Andrey Rublev actor biography

The icons of the Zvenigorod rank and the Gospel of Khitrovo 3. The technique of Rublevo icon painting 4. The icon "Trinity" Andrei Rublev is the first Russian artist, who was ranked as Orthodox saints. He created his own icon -painting school and retreated from the Byzantine art canons. In addition to icons, Rublev created wall -ups of temples and was engaged in a book illustration: his miniatures decorated the ancient Gospel of Khitrovo.

However, Rublev’s most famous work was the “Trinity” icon, which is now recognized as a masterpiece around the world. At baptism, he was given a different name - Andrei was named later, at the monastic tonsure. The opinions of historians about the origin of the icon painter are contradictory. On the one hand, “Relay” - the nickname, the prototype of the modern surname - at that time only noble and educated people wore.

On the other hand, the nickname of Rublev came from the word “ruble” - this is how the device was called in the old days for the dressing of leather. Only a person from a family of artisans could get a “stub” from the name of the tool. About the childhood and youth of Andrei Rublev also did not preserve reliable information. Probably, he began to study painting, while still a boy: at that time the children tried to give them to their studies as early as possible.

For about a year, the icon painter has cut his hair in the monks. The first mention of Andrei Rublev in historical documents dates back to the year. According to the traditions of that time, the latter in the list of masters mentioned the youngest of the artel. However, the very fact that Rublev was entrusted with such an honorary order and brought his name in the annals, suggests that by this time he was already considered an experienced master.

Otherwise, his works would remain anonymous, as happened with the works of most ancient Russian artists. Rublev belongs to those happy chosen ones, so rare in the era of the Middle Ages, especially the Middle Ages of the Russian, whose name was already pronounced with reverence, and the closest descendants surrounded the legend ... Mikhail Alpatov, art critic Boris Dudochkin, on the basis of the text of the annals, suggested that Rublev worked in Moscow or its environs for quite some time, before he accepted before tonsure.

By the beginning of the 15th century, the temple suffered greatly from the Horde invasion, and by decree of the Moscow Prince Vasily I, its restoration began. Fragments of wall frescoes and part of the iconostasis - one of the largest in Russia were preserved from the works of Andrei Rublev and Daniil Cherny in the Assumption Cathedral. The icons of the deesus row, on which Christ is depicted, reach a height of 3.4 meters.

Rublev relied on the Byzantine artistic traditions and the Moscow icon-painting school of Theophan Greek, but in many ways he retreated from them and in his own way interpreted the images of Christ, the Mother of God and the saints. Of the frescoes, a fragment with the image of the Last Court is especially interesting: Rublev wrote not a gloomy scene of the punishment of sinners, but a festival of justice and eternal life, which, according to Christian ideas, expects the righteous.

Only three large icons have been preserved - the waist images of the Savior, the Apostle Paul and the Archangel Michael. There are no historical evidence confirming the authorship of Rublev or establishing the date of the creation of images. Many art historians of that time supported him. But in the year, employees of the Tretyakov Gallery and the State Research Institute of Restoration conducted another study and found that another master wrote these icons.

In addition to creating frescoes and icons, Andrei Rublev was also engaged in illustrating church books. He created several drawings for the Gospel of Khitrovo: he was named so by the name of the owner, boyar Bogdan Khitrovo. The manuscript of the late XIV century was decorated with images of Christ, the Virgin Mary and the Apostles, but also with drawn screensavers, initials in the form of animals.

Rublev wrote for her the miniatures of the apostles-gospel-Luke, Mark, John and Matthew. On separate sheets, he also depicted the symbols of the evangelists: a bull, a lion, an eagle and an angel. Before that, these symbols did not place these symbols in Russian gospels: they were weaved into the ornament surrounding the text, or made them part of other illustrations.

The technique of Rublevo icon painting The early samples of the Rublevo icon painting correspond to the general rules that the masters of that time adhered to. On the Orthodox images of the XIV -XV centuries, it was customary to portray harsh and ascetic faces with characteristic Byzantine features: large eyes, high forehead, straight nose and thin lips.

Masters used mainly restrained, dark colors: dark red, brown, ocher-yellow. The early works of Rublev icon painter and the restorer of the beginning of the twentieth century, Vasily Guryanov, described as follows: “... the faces were written subtle -layered in compliance with the extreme sequence in the transition from illuminated to unlit, look definitely greenish in shadows and modeling brown“ dark ”ocher without marks, i.e., in later works, Andrei Rublev move icon painting.

He often used light, light colors-golden yellow, light blue, pink.The faces on his icons acquired Slavic features - a soft rounded oval of his face, blond hair and eyes, a wide forehead. The expressions of faces have also changed: Rublevsky angels and saints became joyful, spiritualized, slightly noticeable smiles appeared on some faces. The icon painter often used a looting - on top of the main layer of paint applied another translucent, on which he wrote out thin parts.

Such a technique made it possible to create smooth lines and smooth out the transitions of the color. The “Trinity” icon Andrei Rublev began to create his most famous work - the “Trinity” icon in or - years. Such vague dating is due to the fact that it is not known which temple was intended for the image: the early wooden cathedral of the Trinity Monastery or the stone built in its place.

In the first case, the icon could simply be transferred to the new temple, in the second - the icon painter worked on it simultaneously with all the other images of the iconostasis. The “Trinity” is the second name of the image - “Avraam's hospitality” Rublev took the Old Testament plot about the ancestor of Abraham, to which three angels appeared under the guise of wanderers.

Abraham and his wife Sarra met them with reverence, washed their legs according to ancient custom, stabbed the Taurus for them and invited them to the table. The angels predicted the elderly childless spouses that they would have a son, and Abraham himself will become the ancestor of the whole people.

Andrei Rublev abandoned many details that it was customary to portray according to the canon: there is no Sarra on the icon, there are no scenes of the feet of the guests and the quarrel of Taurus, and the angels do not refrain, but talk. The figures of the angels form a semblance of a circle, the gaze does not stop at one of them, perceives all three whole: as the icon painter embodied the Christian idea of ​​the trinity of God.

For the “Trinity”, the author chose bright, clean colors - more saturated than in early work. He wrote the background of golden yellow, the clothes of the angels-pink, green and bright blue. Blue paint-lapis lazor-at that time was rare and expensive. The shade that the icon painter used was later called the "Rublevo cabbage." Before the revolution of the year, the icon “Trinity” was stored in the Trinity-Sergius Lavra.

From the end of the XVI to the beginning of the twentieth century, it was placed in a golden salary, from which only the faces and hands of angels were visible. In the year, the icon painter Vasily Guryanov took up her restoration: he took off the darkened Olifa and the late layers of paint, which blanked the original image, and then recorded it again. Subsequently, the Guryanovsky layer was also removed, leaving only the work of Andrei Rublev himself.

Between and a year, Andrei Rublev, along with Daniil Cherny, led the artel of the icon painters, who painted the Trinity Cathedral of the Trinity-Sergius Monastery. Then Rublev settled in the Moscow Spaso-Andronikov Monastery and took up the painting of the Spassky Cathedral. In January, the icon painter died. He was buried on the territory of the monastery.

At the entrance, a monument to the icon painter was erected by the sculptor Oleg Komov. In the year, the Russian Orthodox Church canonized Rublev in the face of St. Saints. In publications.