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

Paintings by Andrei Rublev in the Russian Museum

The following icons are located in St. Petersburg:

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

In the ancient life of St. 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 Theophan 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 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 commemorates him on July 4 (July 17 NS).

The work of Andrei Rublev

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”, all from the turn of the 14th-15th centuries), where laconic smooth contours, a wide manner of painting are close to the techniques 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 is The 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 its 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 - beginning of the XV centuries), icons - “Vladimir Mother of God” (c. 1409, Assumption Cathedral, Vladimir ), “The Savior in Strength” (1408), part of the icons of the festive rite (“Annunciation”, “Nativity of Christ”, “Meeting”, “Baptism”, “Resurrection of Lazarus”, “Transfiguration”, “Entrance to Jerusalem” - everything is OK 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 within 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."

At the turn of the XIV - XV centuries, the greatest of the masters of ancient Russia, Andrei Rublev, who, in essence, became the founder of an independent Moscow art school, worked in Moscow.

The creative activity of this greatest Russian icon painter contributed a lot to the revival of Russia, crushed by the Mongol invasion. The self-consciousness of medieval people was largely determined by the church, any historical movement was full of religious meaning for them. In this dark time for Russia, the time of the Asian element, Christianity is opposed to gloomy reality, as the spiritual rise of captured Russia.

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

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

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

The Annunciation is an image of the spring March (according to the old style) holiday. March, according to the old Russian calendar, is the first month of the year. It was also considered the first month of creation. It was argued that the earth and waters, the firmament, plants and animals, and the first man on earth began their existence in March. And then, in March, the Annunciation to the Virgin Mary took place about the birth of the savior of the world from her. From childhood Andrei heard this story many times, from childhood he remembered familiar sensations - the smell of melting snow, gray. a warm morning and amid the mournful days of fasting, joyful singing, blue smoke from incense, hundreds of burning candles and slowly, in a sing-song voice proclaimed by a deacon in the middle of the church.
He painted this gospel scene now on a golden background, as they wrote it from ancient times. The Roman catacombs, which now houses the oldest surviving image of a herald kneeling before the Virgin Mary, are dated by archaeologists to the second century AD.
On the icon, the Archangel Gabriel is in motion, with raised wings, with moving folds of clothes, with a blessing hand extended towards Mary. He looks at her with long, deep eyes. Maria, as if she does not see Gabriel, she lowered her head, reflects. In her hands is a scarlet thread of yarn, an unusual message catches her at work. Light forms of chambers, semicircular vaults on slender columns. The scarlet cloth falling from the chambers pierces a ray of light with a soaring dove in a round sphere - an image of the spirit, unearthly energy sent down to Mary. Free airspace. Subtle and pure sound of cherry-brown, red, from delicate and transparent, translucent with light yellowness, to thick, deep. Golden ochers, flashes of white, even light of gold, cinnabar.

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

The basis for the Trinity of Andrei Rublev was the biblical story about the hospitality provided by the forefather Abraham and his Sarah to God, who visited them in the form of three travelers. Having accepted the treat, God announced a miracle to the spouses: in spite of deep old age, they will have a son, and from him a great and strong people will come, and all the peoples of the world will be blessed in him.

Before Rublev, icon painters usually sought to convey this story with all the details. Three travelers (and these were God the father, God the son and God the Holy Spirit) in the form of beautiful formidable angels sit at the table under the canopy of the oak forest near which Abraham lived. The forefather brought food to them, and the wife Sarah listened in the tent to the conversation of the guests.

Rublev gave his solution to this plot. The country is groaning under the Mongol yoke, torn apart by internecine strife, and Andrei Rublev puts the idea of ​​unity at the heart of the plot, which Sergius of Radonezh dreamed about. Neither Abraham nor his wife Sarah is on the Rublev icon, because it's not the point of the story. In the center - three angels - a traveler. they do not look like formidable rulers, but sadly and tenderly lean towards each other, forming a single circular group around a round bowl. The love emanating from them inclines them to each other and binds them together.

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

Stousy rumor about the icon, like circles on water, dispersed throughout Russia. The Russian people keep the heartfelt memory of their famous artist, Andrei Rublev.

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

Michael, as a formidable governor of the heavenly forces, was always portrayed as a stern herald in the armor of a warrior. On this icon, a meek and self-absorbed fair-haired archangel, with a curly head gently bowed, he is not involved in evil. In this decision of the image, there is a mature thought that has long become close to Rublev: the fight against evil requires the greatest height, absolute immersion in good. Evil is terrible not only in itself, but also because, by causing the need to resist it, it gives rise to its germ in the very good. And then, in the shell of truth and under its banner, the same evil is reborn in a different form, and "the last is worse than the first." Here, solving for oneself the eternal question of good and evil as incommensurable, non-contiguous principles. Rublev, as it were, founds a tradition that has never been impoverished in the Russian culture of the future.
Something fresh, youthful, morning permeates the very image of the archangel, mood, color. The light expression of wide-open eyes, the tenderness of a softly rounded, pinkish glowing face. Elastic waves of curly hair, soft hands. Heavenly azure and pink, like the dawn, clothes, a warm glow of golden wings. An azure-colored headband that holds his wavy, soft hair back ends in billowing ribbons at the back of his head. They were called in the Old Russian language "toroks", or "rumors", and denoted the property of angels - constant hearing of the higher will, unity with it. The right hand of the archangel is stretched forward, and her brush is barely noticeably rounded, as if in this hand he holds something rounded and completely transparent, which is not an obstacle to the gaze. This "mirror" outlined by a light line is an image of constant contemplation of Christ.

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

The holiday "Lazarus Saturday" falls on the Saturday before Palm Sunday, always in the spring, in April or May. Everything in nature seems to be waiting. It seems that the winter has passed, and the snow has almost disappeared, and the first drops are ringing, but there are still frosts in the mornings. And only in the daytime, when the sun comes out, the thawed earth smells exciting. On the forest edges there is a modest Central Russian primrose, fluffy balls of blooming willow ...
Jesus with a few disciples wanders through the rocky deserts and villages of Palestine. He does many good deeds, heals the sick, the crippled. More and more clearly in his words there are confessions about his heavenly mission. But not such a "messiah" - the Jews were waiting for a savior for themselves. Many would agree to consider him both a teacher and a prophet, but he preaches patience and meekness, calls to give his own and not take someone else's. And quite strange, unbearable thoughts are sometimes heard by the crowd, which he attracts with his speeches. Not one nation on earth is chosen by God, there are others, and the honor of being chosen will soon be taken away from "cruel Israel."
The Jewish authorities and scribes are looking for a way to seize Christ and kill him. But there are also those who understand, are grateful, and thirst for learning. And yet the times come true, his death hour is near. But Jesus is still evading the hands of the persecutors and goes to Transjordan, to those places where not long ago his predecessor, the "forerunner" John, called the people to purification and repentance. During the absence of Jesus in Bethany - a village near Jerusalem - his friend Lazarus dies. When Jesus, returning back, passed through this village, the sisters of the deceased - Martha and Mary - report that their brother has not been alive for the fourth day ...
And Andrey Rublev paints the icon "Return of Lazarus". Human figures, chambers have already been outlined ... At the entrance to the burial cave, Jesus, his disciples, the crowd. On the right, in grief, he outlines a figure swaddled in legs and arms ...
“Throw away the stone,” Jesus says, and already in a loud voice cries out: “Lazarus, go!” And the dead man came out, entwined hand and foot with funeral sheets...
Draws out details with quick strokes. The last strokes... Here, the grateful Martha and Mary fall at the feet of Jesus. This swiftness is emphasized by Rublev and the bent figures of young men moving in the opposite direction, who carry a heavy slab that has been rolled away from the cave. Lazarus moves slowly and awkwardly, but is already outside the grave. The young man to the right of Lazarus, in a lively motion, turned towards the resurrected one, in his hand is the end of the ribbon with which the funeral sheets are wrapped.
All the action takes place against the background of golden, softly luminous slides, between which a building, almost the same in color, is visible in the distance, obviously the abandoned house of Lazarus. This warm glow conveys a mood of festive joy and peace to the whole image.
This is a celebration of the victory of light, life over the theme of death.

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

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

In August, the day of the Transfiguration is celebrated in Russia - since ancient times it has been celebrated nationwide and joyfully. In the early, already cold morning, people hurried to consecrate the first ripened apples. Hence the colloquial name for the holiday - "apple" saved. Baskets, clean canvas bundles with selected, best fruits. Light, like a flower scent. The blue sky, still summer, but it wafts with a pre-autumn chill. The green leaves are silver in the wind. The grass begins to wilt a little, turn yellow. Autumn is showing its first signs. It's time to reap the fruits of the year's labors on earth...

But this is no ordinary holiday. Tradition says that on the feast of the Apple Savior, the Savior with his three disciples, the closest, trusted ones, John, Peter and Jacob, once went from a noisy city to a distant secluded place, to Mount Tabor. And there the disciples were given to see a strange, mysterious ... The body of the teacher in front of their eyes suddenly shone with an unusual light. Many considered this phenomenon as a manifestation of the deity in Jesus Christ. (Although it was about this wonderful light, about its meaning, and most importantly, about its origin, nature, that they thought, argued, and later researchers did not come to a consensus).

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

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

The Feast of the Presentation was already known in the 4th century. In Rome, in the church of Mary the Great, the oldest extant image, dating back to the 5th century, has survived to this day. Meeting in meaning is closely connected with Christmas. It was celebrated on the fortieth day after the Christmas celebrations. In Russia, in the first days of February (now it is February 15), according to an old folk sign, after windy blizzard days, frost intensified. It was a deep winter. But preparations for spring field and other work began. The days are still short. Quiet, contemplative time. The holiday itself is strict, in its hymns the mood of repentance grows. You look at the icon of Rublev, and the first impression is that a rite full of triumph and significance is depicted. Mary and Joseph bring the forty-day-old Jesus to the temple. Here, at the temple, the prophetess Anna lives. She predicts an unusual fate for a newborn. He meets them in the temple itself, hence the name of the event "candlemas" - meeting, the elder Simeon, to whom a promise has long been given that he will not taste death until he sees and receives in his arms the savior of the world born on earth. And now he recognizes, clearly feels that this moment has come ...

On the icon, stepping at regular intervals, a mother with a baby in her arms, Anna, is moving towards Simeon at the same distance from each other, followed by her betrothed Joseph. Rublev depicted their tall, slender figures in such a way that they are seen as connected, flowing one into another. Their measured movement, solemn, steady and irrevocable, as if pointing to its significance, is echoed by the easily curving wall, which depicts the entrance to the temple. And towards the baby in a deep, humble bow, the old servant of the Old Testament temple stretches out reverently covered with clothes. Now he accepts in his arms... His own death. His work on earth is over: "Now dismiss your servant, master, according to your word with the world ...". In place of the old, the old comes the new world, another covenant. And he, this new one, such is the universal and all-encompassing law of life, will have to take root in the world only through sacrifice. The young "boy" is waiting for shame, reproach, and cross torment. In Christianity, the "Descent into Hell" completed the redemptive mission of Jesus Christ and was the limit of Christ's humiliation and at the same time the beginning of his glory. According to Christian doctrine, Jesus, by his voluntary suffering and painful death on the cross, atoned for the original sin of the forefathers and bestowed the strength to fight its consequences to their descendants.
Standing on the crossed doors of the gates of hell, Christ took the hand of Adam, represented on the right kneeling in his stone tomb. Little Eve in red clothes straightened up behind Adam. The forefathers crowd behind them, behind them one can see the son of Simeon the God-Receiver, on whose behalf the event is told in the apocrypha.
On the left are Kings David and Solomon. A large figure of John the Baptist stands out above them, turning to the prophets following him.
The light blue glory of Christ is rounded against the backdrop of a black cave. A wide, sloping rock rises above, with two peaks extending into the upper corners of the icon. Rublev used golden and greenish ocher, blue, cabbage rolls and bright cinnabar for his painting. The icon creates a mood of joy and hope.

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

"Spas" Rublev struck contemporaries. The Russian person singled out the most important thing that he saw in the Savior - love, the willingness to suffer for one's neighbor, up to painful death. The same idea was clearly expressed in the inscription, which was once drawn by Rublev on the open pages of the book in the hands of Jesus. This inscription has been lost, since only the head and a small part of the clothes have survived from the icon. Supposedly the words were: "Come to me, all you who labor and are burdened, and I will give you rest."

The descent of the Holy Spirit on the apostles from ancient times was revered as a most important event: in it the Spirit of God descended into the world manifested itself, consecrating the beginning of the preaching of Christ's teaching, the beginning of the Church as a community of people united by one faith. The descent of the Holy Spirit on the apostles is commemorated 50 days after Pascha. On the second day of this feast, which is called the Spiritual Day, special veneration is given to the Holy Spirit, who apparently descended on the disciples of Christ.
Depicting the Descent of the Holy Spirit on the apostles began from ancient times. For this, even in Byzantine art, a very simple and expressive composition was developed.
In the center of the composition are closed doors - a sign of that closed chamber in which the apostles were consubstantial on the day of Pentecost - they sit here, as it were, on the sides of the half-oval turned towards the viewer. As a sign that the Holy Spirit descended on them, golden halos are around the apostles, golden light is poured around, giving the apostles strength. The sign of their high, world-facing teaching is the scrolls in the hands of the four apostles and the hands of the saints raised in blessing.