One of the angels told Abraham that Sarah would soon give birth to a son. The subject of The Trinity received various interpretations at different time periods, but by the 19thth century the consensus among scholars was the following: the three angels who visited Abraham represented the Christian Trinity, "one God in three persons" — the Father, the Son Jesus Christ , and the Holy Spirit. Art critics believe that Andrei Rublev's icon was created in accordance with this concept.
In his effort to uncover the doctrine of the Trinity, Rublev abandoned most of the traditional plot elements which were typically included in the paintings of the Abraham and Sarah's Hospitality story.
He did not paint Abraham, Sarah, the scene of calf's slaughter, nor did he give any details on the meal. The angels were depicted as talking, not eating.
The silent communion of the three angels is the centre of the composition. Edit Translate Action History. Wikipedia article References Wikipedia article. Wikipedia: en. Christianity Tag is correct Tag is incorrect. Holy-Trinity Tag is correct Tag is incorrect. With his right he blesses the Son — he is pleased with the sacrifice he will make.
His head is the only one that is lifted high and yet his gaze is turned to the other two figures. The Son is portrayed in the middle figure. He wears both the blue of divinity and reddish purple of royal priesthood.
He is the King who descends to serve as priest to the people he created and to become part of them. With his hand he blesses the cup he is to drink, accepting his readiness to sacrifice himself for humanity. His head is bowed in submission to the Father on the left.
The Spirit is indicated in the figure on the right. Over his divinely blue tunic he wears a cloak of green, symbolizing life and regeneration. His hand is resting on the table next to the cup, suggesting that he will be with the Son as he carries out his mission. His head is inclined toward the Father and the Son. His gaze is toward the open space at the table. Did you notice the beautiful circular movement in the icon of Father, Son, and Spirit? The Son and the Spirit incline their heads toward the Father and he directs his gaze back at them.
The Father blesses the Son, the Son accepts the cup of sacrifice, the Spirit comforts the Son in his mission, and the Father shows he is pleased with the Son. The great is a synthesis of the whole that, in its parts, had gleamed with a phosphoric light amongst the entire nation; it would have never become great unless it had met the creative yearning of the entire people. Any discussion about any work of art, whether secular or religious - all the more so when the subject is the "Holy Trinity" of Rublev -starts with certain questions: Where?
The question of where the icon was created has raised very little debate among art historians; all are unanimous that Andrei Rublev painted the icon in the Trinity-St. Sergius Monastery. Has there been any difference of opinion between art historians about the place the icon occupied inside the Lavra?
In the past, the icon was thought to have been originally situated, as the principle icon of the Trinity Cathedral, in the first tier of the iconostasis to the right of the Holy Doors. Sergius of Radonezh, viewed like the altarpiece behind the Holy Table.
For about years the original icon occupied its place in the Trinity Cathedral of the Monastery, and was restored more than once. In , the well-known painter, art-collector and Tretyakov Gallery trustee Ilya Ostroukhov suggested cleaning the original image from its later layers of paint, with the Moscow Archaeological Society supporting the proposal and offering its supervision of the project. That first uncovering was done, with the consent of the Lavra authorities, by Vasily Guryanov, an icon painter and restorer, assisted by Vladimir Tyulin and A.
As soon as the task was completed, a photograph of the original image was taken as it was revealed to the painters.
Unlike the question as to where the icon was created, no answer to the issue as to when exactly the "Holy Trinity" was created has been found to date. Those inclined to think that the icon was originally meant for the wooden Trinity Cathedral erected in think that it was taken to the stone church later.
Art historians who disagree insist that the "Holy Trinity" was painted at the same time as other icons from the iconostasis in the new cathedral that is known to have been decorated by the workshop of Rublev and Daniil Chyorny in At present, the problem of dating the "Holy Trinity" can be scientifically summed up as: "The dispute There is complete unanimity in the answer to the question of who is the author of the "Holy Trinity" - undoubtedly, it is Andrei Rublev.
Although there have been other suggestions questioning that attribution: in the second half of the 19th century Dmitry Ro-vinsky, who believed the icon had been created by an Italian master, would assert that is was probably nothing but the news about the Klintsov original, also mentioned in the "Life of St.
Philaret Drozdov , the Metropolitan of Moscow, felt it necessary to contest such an assumption, refering to the long-established legend in the monastery that the image had been painted by Andrei Rublev in the time of St.
Nikon of Radonezh. As for the motive in painting the "Holy Trinity" the causa ac-tiva , it remains both direct and indirect. The direct impetus is clear: St. Nikon of Radonezh gave a commission for, according to the words of the Iconographic Original, "an image for the Holy Trinity to be painted in his time, to venerate His Holy Father, St. Sergius the Wonderworker It is impossible to imagine, though, that the disciple of Reverend Sergius' disciple, almost his spiritual grandson, almost his contemporary, who was already painting icons when Reverend Sergius was alive, and probably knew him personally, should have dared to substitute the composition of the Holy Trinity icon that existed at the time of Reverend Sergius, and was approved by him, for a composition of his own copied from the same authentic image.
Sergius' cell during the first half of his life, but only during the second; thus, the miniatures testify to its creation during the middle period of St. Sergius' life In the iconography of the 'Holy Trinity' Andrei Rublev was not an independent creator, but only an executor who followed the creative design and the original composition suggested by Sergius.
Now we face the most complicated task of discovering the major reason - the causa finalis - for which the icon was painted, its goal, and its significance for the world in which we live. Any icon combines a dogmatic philosophy as well as an ethical and ideological exhortation and the artistic features of a painting.
Dogmatically, the sense of the icon is based on the postulate that "the existence of the image in the world is a matter of God's preordination, for in God's eternal and unchanging counsel, as if in the conception, there are depictions and samples of those things which are to exist because of Him.
0コメント