Andrei Rublev's The Holy Trinity - Research Paper Example

ANDREW RUBLEV AND HIS RUSSIAN PAINTING Introduction The 14th century period in Russia was characterized by a rapid growth of the Christian culture initially introduced by the Prince of Kiev. The monks engaged in the active construction of the churches and iconic paintings. The Christian culture and the styles of art were borrowed from the Byzantine culture, which is Greek. Hence, the culture of the modern day Russia has its roots from the Greek history. In exploring the evolution of the artwork in Russia, the essay focuses on the work of one of the iconic painters, called Andrew Rublev. As a result, the paper has been subdivided into several sections. The first section is an analysis of the biography of Andrew Rublev. The second section critically evaluates the circumstances and the artist who influenced his work. Third is a description of the climate and cultural conditions that prevailed during his time. The fourth section has exhaustively analyzed how the artwork by Andrew is a source of pride and motivation to other artists. The fifth section is a chronological analysis of the development of the art style adopted by Andrew. In addition, the article mentions some of the artwork done by him in the course of his stay in the Monastery. Finally, yet importantly is a deep analysis of his major painting, the Holy Trinity, which has been adopted by the Orthodox Church. The essay closes with a summary conclusion of the whole study. Biography of the artist Olsufiev describes Andrew Rublev as one of the iconic painters in the Russian History.1 He lived between 1360 and 1430. Information on Andrew’s biography is very scanty. Nevertheless, the available history shows that he was born in Pskov. He is considered a hero in painting of the Russian icons and frescoes. His name is associated with the flourishing period of the Russian art. Additionally, it is also linked with the revival of the Byzantine art after its ruin under the Ottoman rule. In the 1380, he was one of the artisans in the Prince’s cartel. They engaged in painting and decoration of churches. According to the Russian Orthodox Church Andrew was first mention as a painter when under the apprenticeship of Theophanes the Greek.2 This was in the Trinity Sergei Lavra Monastery, where he was a pupil of Prokhor of Gorodets. The two artists painted icons and frescos for the Cathedral of Annunciation of the Moscow Kremlin. It is in this monastery that Andrew did most of his painting. He moved out of this monastery after the death of his friend, Danil Cherny. He relocated to Andronikov Monastery in Moscow where he painted the frescos of the Savior Cathedral. That was his last painting. He remained in the same area and no wonder most of his paintings are found in or around Moscow. He died in 1430. A museum was constructed in the Andronikov Monastery, where the art and the epoch of Andrew Rublev are displayed. Smirnova observes that the surviving work shows that he belonged to either early Muscovite school or Vladimir-Suzdal.3 However, most of the ingredients of his paintings mainly derive from the Novgorod school of icon painting. Culture and Climate Although the work of Andrew Rublev and other artists flourished the Russian painting in the 14th and the 15th century, the situation was not very conducive. He lived in a time of peasantry and nobility, religious cruelties, pagan festivals and Tartar invasion. His artistic vision was because of having lived through the crisis of his time. The political conditions were also unfavorable. In relation to politics, the Byzantine art was ruined during the Ottoman rule. Haney further reports that during 1408 the Tatar-Mongol troops from the Khan Edigey invaded some of the Russian towns.4 Notably among them are Rostov, Pereslavl, Moscow, and Nizhniy towns. When the troops failed to capture Moscow, they burnt down the towns and churches in the area. The St. Cathedral Church of St. Trinity in Sergiev Posad was among the churches that were burnt down. In 1547, there was another fire in Moscow Kremlin, which destroyed most of Andrew’s frescos. Angold observes that Christianity was, however, the dominant religion having been introduced in Russia by Vladimir 1, a prince of Kiev and propelled by his son (Laroslav).5 Laroslav constructed the Cathedral of St. Sophia plus other churches. Additionally, he commissioned icons to be constructed, and the Monastery of the Caves became a place for cultural development. This culture was heavily borrowed from the Byzantium and hence the Greeks. Consequently, the Greek culture has been employed in the construction, decoration and painting of the churches and icons. In addition, is has facilitated the development of Orthodoxy. Other artists and their influence on Andrew Rublev Three aspects influenced Andrew’s artistic work. The first was his strong spiritual beliefs and the monastic life. Andrew loved the church. As such, he spent time decorating churches and painting. In fact, he finally became a monk of Spas Andronievski Monastery in Moscow. The second aspect is his close alliance with the Prince’s cartel of artisans and artists in the 1930. The cartel moved from town to town building and decorating churches. Thirdly, Andrews’s passion was further influenced by the Byzantine Empire.6 The empire produced many artists who were later taken over by other Eastern European countries. Notably among these artists was the Theophanes the Greek. In fact, history has it that Andrew was once a student under him. Even though Andrew was a student of the Theophanous the Greek, the work of the two artists significantly differed. The work of Theophanes had tense and tragic images that perceived the sinful earth as hell. The artist, however, did bring out the genius in Andrew. It is, nevertheless, important to note that Andrew developed his style of painting that was different from that of his teacher in terms of severity, color, and expression. Another artist who played an important role in Andrew’s artistic work was Sr. Sergei. He founded the Holy Trinity-St. Sergei Monastery where Andrew began his work. His movement is noted to have inspired the Russian artists, and Andrew included, portraying softer tones and overall harmony in the artistic work.7 Influence of Andrew Rublev on other artists The work of Andrew Rublev has influenced many artists. They perceive him as a role model with whom they prefer to emulate and follow his footsteps. Haney (1973) describes Andrew’s artistic work as a success story. First, his icons were already worth their weight in gold during his lifetime. Secondly, his artwork came to be recognized as the ideal of the church painting especially in the Orthodox iconography. Thirdly was a breakthrough in 1988 when he became the first Russian painter to be canonized as a saint by the Orthodox Church. Hence, the Church commemorates him on July 4 of every year. Fifth, a museum was built in the Andronikov Monastery after his death.8 The museum has his epoch and his works as a way of honoring him. Sixth was the recognition by Sr. Sergei, the founder of the Holy Trinity-St. Sergei Monastery. Sr. Sergei noted that the icon and the style was a great master. He marveled at the way such a piece of work could be produced in the midst of local wars, the general savagery, and the Tatar. Seventh, Tarkovsky film has been produced to show the art as a world –historical figure. On the other hand, the film captures Christianity as an axiom of Russia’s history. Angold observes that Andrew Rublev is imitated as one of the characters in the film to show the essence of art and the importance of faith.9 Hughes mentions some of the artists who have emulated the work of Andrew Rublev as Dionisy, Denil Cherni, and Stoglavy Sobor.10 Dionisy was a painter who in the 15th and the 16th centuries was acknowledged for his leadership of the Moscow school of icon painters. His style of painting was mannerism. Andrew considerably used the same style in his work. Denil Cherni was a close friend and colleague of Andrew. They worked together in the Monastery in the painting of the Cathedral assumption and the Trinity. Stoglavy Sobor was a church council. It held a meeting in Moscow in 1951. In the meeting, it declared Andrew’s work as a model for church painting. Evolution of the artistic style of Andrew Rublev Andrew has widely applied the Byzantine style of painting in his Holy Trinity artwork. According to Meyendorff, the method included the use of strong lines, patterns, and contrasting colour.11 Most of the paintings were in egg tempera on wood panels. The gold leaf was often used for halos and the background color. Bronze, silver and tin could also be used to embellish the icons. Andrews work can be described as one full of a sense of asceticism and harmony of Byzantine mannerism. The figures in his paintings are peaceful and calm. Most of his work was never signed or dated. Consequently, it was not possible to trace it. However, one of the chronicles show that one of the earliest works by Andrew was the painting of the Assumption Cathedral in the Vladimir in 1408. He is also believed to have painted the icons for Zvenigorod Row, especially the Zvenigorod church. Some of the paintings that are found in the church include the Archangel Michael and Apostle Paul. His last painting was the fresco of the Savior Cathedral.12 The Holy Trinity icon painting Bunge (2007) in their article note that the Holy Trinity painting was done around 1410 by Andrew Rublev in the Monastery of the Trinity at St. Serge. The icon is a modification of an earlier painting, called the Hospitality of Abraham, which had Sarah and Abraham worshiping the Holy Trinity. The art has stood out among all the other Trinity, and it is no wonder that it has been chosen by the churches, especially the Orthodox Church to represent the Holy Trinity. In the painting, three angels are seen seated at Abraham’s table. According to Hughes, Andrew depicted the persons of the Holy Trinity in the way they appear in the credo.13 The angel seated on the left hand represents the God the Father while the one on the right hand represents the God the Holy Spirit. Finally, the angel in the middle represents the God the Son. In the painting, all the three angles are depicted blessing the chalice. The chalice contains a sacrificed calf that is ready for eating. It is worth noting that the calf is also symbolic. It signifies Christ the Savior’s death on the cross. Its preparation as the food is a symbol of the sacrament of the Eucharist. In the hands of each of the angels is a slender staff that symbolizes the divine power. Moreover, each appears as the counterpart of its fellows since each represents one soul thrice reincarnated. The first angel is vested in a blue undergarment that depicts his divine and celestial nature. According to the Russian Orthodox Church, the light purple undergarment serves to attest to his unfathomable nature and royal dignity.14 The house, an abode of Abraham towers behind him and over his head. The house signifies God’s master plan for his creation. The fact that the house towers over the angels head is to express him as the head of the Father of the whole creation. His fatherly authority is further signified by the fact that his head is not bowed, and he is looking at the other two angles. His face, the placement of his hands and the manner of sitting attests to this authority. In addition, the other two angles are seated with the heads tilted and with their eyes focused towards the first angels as full of attention. The angel in the middle has a dark crimson undergarment, a color that symbolizes the incarnation. Like the first angel, the second angel has a blue outer undergarment that is a symbol divinity and the celestial nature. The tree behind him is a symbol of two things. The first one is the tree of life that stood in the middle of the Garden of Eden and the second meaning is the cross. The third angel has a blue undergarment and a smoky green outer garment that represent heaven and earth respectively. They signify a life-giving force of the Holy Spirit that animates all living souls. The Holy Spirits elevates every soul in purity. The mountain above the third angel captures this elevation. The Russianpedia notes that although the Holy Trinity icon is one of the most celebrated icons in the history.15 However, it did not go without critic from some parties. For example, Tsar Ivan IV the Terrible posed the question of who is the Trinity the Stoglavy Sobor. He felt that Christ, as represented by the middle angle, was higher than God the Father and God the Holy Spirit. He argued that there was contradicting beliefs of the Orthodox Church and the Catholic Church. He explained that the Orthodox Church put God the Son higher than the way they put God the Father. On the contrary, the Catholic Church presented them as equal. For a span of four hundred years, the artwork by Andrew on the Holy Trinity was supported by some distinguished art critics and opposed by most theologians. However, an analysis of the geometry of the painting, all the three hypostases are equal and placed in a circle. A critical examination of the picture reveals that the lines of the clothes and the wings fade into each other hence creating a feeling of balances and calmness. The perfect correlation of colour unites the ideal proportions of the three figures. In addition, the light intensity does not compete with the dark ones. On the contrary, they create a glimmering mosaic of light. Conclusion In conclusion, little may be known about the early life and the social life of legend Andrew Rublev. Likewise, there may be only little traceable artwork by him. However, his legacy will be carried forth in the future generations as an artist who broke the status quo and made a legacy in the midst of the political crisis, cultural change, and wars. Through his Holy Trinity icon painting, he will be known as the ancestor of the first style of painting that became accepted and incorporated in the church. He will remain the hero of the passionate artists who want to break through in the art industry. Furthermore, a commemoration ceremony is held to honour him by the Russian Orthodox Church on the fourth of every July. The Episcopal Church in the United States of America holds the same ceremony on January 29 annually. The history of the church in Russia will forever incorporate the work of Andrew. Above all, the museum in Andronikov Monastery is a physical proof of the work of Andrew Rublev. List of figures The Holy Trinity. http://www.visual-arts-cork.com/old-masters/andrei-rublev.htm Bibliography Angold, Michael, ed. The Cambridge History of Christianity: Volume 5, Eastern Christianity. Cambridge University Press, 2006. Bunge, Gabriel. The Rublev Trinity: The Icon of the Trinity by the Monk-painter Andrei Rublev. St. Vladimirs Seminary Press, 2007. Haney, Jack V. "The revival of interest in the Russian past in the Soviet Union." Slavic Review (1973): 1-16. Hughes, Lindsay. "Art and Liturgy in Russia: Rublev and His Successors." (2006): 276-301. Meyendorff, John. "The Legacy of Beauty: Liturgy, Art and Spirituality in Russia." Gates of Mystery: The art of Holy Russia, ed. Roderick Grierson,(Fort Worth: InterCultura, 1992) 39. Olsufiev, Yoori A. "The Development of Russian Icon Painting from the Twelfth to the Nineteenth Century." Art Bulletin (1930): 347-373. Popova, Olga. "Medieval Russian Painting and Byzantium." Gates of Mystery: The art of Holy Russia, ed. Roderick Grierson,(Fort Worth: InterCultura, 1992) 48. Russian Orthodox Church. “Andrei Rublev’s Icon of the Holy Trinity” (Online). (2000). Retrived from http://www.holy-transfiguration.org/library_en/lord_trinity_rublev.html [Accessed: 22nd April 2015] Russianpedia. Prominent Russians: Andrey Rublev (Online). Retrived from http://russiapedia.rt.com/prominent-russians/art/andrei-rublev/ [Accessed: 22nd April 2015] Smirnova, Engelina. "The Schools of Medieval Russian Painting." Gates of Mystery: The art of Holy Russia, ed. Roderick Grierson (Fort Worth: InterCultura, 1992) 66. Read More