![]() ![]() Then it was repeatedly overlaid with gold.Īt the turn of the 19th and 20th centuries, Russian icon painting was "discovered" as an art. Since 1575, the icon has occupied the main place in the "local" row of the iconostasis of the Trinity Cathedral of the Trinity-Sergius Lavra. For the first time, it is mentioned in the decree of the Stoglav Cathedral (1551), where it is recognized as complying with the church canons. It is noteworthy that neither the life of Sergius nor the life of Nikon says a word about the "Holy Trinity". The question of exactly when this could have happened remains open. The icon painters had to paint the temple with frescoes, as well as create a multi-tiered iconostasis. He invited the artel of Andrei Rublev and Daniil Cherny to complete the decoration of the newly built Trinity Cathedral. The version with which most researchers agree today is that the icon was made in praise of Sergius of Radonezh by order of his student and successor, Abbot Nikon. Who ordered Trinity to Rublev? There is no exact answer. In the background are the house (the chambers of Abraham), the tree (in Rublev's interpretation, the tree of life, which God planted in Eden) and the mountain (a prototype of Golgotha, which Jesus is destined to ascend). This bowl is the semantic center of the icon. The Trinity sits at a table, on which a chalice with the head of a calf is a symbol of Christ's suffering, to which he will go to atone for the sins of mankind. Rublev depicted an Old Testament plot with a distortion of the canon His green cape (himation) speaks of a dual nature (human and divine). ![]() The Holy Spirit, answering God the Father, points to God the Son. At the same time, he blesses the cup, bringing two fingers to it. He is turned towards the Holy Spirit, to whom, as it were, he asks the question of who will go to the atoning sacrifice. As the first among equals, he wears the signs of power: purple robes with a gold stripe over his shoulder. Each has a scepter (a symbol of power) and azure robes (a sign of an unearthly essence). The angels are arranged so that the lines of their figures form a closed circle. We see neither Abraham nor his wife Sarah, but only the Trinity. Medieval icon painters necessarily depicted all the participants in the parable. The idea that in the image of angels the single essence of the tri-hypostatic god - the Holy Trinity - was revealed to Abraham - was established by the 9th-10th centuries. Then two angels went to punish the inhabitants of Sodom, and the third angel stayed with Abraham. They told Abraham that in a year a son would be born to him, from whom the Jewish people would go. According to the original, the forefather Abraham met three mysterious wanderers near the oak forest of Mamre, who would later be called angels. All of these issues turn on the central mystery of the inter-connectedness and inter-permeating of the human and divine, of the created, the creating, and the uncreated.The icon is written according to the Old Testament theme "The Hospitality of Abraham". ![]() Focusing primarily on three of his films (Andrei Rublev, 1966, Solaris, 1972, and Stalker, 1979), 1) we sketch the interrelations between verticality, vocational call, transcendence, and creativity 2) we explore the meaning of interpersonal relations and loving in relation to any genuine form of (self) transcendence 3) we point out the problem of reductionist approaches to reality and underscore the irreducibility of a personal being 4) we uncover the essential structures of vocations in relation to the primordial calling that we understand as loving 5) we open up the question of the radical transformative force of affliction that may allow new spiritual depths of a personal life to unfold. In this article, we venture to expose philosophical themes of the human being's spiritual search for meaning, personal individuation, and vocation in selected films of the Russian filmmaker, Andrei A. ![]()
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