Painting by Rublev “Trinity”
The “Trinity” of Andrei Rublev was the fruit of a genuine and happy inspiration – the inspiration of the artist who, with all his impulses, embodied all the heat of his heart in beautiful colors and lines. All that the learned of the Byzantines were so hard to express in their works, stood before his eyes as alive, was close, tangible, expressible in art.
He himself experienced happy moments of high artistic contemplation. Those close to him could not understand what he found in the ancient icons, the works of his predecessors, why he did not bow before them, did not whisper prayers, but, looking at their marvelous forms, spent hours in their spare hours before them. To this high contemplation of the beautiful calls Rublev his “Trinity,” and contemplation in every image of his creation reveals the inexhaustible depths.
A famous masterpiece was created by the master in the years of his greatest creative maturity. But the highest inspiration
Sensitivity to particulars is combined with a sense of their conjugation with the whole, with the main theme of the whole creation. Whatever we look at, everywhere we find the echoes of the basic circular melody, the correspondence of the lines, the rhythmic repetitions, the musical accord of the forms. Everything, down to the smallest details, forms a symphonic richness of linear and picturesque relationships, inexpressible in words, but invariably charming. Paints are one of the main charms of the “Trinity”.
Rublev was a wonderful colorist. Miniatures of the “Gospel” Khitrovo say that he possessed the art of gentle radiant tones. In the icons of the Zvenigorod cycle, pink and blue colors – light, delicate
In the “Trinity”, the master set the task, that the paints would sound in full force, so that the colorful harmony became saturated and dense. He extracted lapis lazuli, the most precious and highly esteemed paint from old masters, and, having collected all its color power, without mixing it with other colors, threw a bright blue spot into the very center of the icon. The blue cloak of the average young man charms the eye like a precious gem, and communicates to everyone a calm, clear joy. Truly such a pure color could be affirmed only by a person with a pure heart, cheerfully looking at life.
But Rublev did not dwell on the affirmation of a single color, beautiful in itself. He sought to create in his icon a rich color consonance. That’s why, next to the radiant “cabbage,” as the old Russian people said, the deep cherry tone and the sunny gold of the ocher gaze in the eyes. Perhaps, in the ringing chord of these pure colors, an indirect reflection of the impression of a clear Russian summer day – a golden sowing field with bright blue flashes of cornflowers – was found.
But the direct sensation of colors of the native nature had to pass through the crucible of creative transformation in order to pour out a harmonious melody.
Rublev’s “Trinity” is marked with a seal of youthful freshness and purity. This is the imprint of the youth of Russian culture, its awakening spring. We do not know exactly the time of the origin of the “Trinity”, but it must be borne out in the result of the artist’s many years of unremitting works and means the peak of his searches.
Andrei Rublev worked with great zeal and humility, not claiming the gratitude of contemporaries, without thinking about the glory of subsequent generations. But six centuries later, the world-historical significance of his accomplishments stands before us in all its grandeur.
My heart freezes when I look at the creation of Rublev. It seems to me that I am becoming a participant in this conversation without words, where everything is clear.
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