But in Rublev’s icon the treatment is reduced to the essentials, because it excludes these other details. Just before Rublev’s time the historical aspect of the event was more dominant, as Sarah was often depicted serving the calf, objects on the table, and Abraham entertaining the guests or serving them with Sarah. The cosmos is represented in the background by a mountain and tree – the tree of life – and Abraham’s house is seen, because the main focus lies not in the Biblical meaning but in its dogma, or theological teaching. To show they belong to the heavenly world, they are depicted as three winged angels, but the circumstances of their appearance are passed over in silence. The icon depicts the Holy Trinity by representing the Biblical scene of three men appearing to Abraham at the Oak of Mambre. Rublev was old when he received the commission to paint the Holy Trinity and so had behind him much work experience (and prayer) that now held him in good stead for the cask he received and achieved. It helps us to find words to speak with, paths to walk on, even when the future seems to be ominous and menacing at every turn. As someone said: “An icon represents a world that is spirit, yet has lost none of its flesh. The Chronicles relate that Blessed Nikon ‘after having built the Church and adorned it with much beauty, called in excellent painters, a class above all others, named Daniil, Andrei, and his work companions.’ Rublev received “obedience” from Nikon ‘to paint an icon of the Holy Trinity to the praise of St.Sergius … for the monks in contemplating the Holy Trinity to overcome hateful divisions.’ In other words, the monks were to have something peaceful to aid contemplation in a midst of a world of turmoil and violence. Sergius was completely destroyed, but Blessed Nikon, with the help of the Princes of Moscow, set about reconstructing it according to its original plans, expanding it north eastwards as well.
In 1408, the monastery of the Holy Trinity of St.
In fact, Rublev was sent as a young monk to a monastery in Russia, renowned for being a centre of the best Byzantine traditions of calligraphy, iconography and religious music.
The icon painters came from places such as Serbia, Bulgaria and Greece – many having to flee from their own lands which were threatened by Turkish invasions – and were able, at this monastery to cultivate their own art. Rublev’s stay at this monastery throws light on the intellectual and spiritual atmosphere at this time since the monastery attracted talented icon painters and architects. Sergius who chose him as hegumenos ( head of a monastery in the Eastern Orthodox and Eastern Catholic Churches) of the Monastery dedicated to The Saviour not painted by Human Hands.’ Later, Rublev was to spend a number of years at Andronikov’s monastery: ‘.Andrinokov was a disciple of St. Sergius’s monasteries dedicated to the Holy Trinity. Rublev was at one time a monk in one of st. He worked exclusively in Moscow and outlying Muscovite towns, as well as in monasteries in these areas. Rublev worked alongside Theophan, but was not his pupil. Andrei Rublev is associated with Theophan the Greek, who came to Novgorod just before 1478 and painted walls of about 30 churches in the next 30 years, especially in Novgorod and Moscow. It is thought that Rublev lived between 13.
Rugalev icon glue angels abraham mirror full#
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