Andrei Rublev and a little bit of Tarkovsky

Everything has a beginning and a great influence that starts with a great man.
For Russian Iconography this great man was Andrei Rublev (Андрей Рублёв, Andrey Rublyov for the sake of accuracy). 

It is likely that he was born in some village near Moscow but very little is known about his life, we don't even know his face - the picture above is the cover of Takovsky's movie. 

He was born at some period of 1360's but the first acutal historical mention of Rublev was when he began his career in such a great style; in 1405 he was hired to paint frescoes at the Cathedral of the Annunciation of the Moscow Kremlin! (!!!) 

Interior of the Cathedral of the Annunciation

There are many important names behind Rublev's artistic career, his first steps at 1405 was just as an apprentice. Theophanes, the Greek, was an important Byzantine master, who moved to Russia and is considered to have trained Rublev.

Self-portrait of Theophanes 

As mentioned previously little is known of his life and also little is known of his works but his legacy is undisputed because Rublev's works influenced many artists including Dionisy who became the great master of Russian Orthodox iconography. 

Rublev painted the Assumption Cathedral in Vladimir in 1408 as well as the Trinity Cathedral in the Trinity Lavra of St. Sergius between 1425 and 1427.
As his style has had a tremendous influence on all his contemporary painters it is difficult for art historians to say exactly which works are authentically Rublev's or were only copies of his style made by other painters. In Rublev two traditions are combined: the highest asceticism and the classical harmony of Byzantine Mannerism. The characters in his paintings are always peaceful and quiet. After some time, his art came to be perceived as the ideal of Eastern Church painting and orthodox iconography.

Assumption Cathedral in Vladimir

The only work that has been certainly made by Rublev and nobody else is the fresco of the "Trinity" at 1410. It illustrates in an icon formerly known as "Hospitality of Abraham" (Sacred Bible: Genesis 18) but Rublev took away the figures of Abraham and Sarah from the scene, and using a subtle technique of composition and symbolism changed the subject to focus on the "Mystery of the Trinity". So let's look closely at this work and understand the mastery.

"Mystery of the Trinity"

As an artist of Russian Christian orthodoxy the purpose of this work is one of spiritual contemplation. The story depicted here is that three wanderer's visited Abraham and Sarah. It is curious to note that Rublev indicates the three characters with the aura of holiness typical of Byzantine iconography which makes them look like angels or saints. With this he converted a Biblical passage that spoke of none of this in a representation of the holy trinity.

The Father is seated on the left. The Son sits in the middle. The Holy Spirit is sitting on the right.

In many ways their oneness is expressed in the scene. Their serene and placid aspects sitting around a table all in a deep meditative face. Their eyes openly rounded, the three of them dresses in more or less intense shades of blue and each one holds a kind of long thin arrow. Note also that there was left an open space on the table so that the viewer could be welcome and sit down with them.

The colors follow the Byzantine tradition of differentiating characters not by face but by color. Regarded to the colors chosen to illuminate the scenery, the warm tones of golden and orange express the grandeur of the encounter and ask the spectator to have faith and be open to the spiritual resonance.

The house painted behind The Father represents the place of the salvation of the immortal soul; The tree behind the Son can be both an icon of the Tree of Life or his destiny as savior; The mountain behind The Holy Spirit evokes Mount Tabor where Christ appeared to Peter, James and John in his transfigured and original form showing them all his splendor and divine glory.

According to the Byzantine tradition the representation of scenes is made in octagonal form of the angles. But Rublev disguises the octagon with the curves of halos and wings, as well as he curve and folds the robes of the characters.

It is impossible to ignore the chalice in the center of the table, but the meaning is debatable because, as I said before, Rublev changed the story that was originally about Abraham and Sarah. Therefore it may be an allusion to the sacrifice of a lamb that Abraham made to celebrate the arrival of the wanderers (following the original plot) as it may be a symbol of the sacrifice of Christ himself that gave mankind redemption and the path of salvation.

In recognition of his great contribution the Russian Orthodox Church canonized Rublev as a Saint in 1988, celebrating his day on every January the 29th. 💋

The Rublev of Tarkovsky: The Passion According to Andrei (1966)

(Russian: Страсти по Андрею, Strasty po Andryeyo)

How to create a movie about a character so little known, Andrei Tarkovsky? Challenge accepted!

Of course, mostly of the 3-hours long movie, eight chapters, prologue and epilogue actually  never happened. 

But Tarkovsky was able to develop a plot that makes Rublev a heroic and highly politicized figure. Is enchanting.

The film takes place in the Russia of the fifteenth century in an extremely troubled period in which rival princes took over to fight against the Mongol-Tartar invasion. 

The interesting part of the film, therefore, isn't Rublev, but the historical and political context that Russia has crossed from the perspective of a highly politicized filmmaker.

 Andrei Rublev - Anatoly Solonitsyn

Perhaps it's possible to interpret the film as an attempt of Tarkovsky to show that there was beauty even in the midst of the greatest turbulence and all seen from an inner perspective of the Soviet Union for the Russians themselves.

In the midst of scenes of extreme human calamity, violence, barbarism, misery and suffering, Rubliev's figure emerges as a representative of redemption for beauty and Russian orthodoxy as the only path to convey the spirit of community and thus, by faith, accept the penances of life.

There is a question raised in this film as a general analysis of Tarkovisky's involvement and intention: in a world so full of violence and ugly human acts is there a place for art? And if there is, what is its goal?



Trailer of: Andrei Rublev by Tarkovsky.