A new icon could be painted over the darkened layer. On 20 April 1920 the Council of People's Commissars issued a decree called About the Conversion of the Historical and Artistic Valuables of the Trinity Lavra of St. Sergius into a Museum (Russian: Об обращении в музей историко-художественных ценностей Троице-Сергиевой лавры). The crack became noticeable in 1931 and was partially fixed in the spring of 1931. <>/ExtGState<>/XObject<>/ProcSet[/PDF/Text/ImageB/ImageC/ImageI] >>/MediaBox[ 0 0 612 792] /Contents 4 0 R/Group<>/Tabs/S/StructParents 0>> At the time of Rublev, the Holy Trinity was the embodiment of spiritual unity, peace, harmony, mutual love and humility.[6].
[29] Viktor Lazarev compared it to the works of Piero della Francesca.
The sacrifice of the calf signifies the Saviours death on the cross, while its preparation as food symbolizes the sacrament of the Eucharist. All three angels are blessing the chalice, in which lies a sacrificed calf, prepared for eating. [1] Valentin Yanin said: "The Trinity is an outstanding work of art, a national patrimony, which should be available to people of all beliefs regardless of their religion.
The cleaning of The Trinity could theoretically reveal a perfect example of his style and help with the examination of the other icons that were attributed to him on the basis of legends or common belief.[17]. It contains a lot of semi-legendary stories, including a mention that Nikon of Radonezh, the pupil of Sergius of Radonezh, asked Andrei Rublev "to paint the image of the Holy Trinity to honour the father Sergius". Глава VI. The committee of restorers of the Tretyakov Gallery deliberated at length on various suggestions of how to further strengthen the icon, and on 10 November 2008 the committee concluded that the present, stable condition of the icon is not to be interfered with in any circumstance. [32], At the beginning of the 20th century many icons were cleaned one by one, and many of them turned out to be masterpieces. It was kept in the. He blesses the cup, yet his hand is painted in a distance, as if he passes the cup to the central angel. Icons were taken out of the rizas that used to cover them almost completely except for faces and hands and then cleaned. By the summer of 1931 the progress of narrowing the gap via exposure to the humidity ceased.
[21] On the other hand, The Trinity demonstrates firmness and perfection which was unmatched even by the best of Trinity Cathedral's icons painted between 1425 and 1427. (Насонов А. Н. Новые источники по истории Казанского «взятия».
Nevertheless, art critics, taking into account the style of the icon, do not consider the matter resolved. The only person who supported the move was the director of the Gallery. It was temporarily moved to the Novosibirsk Opera and Ballet Theatre in Novosibirsk.
[20] But neither Life of St. Sergius, the hagiographical account of his life, nor Life of St. Nikon mention The Trinity icon, it is only written the decoration of the Cathedral in 1425–1427. The Church specifically chose this particular icon because it most fully expresses the dogma of the Holy Trinity: the three angels are depicted in equal dignity, symbolizing the triunity and equality of all three Persons. [27] The Trinity is still generally accepted as his work. Наше наследие 4 (1988): 25–26. By the Orthodox church tradition, the consecrated copy of an icon and the original (also called the protograph) are completely interchangeable.[1]. The blue colour of the Holy Spirit's robe symbolizes divinity, the green colour represents new life.
It was carried out by I. Suslov, V. Tyulin, and G. Chirikov. The Trinity was further renewed in 1777 at the times of the Metropolitan Platon, when the whole iconostasis was remade. ... the icon painter [has] to paint icons from the ancient examples, as did the Greek icon painters, and as did Ondrei [sic] Rublev and other predecessors...(Russian: Писати иконописцем иконы с древних переводов, како греческие иконописцы писали, и как писал Ондрей Рублев и прочие пресловущие иконописцы...), It is evident from this text that participants of the Stoglavy Synod were aware of some Trinity icon which had been created by Andrei Rublev and which, in their opinion, corresponded with every church canon and could be taken as a model example.[17][18]. It took the main place (to the right of the royal doors) in the bottom tier of the iconostasis. It hints at the crucifixion sacrifice and serves as the reminder of the Eucharist (the left and the right angels' figures make a silhouette that resembles a cup). In Andrei Rublevs icon, the persons of the Holy Trinity are shown in the order in which they are confessed in the Credo.
Igor Grabar dated The Trinity 1408–1425, Yulia Lebedeva suggested 1422–1423, Valentina Antonova suggested 1420–1427.
Instead, before making attempts at understanding the Trinity, we should desire the Trinity.In the words of Oliver Clément: “God is absolute beauty because he is absolute personal existence. "современные визуально-коммуникационные средства в преподавании теории и истории изобразительного искусства [Электронный ресурс]." In the 18th century the gilded silver stamped angel attires were added. It is the foundation of the composition. 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. Педагогика искусства: электрон. Gabriel Bunge, "The Rublev Trinity: The Icon of the Trinity by the Monk-Painter Andrei Rublev", Crestwood, NY, St. Vladimir's Seminary Press, 2007.
According to Trinity Lavra of St. Sergius records as of 1575, the icon was "covered with gold" at the order of Ivan the Terrible, i.e. The first angel is the first person of the Trinity - God the Father; the second, middle angel is God the Son; the third angel is God the Holy Spirit. He theorized that all previous scholars after the famous historian Alexander Gorsky made the wrong assumption that Ivan the Terrible only "covered with gold" the icon that had already been kept at the Trinity Lavra.
Dmitry Aynalov,[28] Nikolai Sychyov and then Nikolay Punin all compared The Trinity to the works of Giotto and Duccio. Y. Malkov summed up: Only the painting's exposure in 1918 can be called "a restoration" in the modern scientific meaning of this word (and even that cannot be said without some reservations); all previous works on The Trinity were, in fact, only "renewals", including the "restoration" that took place in 1904—1905 under the guidance of V. P. Guryanov... No doubt, the restorers consciously tried to strengthen all the graphic and linear structure of the icon, with rough augmentation of the figures' contours, clothes, halos. The prototype for this icon was the mysterious appearance of the Holy Trinity in the form of three travelers to Abraham and Sarah under the oak of Mamre. In 1915 Nikolai Sychyov pointed out that his restoration actually hid the work of art from us. It is sometimes called the icon of the Old Testament Trinity. 105—134. The elegance of his angels, the inclined heads motive, the rectangular shape of the meal were derived exactly from there".[8]. This icon is a masterpiece of ancient Russian iconography, and it is not surprising that the Church established it as the model for depicting the Trinity. The gap between the boards closed almost completely in 1–5 months.
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