The Solemnity of the Most Holy Trinity
Saint Andrew Rublev Icon of the Holy Trinity
These series of icons shown above form the background for the development of one the most famous icons of the Trinity by the Russian iconographer Saint Andrew Rublev. There was no fixed form for the Trinity at the time of Rublev in the 15th century. This left painters freedom in their interpretation. He was aware of the transition from Christ centered icons of the Trinity toward a more theologically correct trinitarian view.
Saint Andrew introduced definite changes to the pattern that immediately preceded him. The central angel no longer looks at the beholder but at an angle to the left. The angel on the left and the right cross each other so the center of gravity moves from the central angel to one on the left. The angels are of equal size. He gives the central angel clothing characteristic of Christ and makes the clothing of the other two unique. The hand are no longer pointing to objects on the table which is smaller and there is now room only for a chalice in its middle containing the sacrificial lamb. Their gestures do not relate to food as in earlier icons but to one another. They represent three separate distinct persons who are in intimate relation with each other.
The angel on the left is clothed in a pale pink cloak with brown and blue-green highlights. The one in the center is clothed in the customary colors of Christ. A dark red robe and blue cloak. The one on the right has a green cloak. The clear and precise colors of the central angel are contrasted with the soft hues of the other two. The colors seem to blend and harmonize unifying the three figures giving them a tranquil joyfulness. Just as in so many other icons, gold indicates the value of the image and draws us into the Kingdom of Heaven. It is as if the entire scene were suffused with light. Fitting because of the subject – no less than God himself – the same God who dwells in light unapproachable, the same God who dwells in the Kingdom of Heaven.
The table no longer looks like a dinning table but is a cube clearly recognizable as an altar with an opening for the relics. The hosts Abraham and Sarah are no longer in the picture.
He uses the biblical background but relates it to the three figures. The angel on the left is coordinated with the house, the one in the middle with a tree and the one on the right with a rock. These relationships become symbolic.
Over the head of the Father who is on the left is the house of the Father. It is the goal of our journey. It is the beginning and end of our lives. Its roof is golden. Its door is always open for the traveler. It has a tower, and its window is always open so that the Father can incessantly scan the roads for a glimpse of a returning prodigal.
He is vested in a blue undergarment which depicts his divine celestial nature. His fatherly authority is seen in his entire appearance. His head is not bowed and he is looking at the other two angels. His whole demeanor - the expression on his face, the placement of his hands, the way he is sitting - all speaks of his fatherly dignity.
Behind the center angle who symbolizes Christ is a great tree that spreads its shade in heat of the day. It is no ordinary tree. It stands above the Son in the picture, and stands above the altar-table where the lamb lies within the chalice. Because of the sacrifice this tree grows. The tree of death has been transformed into a tree of life for us.
The Son has the deepest colors; a thick heavy garment of the reddish-brown of blood earth and a cloak of the blue of heaven. In his person he unites heaven and earth, the two natures are present in him, and over his right shoulder (the Government shall be upon his shoulder) there is a band of gold shot through the earthly garment, as his divinity suffuses and transfigures his earthly being. He is inclined towards the first angel, as though deep in conversation.
The angel on the right symbolizes the Holy Spirit. His green mantle of the Spirit, scintillating with light, is another of Rublev’s achievements. Green belongs to the Spirit because the Spirit is the source of life. On the Feast of Pentecost, Eastern Orthodox churches are decorated with greenery, boughs and branches, and worshipers will wear green clothing. The Orthodox prayer to the Holy Spirit begins, "O Heavenly King, Comforter, the Spirit of Truth, Who art everywhere present and fillest all things, Treasury of blessings and Giver of Life…"
This sense of the Spirit as the source of life, everywhere present, filling all things, contributes to one of the distinct features of Orthodox theology. That is, it is intimately bound up with daily life.
This icon is appreciated for its simplicity. Saint Andrew was successful at advancing the iconographic tradition of the Church adding depth and bringing greater clarity to a doctrine that is forever mystically clothed.
Saint Andrew introduced definite changes to the pattern that immediately preceded him. The central angel no longer looks at the beholder but at an angle to the left. The angel on the left and the right cross each other so the center of gravity moves from the central angel to one on the left. The angels are of equal size. He gives the central angel clothing characteristic of Christ and makes the clothing of the other two unique. The hand are no longer pointing to objects on the table which is smaller and there is now room only for a chalice in its middle containing the sacrificial lamb. Their gestures do not relate to food as in earlier icons but to one another. They represent three separate distinct persons who are in intimate relation with each other.
The angel on the left is clothed in a pale pink cloak with brown and blue-green highlights. The one in the center is clothed in the customary colors of Christ. A dark red robe and blue cloak. The one on the right has a green cloak. The clear and precise colors of the central angel are contrasted with the soft hues of the other two. The colors seem to blend and harmonize unifying the three figures giving them a tranquil joyfulness. Just as in so many other icons, gold indicates the value of the image and draws us into the Kingdom of Heaven. It is as if the entire scene were suffused with light. Fitting because of the subject – no less than God himself – the same God who dwells in light unapproachable, the same God who dwells in the Kingdom of Heaven.
The table no longer looks like a dinning table but is a cube clearly recognizable as an altar with an opening for the relics. The hosts Abraham and Sarah are no longer in the picture.
He uses the biblical background but relates it to the three figures. The angel on the left is coordinated with the house, the one in the middle with a tree and the one on the right with a rock. These relationships become symbolic.
Over the head of the Father who is on the left is the house of the Father. It is the goal of our journey. It is the beginning and end of our lives. Its roof is golden. Its door is always open for the traveler. It has a tower, and its window is always open so that the Father can incessantly scan the roads for a glimpse of a returning prodigal.
He is vested in a blue undergarment which depicts his divine celestial nature. His fatherly authority is seen in his entire appearance. His head is not bowed and he is looking at the other two angels. His whole demeanor - the expression on his face, the placement of his hands, the way he is sitting - all speaks of his fatherly dignity.
Behind the center angle who symbolizes Christ is a great tree that spreads its shade in heat of the day. It is no ordinary tree. It stands above the Son in the picture, and stands above the altar-table where the lamb lies within the chalice. Because of the sacrifice this tree grows. The tree of death has been transformed into a tree of life for us.
The Son has the deepest colors; a thick heavy garment of the reddish-brown of blood earth and a cloak of the blue of heaven. In his person he unites heaven and earth, the two natures are present in him, and over his right shoulder (the Government shall be upon his shoulder) there is a band of gold shot through the earthly garment, as his divinity suffuses and transfigures his earthly being. He is inclined towards the first angel, as though deep in conversation.
The angel on the right symbolizes the Holy Spirit. His green mantle of the Spirit, scintillating with light, is another of Rublev’s achievements. Green belongs to the Spirit because the Spirit is the source of life. On the Feast of Pentecost, Eastern Orthodox churches are decorated with greenery, boughs and branches, and worshipers will wear green clothing. The Orthodox prayer to the Holy Spirit begins, "O Heavenly King, Comforter, the Spirit of Truth, Who art everywhere present and fillest all things, Treasury of blessings and Giver of Life…"
This sense of the Spirit as the source of life, everywhere present, filling all things, contributes to one of the distinct features of Orthodox theology. That is, it is intimately bound up with daily life.
This icon is appreciated for its simplicity. Saint Andrew was successful at advancing the iconographic tradition of the Church adding depth and bringing greater clarity to a doctrine that is forever mystically clothed.