Characteristics of the trinity icon. Who is depicted on the icon "Trinity" by Andrei Rublev? Variants of the image of the New Testament Trinity

The dogma of the trinity of God is one of the main ones in Christianity, regardless of denomination, therefore the icon of the Trinity has its own symbolic meaning, interesting story. In this article we will talk about the history, meaning and meaning of the icon of the Holy Trinity, and how it can help Christians.


Fundamentals of Doctrine

According to Christian doctrine, there can be no exact image of God the Trinity. He is incomprehensible and too great, besides, no one has seen God (according to the biblical statement). Only Christ descended to earth in his own form, and it is impossible to depict the Trinity directly.

However, symbolic images are possible:

  • in angelic guise (three Old Testament guests of Abraham);
  • festive icon of the Epiphany;
  • the descent of the Spirit on the day of Pentecost;
  • Transfiguration.

All these images are considered icons of the Holy Trinity, because each case is marked by the appearance of different hypostases. As an exception, it is allowed to depict God the Father as an old man on the icons of the Last Judgment.


The famous icon of Rublev

Another name is "Hospitality of Abraham", since a specific Old Testament story is depicted. The 18th chapter of Genesis tells how the righteous received God Himself, under the guise of three travelers. They symbolize the different personalities of the Trinity.

The complex dogmatic doctrine of the Christian God was best revealed by Rublev the artist, his Icon of the Trinity differs from other options. He refuses Sarah, Abraham, minimally uses dishes for eating. The main characters do not eat food, they appear to be engaged in silent communication. These reflections are far from mundane, which becomes clear even to the uninitiated viewer.

The icon of the Trinity by Andrey Rublev is the most famous image painted by the hand of a Russian master. Although very few works of monk Andrei have been preserved, the authorship of this one is considered proven.


Appearance of Rublev's "Trinity"

The image is written on the board, the composition is vertical. There are three figures at the table, behind you can see the house where the Old Testament righteous man lived, the Mamre oak (it has survived to this day, is located in Palestine), a mountain.

The question will be fair - who is depicted on the icon of the Holy Trinity? Per appearance angels hide the personalities of God:

  • Father (the figure in the center, blessing the bowl);
  • Son (right angel, in a green cloak. He bowed his head, which agrees to his role in the plan of salvation, travelers talk about him);
  • God the Holy Spirit (to the left of the viewer, raises his hand to bless the Son for the feat of self-sacrifice).

All the figures, although they express something with postures and gestures, are in deep thought, there is no action. The eyes are fixed on eternity. The icon also has a second name - "Eternal Council". This is the communion of the Holy Trinity about the plan for the salvation of the human race.

Composition is important for describing the icon of the Trinity. Its main is the circle, which clearly expresses the unity, equality of the three hypostases. The bowl is the center of the icon, it is on it that the viewer’s gaze stops. This is nothing else but a type of Christ's sacrifice on the cross. The bowl also reminds of the sacrament of the Eucharist, the main thing in Orthodoxy.

The colors of the clothes (azure) are reminiscent of the divine essence of the characters in the story. Each angel also holds a symbol of power - a scepter. The tree here is intended to remind of the tree of paradise, because of which the first people sinned. The house is a symbol of the presence of the Spirit in the Church. The mountain anticipates the image of Golgotha, a symbol of the atonement for the sins of all mankind.

The history of the image of the Holy Trinity

The details of the life of the great master are little known. In the annals, he is almost never mentioned, he did not sign his works (a common practice for that time). Also, the history of writing a masterpiece still has many white spots. It is believed that St. Andrew carried obedience in the Trinity-Sergius Lavra, for which his most famous icon was painted. There are different opinions about the time of creation of the Trinity icon. Part dates it to 1412, other scholars give 1422.

The realities of life in the 15th century. were far from peaceful, the Moscow principality was on the verge of a bloody war. The theological content of the icon, the unity of the hypostases of the depicted Persons is a prototype of universal love. It was to harmony, fraternal unity that the icon painter of his contemporaries called. The Old Testament Trinity for Sergius of Radonezh was a symbol of unity, which is why he named the monastery in her honor.

The abbot of the Lavra really wanted to complete the decoration of the Trinity Cathedral, for which he gathered the best. Frescoes were planned on the walls - traditionally for that period. Also, the iconostasis needed to be filled. "Trinity" - temple icon(the most important), which is located in the bottom row near royal doors(through them the clergy go out during the service).

Return of color

In the history of the icon "Trinity" an important stage was the new discovery of a long-familiar material. Several decades ago, restorers learned how to clean old images from drying oil. V. Guryanov under a small fragment of the "Trinity" discovered a surprisingly lively shade of blue (the color of the robes). A wave of visitors followed.

But the monastery was not happy about this, the icon was hidden under a massive salary. Work has stopped. Apparently, they feared that there would be those who wanted to spoil the shrine (this happened with other well-known images).

It was possible to complete the work after the revolution, when the Lavra itself was closed. The restorers were struck by the bright colors that were hidden under a dark coating: cherry, gold, azure. One of the angels is wearing a green cape, in some places you can see pale pink. These are heavenly colors that indicate one of the meanings of the Trinity icon. She, as it were, calls the praying person back to where unity with God is possible, this is a real window to another world.

The meaning and meaning of the icon of the Holy Trinity

Icon Life-Giving Trinity has several semantic layers. Approaching it, a person becomes, as it were, a participant in the action. After all, there are four places at the table, and only three are sitting at it. Yes, this is the seat that Abraham should sit at. But everyone is invited for it. Any person, as a child of God, should strive into the arms of the heavenly Father, into the lost paradise.

The icon of the Holy Trinity is not only in a certain way but also a great work of world art. This is an excellent example of reverse perspective: the lines of the table (or rather, the throne) inside the composition go to infinity. If they are extended in the opposite direction, they will point to the place where the observer stands, as if inscribing him into the composition.

The search for God, on which many spend their whole lives, for Andrei Rublev seems to have a logical conclusion in this work. We can say that the icon of the Holy Trinity has become a catechism written in colors, expounded by the great ascetic of the faith. Fullness of knowledge, peace and confidence in God's love fill everyone who looks at the image with an open heart.

Rublev - a mysterious person

The authorship of the great image, the only one of its kind, was established a century later. Contemporaries, however, quickly forgot who painted the Trinity icon, they were not particularly worried about the task of collecting information about the great master and preserving his work. For five hundred years, he was not mentioned in the holy calendar. The saint was officially canonized only at the end of the 20th century.

The people's memory almost immediately made the icon painter a saint. It is known that he was a student of St. Sergius of Radonezh himself. Probably, he perfectly learned the spiritual lessons of the great old man. And although Reverend Sergius did not leave theological writings, his position is unequivocally read in the icon created by his student. BUT folk memory preserved his monastic deeds.

Back in the 17th century. Rublev was mentioned in the legend of the great icon painters. They depicted him even on icons, among other ascetics from the Lavra.

Non-canonical images

Many believers have seen an icon called the New Testament Trinity. It depicts a gray-haired old man, Christ and a soaring dove. However, such plots in Orthodoxy are strictly prohibited. They violate the canonical prohibition, according to which God the Father cannot be portrayed.

In accordance with the Holy Scriptures, only symbolic images of the Lord are allowed, for example, under the guise of an angel or Christ. Everything else is heresy and should be removed from the homes of pious Christians.

The dogma about the Trinity, which is very difficult to understand, looks very accessible in such non-canonical icons. Explainable desire ordinary people make something complex simple and clear. Nevertheless, you can acquire these images only at your own risk - the conciliar decree forbids them, even consecrating them is prohibited.

An old image in a new incarnation

In the 17th century icon painter Simon Ushakov enjoyed well-deserved fame in Moscow. Many images came out from under his pen, including the icon "Trinity". Ushakov took Rublev's painting as a basis. The composition and elements are the same, but executed in a completely different manner. The influence of the Italian school is noticeable, the details are more real.

For example, a tree has a spreading crown, its trunk has darkened over time. Angel wings are also made realistically, reminiscent of real ones. Their faces do not have reflections of inner experiences, they are calm, their features are drawn in detail, in volume.

The meaning of the icon "Trinity" in this case does not change - a person is also invited to become a participant in his own salvation, for which God, for his part, has already prepared everything. It's just that the writing style isn't as upscale anymore. Ushakov managed to combine ancient canons with new European trends in painting. These artistic techniques make the Trinity more earthly and accessible.

What helps the icon of the Holy Trinity

Since the "Trinity" is a kind of catechism (only these are not words, but an image), it will be useful for every believer to have it at home. There is an image in every Orthodox church.

The icon "Trinity" helps to better understand the relationship between God and man, in front of it you can immediately turn to all the divine Persons, or to one of Them. It is good to pronounce prayers of repentance, read the Psalms, ask for help in weakening faith, also for instructing those who have fallen into error, have gone the wrong way.

Holy Trinity Day is a transitional holiday, celebrated after Easter (after 50 days). In Russia, on this day, churches are decorated with green branches, the floor is covered with grass, the priests put on green vestments. The first Christians at that time began to harvest, brought them for consecration.

When choosing an icon of the Holy Trinity, care should be taken, because non-canonical images are sometimes found even in church shops. It is better to take the image as it was written by Rublev, or his followers. You can pray about everything, because the Lord is merciful and will help in any business if a person’s heart is pure.

Prayers to the icon of the Holy Trinity

Prayer 1st

Glory to the Father, and to the Son, and to the Holy Spirit, now and forever, and forever and ever. Amen.
Holy Trinity, have mercy on us; Lord, cleanse our sins; Lord, forgive our iniquities; Holy One, visit and heal our infirmities, for Your name's sake.

Prayer 2

The Most Holy Trinity, consubstantial Power, all the good Wine that we will reward You for everything, even if You rewarded us sinners and unworthy before, Than we were born into the world, for everything, even if You reward us for all days, and if You have prepared for all of us in the future !
It’s better, for a lot of good deeds and generosity, thank You not just words, but more than deeds, keeping and fulfilling Your commandments: we, by our passions and evil habits, are innumerable from youth, cast down sins and iniquities. For this sake, as if unclean and defiled, not just before Your Trisagion face appear shamelessly, but below the name of Your Most Holy One, speak to us, otherwise You Yourself would deign, to our joy, to announce, as pure and righteous loving, and penitent sinners, merciful and kindly accept. Look down, O Most Divine Trinity, from the height of Thy Holy Glory on us sinners, and accept our good will, instead of good deeds; and give us the spirit of true repentance, and having hated every sin, in purity and truth, we will live until the end of our days, doing Thy most holy will and glorifying Thy sweetest and most magnificent name with pure thoughts and good deeds. Amen.

The Holy Trinity

The revelation of the trinitarian dogma is the main theological idea of ​​the feast of Pentecost. To express it in the image Orthodox Church the icon of the Holy Trinity was adopted, conveying the biblical scene of the appearance of three wanderers to the forefather Abraham at the oak of Mamre. As an indication of their belonging to the mountain world, they are depicted as three winged angels. This image, based on a specific historical event, conveys the first appearance of God to man, which marks the beginning of the promise of redemption. Both iconography and worship connect the beginning of this promise with its completion on the day of Pentecost, when the final revelation of the Holy Trinity is given. In other words, the icon of the Trinity, as it were, unites the beginning of the Old Testament Church with the establishment of the New Testament Church.

In the fifth book of the Gospel Proof by Eusebius of Caesarea, quoted by St. John of Damascus in the third word in defense of the holy icons, regarding the words “God appeared to Abraham at the oak of Mamvriysk”, there is a message that the image of the Holy Trinity in the form of three angels existed from ancient times at the site of the appearance of three wanderers to Abraham. This image arose in connection with the special veneration by both Jews and pagans of the place of appearance at the oak of Mamre, where pagan sacrifices were also performed.

Holy Trinity. Andrei Rublev. 1408–1412 or around 1425 Tretyakov Gallery

What character this image had, we do not know. In any case, since antiquity the Holy Trinity has been depicted as a historical biblical scene with angels sitting at a meal under an oak tree, Abraham and Sarah serving them, and Abraham's mansions in the background. In the foreground is often placed a servant killing a calf. The arrangement of the angels, with the apparent uniformity of the scene being presented, varied depending on the interpretations that were applied to this biblical event, and the dogmatic thought that needed to be emphasized. So, for example, some holy fathers understood the visit of Abraham by three wanderers as a manifestation, albeit indirect, of the entire Holy Trinity, while others understood it as the manifestation of the Second Person of the Holy Trinity, accompanied by two angels.

Hospitality Abraham. Painting of the catacomb on Via Latina. Rome. 4th century

The appearance of angels to Abraham. Hospitality Abraham. Mosaic of the Basilica of Santa Maria Maggiore. Rome. 430–440 AD

Such an interpretation does not change the understanding of this event as a manifestation of the Trinity, because since each of the Persons of the Holy Trinity possesses the fullness of the deity, the presence of the Son with two angels can be understood as an image of the Trinity. In this sense, this phenomenon is interpreted by liturgical texts, which definitely speak of it as a manifestation of the Holy Trinity: “Anciently accepts the Deity of the One Trihypostatic sacred Abraham…”. In connection with the teachings of the Church and the interpretation of the fathers, the depicted angels are sometimes arranged according to the principle of isocephaly, that is, sitting next to the table as equal in dignity to each other, which emphasizes the equality of the Hypostases of the Holy Trinity when they are not mixed (for example, in the mosaic of the Church of Santa Maria Majora in Rome, 5th century, or in the Cotton Bible of the same time in the British Museum in London). In addition, this equality is sometimes emphasized by the uniform color of the clothes of angels (for example, in the mosaic of the Church of San Vitale in Ravenna, 6th century) and their attributes. In other cases, the composition is built pyramidally, with the middle angel highlighted as the main one among the others.

The image of three biblical wanderers in the form of angels for many centuries was the only iconography of the Holy Trinity, and in the Orthodox Church it still exists as the only iconography that corresponds to its teaching.

The image of the Trinity found the most complete correspondence to the teachings of the Church in the greatest work, both in its content and in artistic expression, known as the Trinity by Rublev, written by St. Andrew for the Trinity-Sergius Monastery, believed to be between 1408 and 1425 and currently located in the Tretyakov Gallery in Moscow. As on other, earlier icons of the Trinity, three angels are depicted here, but the circumstances of their appearance are passed over in silence. The mansions of Abraham, the oak and the mountain are represented, but Abraham and Sarah themselves are absent. Without abolishing the historical aspect of the event, St. Andrei reduced it to a minimum, thanks to which it was not the biblical event as such that acquired the main significance, but its dogmatic meaning. Distinguishes this icon from others and the main form of its composition is a circle. Passing along the upper part of the nimbus of the middle angel and cutting off partially at the bottom of the foot, this circle includes all three figures, barely noticeable in their outlines. Such a composition of the Trinity is found before, but only on panagias, small round icons, and on the bottoms of sacred vessels. However, there this composition is determined by the very form of the object and the lack of free space, and not by dogmatic thought. Having placed the figures of angels in a circle, St. Andrey combined them in one common, smooth and sliding movement along the line of the circle. Due to this, the central angel, although superior to others, does not suppress them and does not dominate them. The nimbus of his bowed head, deviating from the vertical axis of the circle, and the feet, shifted to the other side, further enhance this movement, in which both the oak and the mountain are involved. However, at the same time, this halo tilted to one side and the feet shifted to the other side restore the balance of the composition, and the movement is delayed by the monumental immobility of the left angel and the mansions of Abraham above him. And yet, “wherever we turn our gaze, everywhere we find echoes of the main circular melody, linear correspondences, forms that arise from other forms or serve as their mirror reflection, lines that lead beyond the edges of the circle or intertwine in its middle - an inexpressible words, but a symphonic richness of forms, volumes, lines and color spots that captivates the eye.

Fatherland with selected saints. Novgorod. Early 15th century GTG

Sothrone (New Testament Trinity). Moscow. Early 18th century GIM

In the icon at Andrey - and action, expressed in gestures, and communication, expressed in the inclinations of heads and turns of figures, and motionless, silent peace. This inner life, which unites the three figures enclosed in a circle and communicates with what surrounds them, reveals all the inexhaustible depth of this image. He seems to be repeating the words of St. Dionysius the Areopagite, according to whose interpretation “the circular movement means the identity and simultaneous possession of the middle and the final, that which contains and that which is contained, as well as the return to Him (God. – Ed.) what comes from Him." If the tilt of the heads and figures of the two angels, directed towards the third, unites them with each other, then their hand gestures are directed towards the Eucharistic Chalice with the head of a sacrificial animal standing on a white table, as if on a throne. Representing the voluntary sacrifice of the Son of God, she draws together the movements of the hands of angels, indicating the unity of the will and actions of the Holy Trinity, who made a covenant with Abraham.

Almost the same faces and figures of angels, emphasizing the unity of the nature of the three Divine Hypostases, at the same time indicate that this icon in no way claims to depict specifically each Person of the Holy Trinity. Like other icons, earlier, this is not an image of the Trinity itself, i.e., the three Persons of the Divine, since the Divine in its essence is not depictable. This is the same historical scene (albeit with a historical aspect reduced to a minimum), which, in the manifestation of the Trinitarian action in the world, Divine economy, symbolically reveals the unity and trinity of the Deity. Therefore, with the uniformity of angels, they are not impersonal, and each of them has definitely expressed its properties in relation to its action in the world.

The angels are placed on the icon in the order of the Creed, from left to right: I believe in God the Father, the Son and the Holy Spirit. The complete indescribability of the first Hypostasis, to which only stingy and restrained expressions are devoted in the Creed, corresponds to the uncertainty and restraint of the colors of the outer clothing of the left angel (a pale pink cloak with brown and blue-greenish reflections). The exposition of the second Hypostasis, which is extensive in comparison with others and accurate up to historical indication (“under Pontius Pilate”), corresponds to the clarity and clarity of the colors of the middle angel, whose clothes have the usual colors of the incarnated Son of God (purple tunic and blue cloak). Finally, the main color of the third angel is green, the color of his cloak, which, according to St. Dionysius the Areopagite, means "young, in full strength", definitely indicates the properties of the third Person of the Holy Trinity that renews everything and revives to new life. The subtly felt harmony of the colorful relationships of the icon of the Trinity of St. Andrew is one of her main charms. Particularly striking is the extraordinary strength and purity of cornflower blue Blue colour cloak of the middle angel in combination with golden wings, the color of ripe rye. The clear and distinct color characteristic of the middle angel is contrasted with the soft colors of the other two angels; but bright spots of blue burst into them too, shining like precious stones. Combining all three figures in terms of color, he, in turn, points to the unity of the nature of the Persons of the Holy Trinity and gives the whole icon a calm and clear joy. Thus, in the colorful combinations of this icon, the same life that permeates its images, forms and lines resounds. “Here there is a selection of the center, and color contrasts, and the balance of parts, and complementary colors, and gradual transitions that take the eye away from the saturated color to the shimmer of gold (background. - L. U.), and above all this is the radiance of a calm, like a cloudless sky, pure stuffed cabbage. This icon, with its inexhaustible content, harmoniously balanced composition, majestically calm figures of angels, light, summer-like joyful colors, could only be created by a person who calmed anxieties and doubts in his soul and enlightened by the light of divinity.

Holy Trinity. Russia. 15th century timing

Icon of St. Andrew remains to this day a classic example of the iconography of the Holy Trinity. Both its main tones and individual details of the composition and drawing are preserved. Another remarkable image of the Holy Trinity reproduced here (see p. 305) is an obvious copy from the Rublev icon. This icon is in the Russian Museum in Leningrad (St. Petersburg. - Ed.) and is considered to have been written no later than the end of the 15th century. Here are the same poses and figures of angels, but they are no longer arranged in a circle, but almost in a straight line with a barely noticeable highlight of the middle one. Almost shoulderless figures are even more feminine than on the original. The composition is more static, and the figures of angels are connected to each other more in tone than in movement. The main colors of the clothes preserved here are muted and highly generalized. The general tone of this icon is not fresh and clear, like Rublev's, but restrained and warm. Thanks to the enhanced value of the background, the whole scene becomes, as it were, closer to the earth, and the opened prp. Andrey, in its incomprehensible grandeur, the image here acquires more accessibility, intimacy and warmth.

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Theological meaning of the relic - what does "Holy Trinity" mean?

The dogma that the Lord is one in three persons is the essence Orthodox teaching, but it is rather difficult to comprehend this position. Often Christians limit themselves to recognizing such mysteries as incomprehensible, but this does not help to cope with the inquisitiveness of the mind. And although faith is not expected to have logical difficulties - it rather helps to understand what a person is doing in this world, why he came here and what is the purpose of all his actions - those who sincerely seek God try to answer such questions.

Anyone who has at least once tried to understand the surrounding universe, people and himself knows how many mysteries and secrets the Universe keeps. This understatement is a bridge connecting the Creator and the world created by Him. And the closer, more carefully and attentively a Christian will look at such things, the more harmony, wisdom and beauty he will notice. Such regularities are too perfect to arise due to a simple coincidence of circumstances. Realizing this is the first step on the path to the Lord.

However, such insights are only the beginning of knowledge. Reading theological literature, listening to sermons, and, of course, contemplation of holy relics will allow you to move further. Through them, the masters convey to a person a part of heavenly existence, the postulate of unity and love, teach them to show moral firmness, spiritual stamina and moral purity. For example, having learned who is depicted on the icon of the Holy Trinity, you can delve deeper into the mystery of the Creed, feel joy, harmony and grace.

The Church Fathers believe that the two main properties of the Holy Trinity are fullness and love. Therefore, the Lord grants every Christian free will, without needing any of his good deeds nor in observance of rites and rituals. However, the Creator can and wants to embrace the human race with His kindness and mercy - for this He sacrificed His Only Begotten Son. And, although people cannot offer anything to God, they are able to feel their involvement in Him, responding with the same love and devotion.

Saint Ignatius Brianchaninov argues that the dogma of the unity of the Creator is best understood through comparison with human soul. So, looking at this photo - captured on it, poured out of Polissya amber in accordance with all Orthodox canons- Can you imagine God the Father as mind, God the Son as thought and word, and God the Holy Spirit as the human spirit. If the mind, thoughts and spirit reside in people at the same time, then the three faces of the Lord can form one being without mixing with each other. But how he sang the Creator of St. Ioanniky: “My hope is the Father, my refuge is the Son, my protection is the Holy Spirit: Holy Trinity, glory to Thee!”.

Icon "Holy Trinity" - what does it protect from?

This image is unique in its iconography and symbolism. It allows you to appeal to the Primary Source of all things, to the powerful and perfect God, whose love and mercy protect the believer from any troubles, problems and troubles. The relic gives Christians special grace, giving them the strength to change spiritually, choose the righteous path, strengthen their faith, get rid of doubts, temptations and anxieties. In addition, she recalls that any person carries a piece of the Lord's mystery in himself - which means that he must be treated with love and respect. Understanding this is the main guarantee of the salvation of the soul, standing above any prayer exercises.

Both pleading and thanksgiving prayers are offered before this image. First, you should read an akathist dedicated to all three faces of the Creator, and then separate psalms and praises for God the Father, God the Son and God the Holy Spirit.

Where to hang the icon "Holy Trinity" in the house? It is best to place it in the eastern ("red") corner, opposite front door. Then the first glance of every household and guest will be turned to the divine faces, overshadowing Christians with their grace and patronage. Another important nuance is that this relic is located above other works, even if it is the image of Jesus Christ. So you pay tribute to the power, incomprehensibility and omnipotence of the Lord. And when commemorating the shrine (it is celebrated on the feast of Pentecost, on the 50th day after the Resurrection of the Son of God), it is decorated with green tree branches, flowers and fragrant herbs. This tradition symbolizes new hope descended upon people with the Holy Spirit.

What helps the icon of the Holy Trinity? It is often used as a confessional - it is believed that such prayers are addressed to the Lord himself and are no less effective than those offered in the temple. In addition, the relic is invoked in the most hopeless, dramatic and difficult situations - it miraculously contributes to their resolution, saving people from any dangers, disasters and illnesses. Therefore, the shrine, made with love and care from natural solar gems, will be an excellent gift for any Christian and a wonderful addition to your home iconostasis. And our

The Trinity image by Andrei Rublev is the most famous and mysterious image of God in the history of Orthodox iconography. Who, besides St. Andrew, was involved in the creation of the icon? What do the symbols behind the backs of the angels and the window in the throne mean? For whom is the fourth place left behind the throne, and how can one “communicate” with this icon? The head of the Department of Christian Culture at the Biblical Theological Institute of St. Apostle Andrew (BBI) and teacher of the Kolomna Theological Seminary, Irina Konstantinovna Yazykova.

- How did you first meet Rublev's Trinity? Maybe you have impressions, feelings from this meeting in your memory?

- I met Trinity when I was a student. I graduated from Moscow State University, where I studied art history. From the very beginning, I understood that I wanted to specialize in icon painting. My grandmother was a believer, therefore, since childhood, icons have generally attracted me, like a window into a mysterious world. I sensed a secret behind them. Of course, the university gave me the opportunity to understand this professionally, but the very phenomenon of the icon, as a window to the divine world, remained closed to me, despite the whole complex of my scientific knowledge.

The Trinity icon is one of the most mysterious. It is difficult for me to fix any specific moment of the “meeting”. However, when I began to deal specifically with the theology of the icon, and I was always interested not only in the artistic side, but also in the theological meaning hidden in the image, then the "Trinity" was, of course, in the center of my attention. I discovered in this image a whole theological well, I saw in it a prayer embodied in colors, a whole theological treatise on the Holy Trinity. No one, perhaps, spoke more deeply about the mystery of the Divine Trinity in the way that Andrey Rublev "said".

It is known that icon painting is a conciliar art. We love to repeat this beautiful phrase, but what does it mean? Rublev's "Trinity" best of all reveals its meaning. The chronicle says that in "the memory and praise of St. Sergius" - I almost literally quote the text - "... hegumen Nikon of Radonezh ordered Andrei Rublev to write the image of the Trinity." So three people directly participated in the creation of this icon.

The first to be mentioned is St. Sergius of Radonezh, who had already died by the time the icon was painted. But during his lifetime he created a special in its depth doctrine of the Holy Trinity, not different from the church, of course, but deeply understood. On it, on its mystical experience, the Trinity-Sergius Lavra was founded. The chronicle and the life of the monk conveyed to us the main testament of St. Sergius: "By looking at the Holy Trinity, overcome the hated strife of this world." We remember when this icon was created - during the years of the Tatar-Mongol yoke, "peace", as the chroniclers wrote then, when hatred reigned between people, the princes betrayed and killed each other. It was during these terrible days that St. Sergius placed the Holy Trinity at the forefront, as an image of love, which alone can defeat the enmity of this world.

The second person was Nikon of Radonezh. A disciple of St. Sergius, who became abbot of the Trinity Monastery after his death. He built the Trinity Cathedral, where he transferred the relics of St. Sergius. Nikon decided to perpetuate the name of his teacher not through his icon, but through the image of the Holy Trinity. What Sergius of Radonezh taught, what he turned to and in the image of which he founded his monastery, had to find its embodiment in the icon.

The third figure was the Monk Andrei Rublev himself, who, as an artist, fulfilled the testament of Sergius of Radonezh. His image of the "Trinity" is a teaching about love, about the depth of the unity of the spirit and harmony, written down in colors.

And when I began to understand how this icon was painted, what meanings it contained, a whole world opened up for me. We are not able to understand Christian dogmas with our minds, we cannot describe how the Holy Trinity works - this is a great mystery. But Andrei Rublev revealed this secret to me personally. This is a “conversation of Angels”, who listen to each other, sit at the same table around the bowl, which the Angel blesses in the middle ... Every gesture, turn of the head, every detail is verified, extremely deep. The icon "Trinity" makes it possible to stand before God himself, to see the invisible, even if it eludes our mind.

Any person who comes to this icon may not solve his everyday problems, but something will open to him that exceeds himself, instilling peace, harmony, love.

Therefore, I cannot point to any particular moment in my communication with Rublev's Trinity. This has been with me for almost my entire adult life. Being engaged in iconography, theology of the icon, I always discover something new in this icon.

– What is new in this depiction of the Holy Trinity that was not there before? What is the “breakthrough” of this icon and why was it destined to become canonical? After all, this image has become the property of not only the Russian theological tradition and culture, but also world art. What is this discovery?

- The novelty of the icon, first of all, is that Rublev focused all his attention precisely on the three Angels. Before him, they mainly depicted the “hospitality of Abraham” - the plot of the 18th chapter of the book of Genesis, when three Angels came to Abraham's house. “He lifted up his eyes and looked, and behold, three men stood opposite him. Seeing, he ran to meet them from the entrance to the tent and bowed down to the ground ... ”(Book of Genesis 18: 2). Based on the narrative of this chapter, it becomes clear that God himself appeared to Abraham. Although there is no unity either among the holy fathers or among icon painters in the interpretation of this plot. Someone claimed that the Holy Trinity appeared before Abraham then. And the icon painters depicted three Angels in the same clothes, indicating their unity and equality to each other. Other theologians spoke of the appearance of God accompanied by two angels. Then one of them was depicted in the clothes of Christ.

Andrei Rublev, eliminating the everyday details of the plot - Sarah and Abraham, the servant who slaughters the calf, that is, everything that the icon painters wrote before him - introduces us to a direct contemplation of the mystery of the Trinity itself. In general, this icon is interesting because it is multifaceted - it can be read in different ways several times: and as the appearance of Christ - because the middle Angel is depicted in the clothes of the Savior. It can also be read as an image of the Trinity - all three Angels are written with almost the same faces. But before us is not an illustration of God. This icon, as in a theological treatise, reveals what the holy fathers called the "Trinity in Unity" - one God in three Persons or Hypostases. The image also reflects the liturgical aspect. The silhouettes of two Angels sitting on the sides form a bowl. And on the throne in the middle stands a cup - a symbol of the Eucharist, the Sacrifice of Christ.

There is another interesting detail on the icon. If you look closely at the throne, you can see a window in it. You know, when you take a tour of the Tretyakov Gallery, its culmination is the Rublev Hall, the heart of which is Trinity. In general, this hall clearly demonstrates how iconography rises higher and higher in the spiritual sense, until it reaches its peak in the Rublev icon, and then, unfortunately, a gradual decline begins. So usually people, looking at this image, ask: “What is this window?” It is not accidental. I must warn you right away - an incredible amount of literature has been written about the Trinity, in which a wide variety of comments and interpretations are presented. So, one of the researchers writes the following about this window. In any throne that is in the altar of the temple, there are always the relics of saints. But they are not on the altar on the icon. There is the Sacrifice of Christ, which is symbolically depicted in the form of a cup that stands on the throne, but there is no human answer to the height of this sacrifice. What kind of answer is this? This is the feat of martyrs, saints, saints - all saints. Therefore, this window, as it were, conveys God's question: "And what will you answer to the sacrifice of Christ's love?" I really like this interpretation. I think Andrei Rublev could think like that.

Another symbolic layer is associated with the images that stand behind each of the Angels. A tree is depicted behind the middle Angel. This is the tree of life, which, as the saying goes Holy Bible, the Lord planted in Paradise. Behind the Angel to our left are the chambers, a symbol of divine economy, an image of the Church. Behind the Angel on the right - usually associated with the Holy Spirit - is a mountain. It symbolizes the ascent to the mountainous (spiritual) world. These symbols are directly tied to the Angels and are richer in meaning than in any other icons.

In general, icons always have these three symbols: inanimate nature (mountains), wildlife (trees) and architecture. But in the "Trinity" they are directly tied to each Angel. Andrei Rublev clearly wanted to reveal the relationship of the Angels in this way and the characteristics of each of them.

- Is there a single interpretation of which of the Angels symbolizes God the Father, which God the Son and the Holy Spirit?

- This is a question - extremely difficult for researchers - is often asked. They answer it differently. Someone says that Christ is depicted in the center, the Father is to the right of Him, and the Holy Spirit is to the left. There is an interpretation that the Father is in the center, but since we cannot see him directly, then, relying on the words of the Savior “he who has seen Me has seen the Father”, He is depicted in the clothes of Christ, and the Son sits to His right. There are a lot of interpretations.

But this, perhaps, is not the most important thing, oddly enough, in this icon. The Stoglavy Cathedral (1551) approved the icon of Andrei Rublev as canonical, emphasizing that this is not an image of Divine Persons, but an image of the Divine Trinity. Therefore, the Council forbade the inscription of Angels, thus cutting off any possibility of definitively indicating who is who. Also, for this image, it was forbidden to depict the so-called "crossed halo" - an iconographic technique that points to Christ.

It is interesting that Rublev's "Trinity" has another name - "Eternal Council". It opens the other side of the icon. What is "Eternal Council"? This is a mysterious communication within the Holy Trinity about the salvation of mankind - God the Father, with the voluntary consent of God the Son, sends Him into the world for the sake of saving people.

Do you see how many theological layers are hidden in the icon? This image is the most complex theological text. The icon itself is closer to a book than to a painting. It does not illustrate, but symbolically points to something hidden and secret.

However, the artistic aspect of this icon is incredibly high. The fact that the "Trinity" is ranked among the greatest masterpieces of world art is not accidental. At the beginning of the 20th century, the restorer Vasily Guryanov found a way to remove a layer of drying oil from darkened icons. In 1904, he cleared a small fragment of the image of clothes on the Trinity, and everyone saw the amazing, piercing blue color of Rublev. People gasped, and an army of pilgrims rushed to the icon. The monks were afraid ancient image can spoil, closed the icon with a salary and banned further work with her. The process started then was completed only in 1918, unfortunately, when the Lavra was already closed. Then a very good restoration team worked there under the leadership of Igor Emmanuilovich Grabar. When they opened the icon completely, they saw amazing, simply heavenly colors: piercing blue, gold and dark red, almost cherry. In some places there was still a pinkish tint, and greenery showed through on the clothes. These are the colors of Paradise. The icon, through its artistic perfection, reveals Eden to us. What is Ray? This is the existence of the Holy Trinity, God. Where is the Lord calling us? Not to spiritual comfort, but to where there will be the unity of man and God. Just look at the icon: three angels are sitting. They occupy three sides of the quadrangular throne, but the fourth side is free ... It seems to attract us. This is the place left for Abraham, who was then visited by the Holy Trinity, and the place left for each of us.

- And the one who approaches the icon seems to become the fourth?

- Yes. The icon, as it were, includes its contemplator. On this icon, by the way, it is easiest to demonstrate the famous iconographic principle of reverse perspective. If the lines of the foot of the throne are extended, then they descend where the person stands. And inside the icon itself, these lines diverge, revealing eternity before our eyes.

Now you understand why this icon stands alone among the greatest masterpieces of ancient Russian painting? Everything is concentrated in it: both theological depth, and artistic perfection, and the focus on a person - a dialogue with him. After all, icons are different: there are very closed ones, which are difficult to approach, and there are icons that, on the contrary, attract: Rublev painted the Zvenigorod Savior icon - it is impossible to tear oneself away from him. I would stand all my life and look at Him. But "Trinity" is the golden mean of harmony and perfection.

– Can professional researchers tell us something about the very process of painting this icon? Perhaps we know how Rublev prepared for it, how he fasted, what happened to him while he was writing it?

– Medieval documents hardly mention this. There is only a mention of the customer (Reverend Nikon of Radonezh) and that's it. Nothing more is said about this icon, but we can indirectly reconstruct something. For example, it is known that Rublev was a monk. So he led a life of prayer. Maybe he even took some kind of vow before starting to write the Trinity, but we can’t say anything for sure. Medieval chronicles and documents of that era are extremely stingy with such information. This began to interest people already in the New Age.

Rublev was from a galaxy of disciples of St. Sergius. And it is known about them that they were real ascetics, which means that with a high degree of probability we can say that Rublev was the same. The documents of those times mention many different icon painters. Everyone knows Theophan the Greek - he, by the way, worked together with Andrei Rublev in the Annunciation Cathedral. Someone may remember Daniil Cherny, with whom Rublev worked in Vladimir. There are also less famous names: Isaiah Grechin, Prokhor from Gorodets. However, it was Andrei Rublev who was chosen to paint such an important icon. Such a complex topic could only be entrusted to a person who was congenial to her. Only he can understand its depth and depict it.

But that, unfortunately, is all we can say.

- It turns out that the image of Rublev in Tarkovsky's film is, for the most part, his personal director's view?

- Of course. Tarkovsky's film is very good, but it's more about a man who finds himself in a very difficult era. In my opinion, the question of the film is this: how can a Christian, especially a monk, survive in a cauldron of terrible history, where people kill each other, burn cities, where ruin, filth, poverty are everywhere? And suddenly - "if only you knew from what rubbish poetry grows!" That is, from what terrible dirt, the deepest human tragedy, great works of art grow. It is clear that Tarkovsky was not going to create a real, historical image of Rublev. He is more interested in an artist who opposes evil with the depth of art, which testifies that there is something else in the world that stands above its horror. Therefore, this film should first of all be considered not as a strict historical picture, but as an attempt by one artist to understand another. Military exploits have no meaning if they do not have the purification of the human soul behind them. Therefore, St. Sergius began not with politics, not with war, but with the purification and education of people. And in this sense, the icon is an important artifact that opposes the darkness of the era. The very fact of writing it is a feat.

- Father Pavel Florensky in the book "Iconostasis" has an interesting idea that Rublev's "Trinity" is the only, most hard evidence the existence of God.

- Yes. He even said more deeply: "If there is Rublev's Trinity, then there is God."

- And how to understand this phrase?

- For modern man it sounds strange, but peering into this icon, we understand that this is a Revelation that exceeds all our ideas. This cannot be imagined. This is not a fantasy. So behind this image is some other reality - divine. A person who lives by faith in God, who painted such an icon, could not devote his whole life to hallucinations.

In the life of Andrei Rublev there is one interesting remark. When he and Daniil Cherny worked together, they sat for a long time and simply contemplated the icons. They did not write, did not pray, but simply looked, as if they were in front of the icons, eating from them. They wanted to hear the voice of God, to see divine images, which they could then embody in colors. Of course, Father Pavel Florensky, through this thought, pointed out that a self-sufficient reality opens up behind the Trinity. Her man is incapable of inventing.

– Why has Andrei Rublev not been mentioned anywhere in the calendar for five hundred years, and why was he officially canonized by the Russian Orthodox Church only at the end of the last century?

– To be more precise, in 1988, on Local Council in connection with the millennium of the Baptism of Russia. In fact, Andrei Rublev has always been revered as a saint in the Trinity-Sergius Lavra. Even icons have been preserved where he is depicted among other Lavra saints. It was always clear to the monks of the Lavra that he was a saint. There was even a legend of the 17th century about the great icon-painting saints, where his name is mentioned. In antiquity, before the so-called Makarievsky cathedrals of the 16th century, there was no fixed list of saints. There were a lot of locally venerated people who were known in one city and not in another. Later, Metropolitan Macarius tried to gather together all the revered saints and include them in one list.

Saint Andrei Rublev was already obvious to his contemporaries. But why he was officially canonized only in the 20th century is understandable. The Council of 1988 canonized those who were already revered by believers. The cathedral only seemed to recognize their holiness officially. It was a kind of "pre-canonization". Just look who was glorified along with Andrei Rublev: Elizaveta Feodorovna, Xenia of Petersburg, Ambrose Optinsky, Ignatiy Brianchaninov. That is, the Council simply stated their veneration and included them in the "saints".

– Turning to the history of the Trinity icon itself, do you know about the meetings? famous people with this icon? Maybe they left their impressions, experiences from her? Maybe there is something important historical event that was associated with this image? He, one might say, lies at the heart of our culture - I want to believe in it, at least ...

- Of course have. I read poems that were dedicated to this image. It is impossible, of course, not to recall Tarkovsky. When he conceived his film "Andrei Rublev", he admitted that he had very vague ideas about him. The employees of the Andrei Rublev Museum told me that one day he came to them and simply began to consult, as with experts in ancient Russian art and in general of that era. Then a copy of the "Trinity" was exhibited in the museum. He stood for a long time contemplating her. After this meeting, he had an inner spiritual turn, without which he would not have been able to create a film of this level.

The story of the discovery of the icon at the beginning of the 20th century, which I mentioned, is also very typical. People rushed to look at the emerging beauty that shone from under this black mass. Just imagine: in front of you is a darkened icon - and suddenly a small piece opens up and a blue sky seems to be peeking out from there.

There is another very interesting case. It is known that Protestants in general have a very negative attitude towards icons. They think it's idolatry and so on. But back in the 90s. I was given a book by a Protestant German pastor who, upon seeing the Trinity, changed his attitude towards icons. He even wrote a whole book in which he tried to unravel this image, giving his interpretation. He realized that this was not an idol, that a different reality was indeed hidden behind the icons. The man is not even just a believer, but a theologian, a pastor, standing deeply in his position, after meeting with the "Trinity" has changed.

I know that in Soviet times this icon and many others brought people to God. The church was then silent. Many temples were closed. Where could a person hear a living word about Christ, about the Church? People began to take an interest in icons, including the Trinity, and then they picked up the Holy Scriptures and other books and came to the Church. I personally know several people who, after meeting with the image of Rublev, came to faith in the Soviet era.

– I remember one time on Pentecost I came to the temple in the evening. In the center, on a lectern, lay the icon of the Trinity, naturally a copy of Rublev. And that's when I remember this meeting with her forever. There was a feeling that I was standing - and in front of me was an abyss. I did not know where to go, what to do with this abyss. Nothing could be done. Only to stand on the very edge ... It was as if for a moment I was lit up by divine lightning. Perhaps you also have your own personal experience of meeting, the experience of touching this icon, not as a professional, but as a believer?

- How can I tell you? This is not a case .. rather the experience of experiencing this icon, very personal. Sometimes I write poetry. I heard the music and wrote about Trinity. Like she… sounds. Through these colors I heard music, which became my poem.

Plot

The icon was painted according to the Old Testament plot "Hospitality of Abraham". According to the original, the forefather Abraham met three mysterious wanderers near the oak forest of Mamre, who would later be called angels. They told Abraham that in a year a son would be born to him, from whom the people of the Jews would go. Then two angels went to punish the inhabitants of Sodom, and the third angel stayed with Abraham.

This story has been interpreted in different ways. The idea that in the form of angels Abraham revealed the single essence of the trinitarian god - the Holy Trinity - was established by the 9th-10th centuries.

Medieval icon painters necessarily portrayed all the participants in the parable. Rublev presented her in his own way. We see neither Abraham nor his wife Sarah, but only the Trinity. The angels are arranged so that the lines of their figures form a vicious circle. Each has a scepter (a symbol of power) and azure robes (a sign of an unearthly entity).

Andrei Rublev with his icon

In the center is God the Father. As first among equals, he wears the badges of power: purple robes with a gold stripe over his shoulder. He is turned towards the Holy Spirit, who, as it were, asks the question of who will go to the atoning sacrifice. At the same time, he blesses the cup, bringing two fingers to it. The Holy Spirit, answering God the Father, points to God the Son. The latter humbly accepts the fate. His green cape (himation) speaks of a dual nature (human and divine).

Rublev portrayed the Old Testament plot with a distortion of the canon

The Trinity sits at a table on which a bowl with a calf's head is a symbol of the suffering of Christ, to which he will go to atone for the sins of mankind. This bowl is the semantic center of the icon.

Against the background are a house (Abraham's chambers), a tree (in Rublev's interpretation, the tree of life that God planted in Eden) and a mountain (a prototype of Golgotha, which Jesus was destined to climb).

Context

Who ordered "Trinity" Rublev? There is no exact answer. The version with which most researchers agree today says that the icon was made in praise of Sergius of Radonezh by order of his student and successor, hegumen Nikon. He invited the artel of Andrei Rublev and Daniil Cherny to complete the decoration of the newly built Trinity Cathedral. The icon painters had to paint the temple with frescoes, as well as create a multi-tiered iconostasis. The question of when exactly this could happen remains open.

It is noteworthy that neither the life of Sergius nor the life of Nikon says a word about the "Holy Trinity". It is mentioned for the first time in a ruling. Stoglavy Cathedral(1551), where she is recognized as appropriate church canons. Since 1575, the icon has occupied the main place in the "local" row of the iconostasis of the Trinity Cathedral of the Trinity-Sergius Lavra. Then it was repeatedly overlaid with gold.


"Zyryanskaya Trinity"

At the turn of the 19th-20th centuries, Russian icon painting was "discovered" as an art. Icons began to be taken out of frames, which covered them almost completely, and also cleared of drying oil and varnish, on top of which Russian icon painters painted a new image, which, as a rule, coincided in plot, but in accordance with the new aesthetic requirements of the time. Such a renewal of the icons could lead to the fact that the sizes and proportions of the figures, their poses, and other details changed.

Over the past 100 years, the "Holy Trinity" had to be restored more than once

By that time, the "Holy Trinity" did not enjoy the veneration of believers: it did not heal, did not perform miracles, did not stream myrrh. But when it was "discovered", everyone was amazed by the beauty of the author's layer. Instead of dark, “smoky” tones and restrained, harsh brown-red colors, the audience saw bright sunny colors that immediately reminded Italian frescoes and icons of the 14th - first half of the 15th century. Rublev did not know the monuments of Italian art, and therefore could not borrow anything from them. His main source was Byzantine painting of the Paleolog era.

Immediately after the disclosure of the Holy Trinity, problems began with its safety. Over the past 100 years, it has been restored several times.

The fate of the artist

Cases of bygone days, legends of antiquity deep. Pushkin's stanzas are perhaps the best summary for Andrei Rublev's biography. However, we do not even know what his name was. Under the name Andrei, he took the tonsure, but what was his name in the world - this mystery is covered in darkness. The same goes for last names. It is likely that Rublev is a nickname for his father's occupation.

It is also unknown where and when he was born, what was his origin, how he began to engage in icon painting. And what is most mysterious is how he managed to create a masterpiece that rivals the works of world art in beauty.


Frescoes of the Assumption Cathedral in Vladimir

The first mention of Rublev in the annals appeared in 1405. The document states that Theophanes the Greek, Prokhor the Elder and the monk Andrey Rublev painted the Cathedral of the Annunciation in the Moscow Kremlin. This suggests that already by this time Rublev was an experienced craftsman who could be entrusted with such a responsible job. Already after 3 years, Rublev, according to the chronicle, made murals with Daniil Cherny in the Assumption Cathedral in Vladimir. This time, Rublev has assistants and students. In the 1420s, together with Daniil Cherny, he supervised work in the Trinity Cathedral of the Trinity-Sergius Monastery. These paintings have not survived.

In 1988, Rublev was canonized as a saint.

In general, very little has come down to us from Rublev's legacy. the fingers of one hand are enough to count the works that today researchers confidently attribute to Rublev: something has not been preserved, and someone’s authorship has been revised, alas, not in favor of the icon painter.

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