This article is about the medieval Russian painter. For the 1966 Russian film, seeAndrei Rublev (film). For the Russian tennis player, seeAndrey Rublev.
The only work authenticated as entirely his is the icon of theTrinity (c. 1410), removed in 2023 from theTretyakov Gallery,Moscow to theCathedral of Christ the Saviour.[5] It is based on an earlier icon known as the "Hospitality of Abraham" (illustratingGenesis 18). Rublev removed the figures ofAbraham andSarah from the scene, and through a subtle use of composition and symbolism changed the subject to focus on theMystery of the Trinity.
In Rublev's art two traditions are combined: the highestasceticism and the classic harmony ofByzantine mannerism. The characters of his paintings are always peaceful and calm. After some time his art came to be perceived as the ideal of Eastern Church painting and of Orthodoxiconography.
Rublev died atAndronikov Monastery between 1427 and 1430. Rublev's work influenced many artists includingDionisy. TheStoglavi Sobor (1551) promulgated Rublev's icon style as a model for church painting. Since 1959, the Andrei Rublev Museum at the Andronikov Monastery has displayed his and related art.
In 1966,Andrei Tarkovsky made a filmAndrei Rublev, loosely based on the artist's life. This became the first (and perhaps only) film produced in the Soviet era to treat the artist as a world-historic figure and Christianity as an axiom of Russia's historical identity,[9] during a turbulent period in thehistory of Russia.
HistorianSerge Aleksandrovich Zenkovsky wrote that the names of Andrei Rublev,Epiphanius the Wise,Sergius of Radonezh andStephen of Perm "signify the Russian spiritual and cultural revival of the late fourteenth and early fifteenth centuries".[10] He also wrote: "The wonderful icons and frescoes of Andrey Rublev offered a harmonious and colorful expression of the spirit of complete serenity and humility. For the Russian people these icons became the finest achievement of religious art and the highest expression of Russian spirituality".[10]
Mikhail V. Alpatov,Andrey Rublev, Moscow: Iskusstvo, 1972.
Gabriel Bunge, The Rublev Trinity, transl. Andrew Louth, St. Vladimir's Seminary Press, Crestwood, New York, 2007.
Sergius Golubtsov, Voplosh’enie bogoslovskih idey v tvorchestve prepodobnogo Andreya Rubleva [The realization of theological ideas in creative works of Andrey Rublev].Bogoslovskie trudy 22, 20–40, 1981.
Viktor N. Lazarev,TheRussian Icon: From Its Origins to the Sixteenth Century, Gerold I. Vzdornov (ed.). Collegeville, MN: Liturgical Press, 1997.
Priscilla Hunt, Andrei Rublev's Old Testament Trinity Icon in Cultural Context, The Trinity-Sergius Lavr in Russian History and Culture: Readings in Russian Religious Culture, vol. 3, ed. Deacon Vladimir Tsurikov, (Jordanville, NY: Holy Trinity Seminary Press, 2006), 99-122.(See on-line at phslavic.com)
Priscilla Hunt, Andrei Rublev's Old Testament Trinity Icon: Problems of Meaning, Intertextuality, and Transmission, Symposion: A Journal of Russian (Religious) Thought, ed. Roy Robson, 7-12 (2002–2007), 15-46 (See on-line at www.phslavic.com)
Konrad Onasch,Das Problem des Lichtes in der Ikonomalerei Andrej Rublevs. Zur 600–Jahrfeier des grossen russischen Malers, vol. 28. Berlin: Berliner byzantinische Arbeiten, 1962.
Konrad Onasch, Das Gedankenmodell des byzantisch–slawischen Kirchenbaus. InTausend Jahre Christentum in Russland, Karl Christian Felmy et al. (eds.), 539–543. Go¨ ttingen: Vandenhoeck und Ruprecht, 1988.
Eugeny N. Trubetskoi, Russkaya ikonopis'.Umozrenie w kraskah. Wopros o smysle vizni w drewnerusskoj religioznoj viwopisi [Russian icon painting. Colourful contemplation. Question of the meaning of life in early Russian religious painting], Moscow: Beliy Gorod, 2003 [1916].
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