The Trinity image by Andrei Rublev is the most famous and mysterious image of God in the history of Orthodox iconography. Who, besides St. Andrew, was involved in the creation of the icon? What do the symbols behind the backs of the angels and the window in the throne mean? For whom is the fourth place left behind the throne, and how can one “communicate” with this icon? The head of the Department of Christian Culture at the Biblical Theological Institute of St. Apostle Andrew (BBI) and teacher of the Kolomna Theological Seminary, Irina Konstantinovna Yazykova.

How did you first meet Rublev's Trinity? Maybe you have impressions, feelings from this meeting in your memory?

I met Trinity when I was a student. I graduated from Moscow State University, where I studied art history. From the very beginning, I understood that I wanted to specialize in icon painting. My grandmother was a believer, therefore, since childhood, icons have generally attracted me, like a window into a mysterious world. I sensed a secret behind them. Of course, the university gave me the opportunity to understand this professionally, but the very phenomenon of the icon, as a window to the divine world, remained closed to me, despite the whole complex of my scientific knowledge.

The Trinity icon is one of the most mysterious. It is difficult for me to fix any specific moment of the “meeting”. However, when I began to deal specifically with the theology of the icon, and I was always interested not only in the artistic side, but also in the theological meaning hidden in the image, then the "Trinity" was, of course, in the center of my attention. I discovered in this image a whole theological well, I saw in it a prayer embodied in colors, a whole theological treatise on the Holy Trinity. No one, perhaps, spoke more deeply about the mystery of the Divine Trinity in the way that Andrey Rublev "said".

It is known that icon painting is a conciliar art. We love to repeat this beautiful phrase, but what does it mean? Rublev's "Trinity" best of all reveals its meaning. The chronicle says that in "the memory and praise of St. Sergius" - I almost literally quote the text - "... hegumen Nikon of Radonezh ordered Andrei Rublev to write the image of the Trinity." So three people directly participated in the creation of this icon.

The first to be mentioned is St. Sergius of Radonezh, who had already died by the time the icon was painted. But during his lifetime he created a special in its depth doctrine of the Holy Trinity, not different from the church, of course, but deeply understood. On it, on its mystical experience, the Trinity-Sergius Lavra was founded. The chronicle and the life of the monk conveyed to us the main testament of St. Sergius: "By looking at the Holy Trinity, overcome the hated strife of this world." We remember when this icon was created - in the years Tatar-Mongol yoke, "peace", as the chroniclers wrote then, when hatred reigned between people, the princes betrayed and killed each other. It was during these terrible days that St. Sergius placed the Holy Trinity at the forefront, as an image of love, which alone can defeat the enmity of this world.

The second person was Nikon of Radonezh. A disciple of St. Sergius, who became abbot of the Trinity Monastery after his death. He built the Trinity Cathedral, where he transferred the relics of St. Sergius. Nikon decided to perpetuate the name of his teacher not through his icon, but through the image of the Holy Trinity. What Sergius of Radonezh taught, what he turned to and in the image of which he founded his monastery, had to find its embodiment in the icon.

The third figure was the Monk Andrei Rublev himself, who, as an artist, fulfilled the testament of Sergius of Radonezh. His image of the "Trinity" is a teaching about love, about the depth of the unity of the spirit and harmony, written down in colors.

And when I began to understand how this icon was painted, what meanings it contained, a whole world opened up for me. We are not able to cognize Christian dogmas with our minds, we cannot describe how the Holy Trinity works - this great mystery. But Andrei Rublev revealed this secret to me personally. This is a “conversation of Angels”, who listen to each other, sit at the same table around the bowl, which the Angel blesses in the middle ... Every gesture, turn of the head, every detail is verified, extremely deep. The icon "Trinity" makes it possible to stand before God himself, to see the invisible, even if it eludes our mind.

Any person who comes to this icon may not solve his everyday problems, but something will open to him that exceeds himself, instilling peace, harmony, love.

Therefore, I cannot point to any particular moment in my communication with Rublev's Trinity. This has been with me for almost my entire adult life. Being engaged in iconography, theology of the icon, I always discover something new in this icon.

What is new in this depiction of the Holy Trinity that was not there before? What is the “breakthrough” of this icon and why was it destined to become canonical? After all, this image has become the property of not only the Russian theological tradition and culture, but also world art. What is this discovery?

The novelty of the icon, first of all, is that Rublev focused all his attention precisely on the three Angels. Before him, they mainly depicted “the hospitality of Abraham” - the plot of the 18th chapter of the book of Genesis, when three Angels came to Abraham's house. “He lifted up his eyes and looked, and behold, three men stood opposite him. Seeing, he ran to meet them from the entrance to the tent and bowed down to the ground ... ”(Book of Genesis 18: 2). Based on the narrative of this chapter, it becomes clear that God himself appeared to Abraham. Although there is no unity either among the holy fathers or among icon painters in the interpretation of this plot. Someone claimed that the Holy Trinity appeared before Abraham then. And the icon painters depicted three Angels in the same clothes, indicating their unity and equality to each other. Other theologians spoke of the appearance of God accompanied by two angels. Then one of them was depicted in the clothes of Christ.

Andrey Rublev, eliminating the everyday details of the plot - Sarah and Abraham, the servant who slaughters the calf, that is, everything that the icon painters wrote before him - introduces us to a direct contemplation of the mystery of the Trinity itself. In general, this icon is interesting because it is multifaceted - it can be read in different ways several times: and as the appearance of Christ - because the middle Angel is depicted in the clothes of the Savior. It can also be read as an image of the Trinity - all three Angels are written with almost the same faces. But before us is not an illustration of God. This icon, as in a theological treatise, reveals what the holy fathers called the "Trinity in Unity" - one God in three Persons or Hypostases. The image also reflects the liturgical aspect. The silhouettes of two Angels sitting on the sides form a cup. And on the throne in the middle stands a cup - a symbol of the Eucharist, the Sacrifice of Christ.

There is another interesting detail on the icon. If you look closely at the throne, you can see a window in it. You know, when you take a tour of the Tretyakov Gallery, it culminates in the Rublevsky Hall, the heart of which is Trinity. In general, this hall clearly demonstrates how iconography rises in spiritual sense higher and higher until it reaches its peak in the Rublev icon, and then, unfortunately, a gradual decline begins. So usually people, looking at this image, ask: “What is this window?” It is not accidental. I must warn you right away - an incredible amount of literature has been written about the Trinity, in which a wide variety of comments and interpretations are presented. So, one of the researchers writes the following about this window. In any throne that is in the altar of the temple, there are always the relics of saints. But they are not on the altar on the icon. There is the Sacrifice of Christ, which is symbolically depicted in the form of a cup that stands on the throne, but there is no human answer to the height of this sacrifice. What kind of answer is this? This is the feat of martyrs, saints, saints - all saints. Therefore, this window, as it were, conveys God's question: "And what will you answer to the sacrifice of Christ's love?" I really like this interpretation. I think Andrei Rublev could think like that.

Another symbolic layer is associated with the images that stand behind each of the Angels. A tree is depicted behind the middle Angel. This is the tree of life, which, as the Holy Scripture says, the Lord planted in Paradise. Behind the Angel to our left are the chambers, a symbol of divine economy, an image of the Church. Behind the Angel on the right - usually associated with the Holy Spirit - is a mountain. It symbolizes the ascent to the mountainous (spiritual) world. These symbols are directly tied to the Angels and are richer in meaning than in any other icons.

In general, icons always have these three symbols: not Live nature(mountains), wildlife (trees), and architecture. But in the "Trinity" they are directly tied to each Angel. Andrei Rublev clearly wanted to reveal the relationship of the Angels in this way and the characteristics of each of them.

- Is there a single interpretation of which of the Angels symbolizes God the Father, which God the Son and the Holy Spirit?

This question - extremely difficult for researchers - is often asked. They answer it differently. Someone says that Christ is depicted in the center, the Father is to the right of Him, and the Holy Spirit is to the left. There is an interpretation that the Father is in the center, but since we cannot see him directly, then, relying on the words of the Savior “he who has seen Me has seen the Father”, He is depicted in the clothes of Christ, and the Son sits to His right. There are a lot of interpretations.

But this, perhaps, is not the most important thing, oddly enough, in this icon. The Stoglavy Cathedral (1551) approved the icon of Andrei Rublev as canonical, emphasizing that this is not an image of Divine Persons, but an image of the Divine Trinity. Therefore, the Council forbade the inscription of Angels, thus cutting off any possibility of definitively indicating who is who. Also for this image it was forbidden to depict the so-called "crossed halo" - an iconographic technique that points to Christ.

It is interesting that Rublev's "Trinity" has another name - "Eternal Council". It opens the other side of the icon. What is "Eternal Council"? This is a mysterious communication within the Holy Trinity about the salvation of mankind - God the Father, with the voluntary consent of God the Son, sends Him into the world for the sake of saving people.

Do you see how many theological layers are hidden in the icon? This image is the most complex theological text. The icon itself is closer to a book than to a painting. It does not illustrate, but symbolically points to something hidden and secret.

However, the artistic aspect of this icon is incredibly high. The fact that the "Trinity" is ranked among the greatest masterpieces of world art is not accidental. At the beginning of the 20th century, the restorer Vasily Guryanov found a way to remove a layer of drying oil from darkened icons. In 1904, he cleared a small fragment of the image of clothes on the Trinity, and everyone saw the amazing, piercing blue color of Rublev. People gasped, and an army of pilgrims rushed to the icon. The monks were afraid ancient image can spoil, they closed the icon with a salary and forbade further work with it. The process started then was completed only in 1918, unfortunately, when the Lavra was already closed. Then a very good restoration team worked there under the leadership of Igor Emmanuilovich Grabar. When they opened the icon completely, they saw amazing, simply heavenly colors: piercing blue, gold and dark red, almost cherry. In some places there was still a pinkish tint, and greenery showed through on the clothes. These are the colors of Paradise. The icon, through its artistic perfection, reveals Eden to us. What is Ray? This is the existence of the Holy Trinity, God. Where is the Lord calling us? Not to spiritual comfort, but to where there will be the unity of man and God. Just look at the icon: three angels are sitting. They occupy three sides of the quadrangular throne, but the fourth side is free ... It seems to attract us. This is the place left for Abraham, who was then visited by the Holy Trinity, and the place left for each of us.

- And the one who approaches the icon as if becomes the fourth?

Yes. The icon, as it were, includes its contemplator. On this icon, by the way, it is easiest to demonstrate the famous iconographic principle of reverse perspective. If the lines of the foot of the throne are extended, then they descend where the person stands. And inside the icon itself, these lines diverge, revealing eternity before our eyes.

Now you understand why this icon stands alone among the greatest masterpieces of ancient Russian painting? Everything is concentrated in it: both theological depth, and artistic perfection, and the focus on a person - a dialogue with him. After all, icons are different: there are very closed ones, which are difficult to approach, and there are icons that, on the contrary, attract: Rublev painted the Zvenigorod Savior icon - it is impossible to break away from him. I would stand all my life and look at Him. But the Trinity is golden mean harmony and perfection.

Can professional researchers tell us something about the very process of painting this icon? Perhaps we know how Rublev prepared for it, how he fasted, what happened to him while he was writing it?

Medieval documents hardly mention this. There is only a mention of the customer (Reverend Nikon of Radonezh) and that's it. Nothing more is said about this icon, but we can indirectly reconstruct something. For example, it is known that Rublev was a monk. So he led a life of prayer. Maybe he even took some kind of vow before starting to write the Trinity, but we can’t say anything for sure. Medieval chronicles and documents of that era are extremely stingy with such information. This began to interest people already in the New Age.

Rublev was from a galaxy of disciples of St. Sergius. And it is known about them that they were real ascetics, which means that with a high degree of probability we can say that Rublev was the same. The documents of those times mention many different icon painters. Everyone knows Theophan the Greek - he, by the way, worked together with Andrei Rublev in the Annunciation Cathedral. Someone may remember Daniil Cherny, with whom Rublev worked in Vladimir. There are also less famous names: Isaiah Grechin, Prokhor from Gorodets. However, it was Andrei Rublev who was chosen to paint such an important icon. Such difficult topic could only trust a person who was congenial to her. Only he can understand its depth and depict it.

But that, unfortunately, is all we can say.

- It turns out that the image of Rublev in Tarkovsky's film is, for the most part, his personal director's view?

Of course. Tarkovsky's film is very good, but it's more about a man who finds himself in a very difficult era. In my opinion, the question of the film is this: how can a Christian, especially a monk, survive in a cauldron scary story where people kill each other, burn cities, where ruin, filth, poverty are everywhere? And suddenly - "when would you know from what rubbish poetry grows!" That is, from what terrible dirt, the deepest human tragedy, great works of art grow. It is clear that Tarkovsky was not going to create a real, historical image of Rublev. He is more interested in an artist who opposes evil with the depth of art, which testifies that there is something else in the world that stands above its horror. Therefore, this film should first of all be considered not as a strict historical picture, but as an attempt by one artist to understand another. Military exploits have no meaning if there is no purification behind them. human soul. Therefore, St. Sergius began not with politics, not with war, but with the purification and education of people. And in this sense, the icon is an important artifact that opposes the darkness of the era. The very fact of writing it is a feat.

- Father Pavel Florensky in the book "Iconostasis" has an interesting idea that Rublev's "Trinity" is the only, most convincing proof of the existence of God.

Yes. He even said more deeply: "If there is Rublev's Trinity, then there is God."

- And how to understand this phrase?

For modern man it sounds strange, but looking at this icon, we understand that this is a Revelation that exceeds all our ideas. This cannot be imagined. This is not a fantasy. So behind this image is some other reality - divine. A person who lives by faith in God, who painted such an icon, could not devote his whole life to hallucinations.

In the life of Andrei Rublev there is one interesting remark. When he and Daniil Cherny worked together, they sat for a long time and simply contemplated the icons. They did not write, did not pray, but simply looked, as if they were in front of the icons, eating from them. They wanted to hear the voice of God, to see divine images, which they could then embody in colors. Of course, Father Pavel Florensky, through this thought, pointed out that a self-sufficient reality opens up behind the Trinity. Her man is incapable of inventing.

Why has Andrei Rublev not been mentioned anywhere in the holy calendar for five hundred years, and officially Russian Orthodox Church Was he canonized only at the end of the last century?

To be more precise, in 1988, at the Local Council in connection with the millennium of the Baptism of Russia. In fact, Andrei Rublev has always been revered as a saint in the Trinity-Sergius Lavra. Even icons have been preserved where he is depicted among other Lavra saints. It was always clear to the monks of the Lavra that he was a saint. There was even a legend of the 17th century about the great icon-painting saints, where his name is mentioned. In antiquity, before the so-called Makarievsky cathedrals of the 16th century, there was no fixed list of saints. There were a lot of locally venerated people who were known in one city and not in another. Later, Metropolitan Macarius tried to gather together all the revered saints and include them in one list.

Saint Andrei Rublev was already obvious to his contemporaries. But why he was officially canonized only in the 20th century is understandable. The Council of 1988 canonized those who were already revered by believers. The cathedral only seemed to recognize their holiness officially. It was a kind of "pre-canonization". Just look who was glorified along with Andrei Rublev: Elizaveta Feodorovna, Xenia of Petersburg, Ambrose Optinsky, Ignatiy Brianchaninov. That is, the Council simply stated their veneration and included them in the "saints".

Turning to the history of the Trinity icon itself, do you know about the meetings? famous people with this icon? Maybe they left their impressions, experiences from her? Maybe there is some important historical event that was associated with this image? It can be said that it lies at the heart of our culture - I want to believe in it, at least ...

Of course have. I read poems that were dedicated to this image. It is impossible, of course, not to recall Tarkovsky. When he conceived his film "Andrei Rublev", he admitted that he had very vague ideas about him. The employees of the Andrei Rublev Museum told me that one day he came to them and simply began to consult, as with experts in ancient Russian art and in general of that era. Then a copy of the "Trinity" was exhibited in the museum. He stood for a long time contemplating her. After this meeting, he had an inner spiritual turn, without which he would not have been able to create a film of this level.

The story of the discovery of the icon at the beginning of the 20th century, which I mentioned, is also very typical. People rushed to look at the emerging beauty that shone from under this black mass. Just imagine: in front of you is a darkened icon - and suddenly a small piece opens up and a blue sky seems to be peeking out from there.

There is another very interesting case. It is known that Protestants in general have a very negative attitude towards icons. They think it's idolatry and so on. But back in the 90s. I was given a book by a Protestant German pastor who, upon seeing the Trinity, changed his attitude towards icons. He even wrote a whole book in which he tried to unravel this image, giving his interpretation. He realized that this was not an idol, that a different reality was indeed hidden behind the icons. The man is not even just a believer, but a theologian, a pastor, standing deeply in his position, after meeting with the "Trinity" has changed.

I know that in Soviet time this icon and many others led people to God. The church was then silent. Many temples were closed. Where was a man to hear living word about Christ, about the Church? People began to take an interest in icons, including the Trinity, and then they picked up the Holy Scriptures and other books and came to the Church. I personally know several people who, after meeting with the image of Rublev, came to faith in the Soviet era.

I remember once on Pentecost I came to the temple in the evening. In the center, on a lectern, lay the icon of the Trinity, naturally a copy of Rublev. And that's when I remember this meeting with her forever. There was a feeling that I was standing - and there was an abyss in front of me. I did not know where to go, what to do with this abyss. Nothing could be done. Only to stand on the very edge ... It was as if for a moment I was lit up by divine lightning. Perhaps you have your personal experience meetings, the experience of touching this icon, not as a professional, but as a believer?

How can I tell you? This is not a case .. rather the experience of experiencing this icon, very personal. Sometimes I write poetry. I heard the music and wrote about Trinity. Like she… sounds. Through these colors I heard music, which became my poem.

Most believers choose shrines of Jesus Christ and the Virgin Mary for home veneration. However, in Christianity there are other relics, designed to reveal to the Orthodox the visible face of God, His amazing and powerful essence. It belongs to them. The meaning of what the image helps in - you can learn all this from our article.

Theological meaning of the relic - what does "Holy Trinity" mean?

The dogma that the Lord is one in three persons is the essence of Orthodox teaching, but it is rather difficult to comprehend this position. Often Christians limit themselves to recognizing such mysteries as incomprehensible, but this does not help to cope with the inquisitiveness of the mind. And although faith is not expected to have logical difficulties - it rather helps to understand what a person is doing in this world, why he came here and what is the purpose of all his actions - those who sincerely seek God try to answer such questions.

Anyone who has at least once tried to understand the surrounding universe, people and himself knows how many mysteries and secrets the Universe keeps. This understatement is a bridge connecting the Creator and the world created by Him. And the closer, more carefully and attentively a Christian will look at such things, the more harmony, wisdom and beauty he will notice. Such regularities are too perfect to arise due to a simple coincidence of circumstances. Realizing this is the first step on the path to the Lord.

However, such insights are only the beginning of knowledge. Reading theological literature, listening to sermons, and, of course, contemplation of holy relics will allow you to move further. Through them, the masters convey to a person a part of heavenly existence, the postulate of unity and love, teach them to show moral firmness, spiritual stamina and moral purity. For example, having learned who is depicted on the icon of the Holy Trinity, you can delve deeper into the mystery of the Creed, feel joy, harmony and grace.

The Church Fathers believe that the two main properties of the Holy Trinity are fullness and love. Therefore, the Lord grants every Christian free will, without needing any of his good deeds nor in observance of rites and rituals. However, the Creator can and wants to embrace the human race with His kindness and mercy - for this He sacrificed His Only Begotten Son. And, although people cannot offer anything to God, they are able to feel their involvement in Him, responding with the same love and devotion.

Saint Ignatius Brianchaninov argues that the dogma of the unity of the Creator is best understood through comparison with human soul. So, looking at this photo - captured on it, poured out of Polissya amber in accordance with all Orthodox canons - you can imagine God the Father as mind, God the Son as thought and word, and God the Holy Spirit as the human spirit. If the mind, thoughts and spirit reside in people at the same time, then the three faces of the Lord can form one being without mixing with each other. But how he sang the Creator of St. Ioanniky: “My hope is the Father, my refuge is the Son, my protection is the Holy Spirit: Holy Trinity, glory to Thee!”.

Icon "Holy Trinity" - what does it protect from?

This image is unique in its iconography and symbolism. It allows you to appeal to the Primary Source of all things, to the powerful and perfect God, whose love and mercy protect the believer from any troubles, problems and troubles. The relic gives Christians special grace, giving them the strength to change spiritually, choose the righteous path, strengthen their faith, get rid of doubts, temptations and anxieties. In addition, she recalls that any person carries a piece of the Lord's mystery in himself - which means that he must be treated with love and respect. Understanding this is the main guarantee of the salvation of the soul, standing above any prayer exercises.

Both pleading and thanksgiving prayers are offered before this image. First, you should read an akathist dedicated to all three faces of the Creator, and then separate psalms and praises for God the Father, God the Son and God the Holy Spirit.

Where to hang the icon "Holy Trinity" in the house? It is best to place it in the eastern (“red”) corner, opposite the front door. Then the first glance of every household and guest will be turned to the divine faces, overshadowing Christians with their grace and patronage. Another important nuance is that this relic is located above other works, even if it is the image of Jesus Christ. So you pay tribute to the power, incomprehensibility and omnipotence of the Lord. And when commemorating the shrine (it is celebrated on the feast of Pentecost, on the 50th day after the Resurrection of the Son of God), it is decorated with green tree branches, flowers and fragrant herbs. This tradition symbolizes the new hope that descended on people with the Holy Spirit.

What helps the icon of the Holy Trinity? It is often used as a confessional - it is believed that such prayers are addressed to the Lord himself and are no less effective than those offered in the temple. In addition, the relic is invoked in the most hopeless, dramatic and difficult situations - it miraculously contributes to their resolution, saving people from any dangers, disasters and illnesses. Therefore, the shrine, made with love and care from natural solar gems, will be an excellent gift for any Christian and a wonderful addition to your home iconostasis. And our

The Holy Trinity

The revelation of the trinitarian dogma is the main theological idea of ​​the feast of Pentecost. To express it in an image, the Orthodox Church adopted the icon of the Holy Trinity, which conveys the biblical scene of the appearance of three wanderers to the forefather Abraham at the oak of Mamre. As an indication of their belonging to the mountain world, they are depicted as three winged angels. Image is based on specific historical event, conveys the first appearance of God to man, marking the beginning of the promise of redemption. Both iconography and worship connect the beginning of this promise with its completion on the day of Pentecost, when the final revelation of the Holy Trinity is given. In other words, the icon of the Trinity, as it were, unites the beginning of the Old Testament Church with the establishment of the New Testament Church.

In the fifth book of the Gospel Proof by Eusebius of Caesarea, quoted by St. John of Damascus in the third word in defense of the holy icons, regarding the words “God appeared to Abraham at the oak of Mamvriysk”, there is a message that the image of the Holy Trinity in the form of three angels existed from ancient times at the site of the appearance of three wanderers to Abraham. This image arose in connection with the special veneration by both Jews and pagans of the place of appearance at the oak of Mamre, where pagan sacrifices were also performed.

Holy Trinity. Andrei Rublev. 1408–1412 or around 1425 Tretyakov Gallery

What character this image had, we do not know. In any case, since antiquity the Holy Trinity has been depicted as a historical biblical scene with angels sitting at a meal under an oak tree, Abraham and Sarah serving them, and Abraham's mansions in the background. In the foreground is often placed a servant killing a calf. The arrangement of the angels, with the apparent uniformity of the scene being presented, varied depending on the interpretations that were applied to this biblical event, and the dogmatic thought that needed to be emphasized. So, for example, some holy fathers understood the visit of Abraham by three wanderers as a manifestation, albeit indirect, of the entire Holy Trinity, while others understood it as the manifestation of the Second Person of the Holy Trinity, accompanied by two angels.

Hospitality Abraham. Painting of the catacomb on Via Latina. Rome. 4th century

The appearance of angels to Abraham. Hospitality Abraham. Mosaic of the Basilica of Santa Maria Maggiore. Rome. 430–440 AD

Such an interpretation does not change the understanding of this event as a manifestation of the Trinity, because since each of the Persons of the Holy Trinity possesses the fullness of the deity, the presence of the Son with two angels can be understood as an image of the Trinity. In this sense, this phenomenon is interpreted by liturgical texts, which definitely speak of it as a manifestation of the Holy Trinity: “Anciently accepts the Deity of the One Trihypostatic sacred Abraham…”. In connection with the teachings of the Church and the interpretation of the fathers, the depicted angels are sometimes arranged according to the principle of isocephaly, i.e., sitting next to the table as equal in dignity to each other, which emphasizes the equality of the Hypostases of the Holy Trinity when they are not mixed (for example, in the mosaic of the Church of Santa Maria Majora in Rome, 5th century, or in the Cotton Bible of the same time in the British Museum in London). In addition, this equality is sometimes emphasized by the uniform color of the clothes of angels (for example, in the mosaic of the Church of San Vitale in Ravenna, 6th century) and their attributes. In other cases, the composition is built pyramidally, with the middle angel highlighted as the main one among the others.

The image of three biblical wanderers in the form of angels for many centuries was the only iconography of the Holy Trinity, and in the Orthodox Church it still exists as the only iconography that corresponds to its teaching.

The image of the Trinity found the most complete correspondence to the teachings of the Church in the greatest work, both in its content and in artistic expression, known as the Trinity by Rublev, written by St. Andrew for the Trinity-Sergius Monastery, believed to be between 1408 and 1425 and currently located in the Tretyakov Gallery in Moscow. As on other, earlier icons of the Trinity, three angels are depicted here, but the circumstances of their appearance are passed over in silence. The mansions of Abraham, the oak and the mountain are represented, but Abraham and Sarah themselves are absent. Without abolishing the historical aspect of the event, St. Andrei reduced it to a minimum, thanks to which it was not the biblical event as such that acquired the main significance, but its dogmatic meaning. Distinguishes this icon from others and the main form of its composition is a circle. Passing along the upper part of the nimbus of the middle angel and cutting off partially at the bottom of the foot, this circle includes all three figures, barely noticeable in their outlines. Such a composition of the Trinity is found before, but only on panagias, small round icons, and on the bottoms of sacred vessels. However, there this composition is due to the very form of the object and the absence free space rather than dogmatic thought. Having placed the figures of angels in a circle, St. Andrey combined them in one common, smooth and sliding movement along the line of the circle. Due to this, the central angel, although superior to others, does not suppress them and does not dominate them. The nimbus of his bowed head, deviating from the vertical axis of the circle, and the feet, shifted to the other side, further enhance this movement, in which both the oak and the mountain are involved. However, at the same time, this halo tilted to one side and the feet shifted to the other side restore the balance of the composition, and the movement is delayed by the monumental immobility of the left angel and the mansions of Abraham above him. And yet, “wherever we turn our gaze, everywhere we find echoes of the main circular melody, linear correspondences, forms arising from other forms or serving them. mirror image, lines that draw beyond the edges of the circle or intertwine in its middle - a symphonic richness of forms, volumes, lines and color spots that is inexpressible in words, but captivating the eye.

Fatherland with selected saints. Novgorod. Early 15th century GTG

Sothrone (New Testament Trinity). Moscow. Early XVIII in. GIM

In the icon at Andrey - and action, expressed in gestures, and communication, expressed in the inclinations of heads and turns of figures, and motionless, silent peace. This inner life, which unites three figures enclosed in a circle and communicates with what surrounds them, reveals the entire inexhaustible depth of this image. He seems to be repeating the words of St. Dionysius the Areopagite, according to whose interpretation “the circular movement means the identity and simultaneous possession of the middle and the final, of what contains and what is contained, as well as the return to Him (God. – Ed.) what comes from Him." If the tilt of the heads and figures of the two angels, directed towards the third, unites them with each other, then their hand gestures are directed towards the Eucharistic Chalice with the head of a sacrificial animal standing on a white table, as if on a throne. Representing the voluntary sacrifice of the Son of God, she draws together the movements of the hands of angels, indicating the unity of the will and actions of the Holy Trinity, who made a covenant with Abraham.

Almost the same faces and figures of angels, emphasizing the unity of the nature of the three Divine Hypostases, at the same time indicate that this icon in no way claims to depict specifically each Person of the Holy Trinity. Like other icons, earlier, this is not an image of the Trinity itself, i.e., the three Persons of the Divine, since the Divine in its essence is not depictable. This is the same historical scene (albeit with a historical aspect reduced to a minimum), which, in the manifestation of the Trinitarian action in the world, Divine economy, symbolically reveals the unity and trinity of the Deity. Therefore, with the uniformity of angels, they are not impersonal, and each of them has definitely expressed its properties in relation to its action in the world.

The angels are placed on the icon in the order of the Creed, from left to right: I believe in God the Father, the Son and the Holy Spirit. The complete indescribability of the first Hypostasis, to which only stingy and restrained expressions are dedicated in the Creed, corresponds to the uncertainty and restraint of the colors of the outer clothing of the left angel (a pale pink cloak with brown and blue-greenish reflections). The exposition of the second Hypostasis, which is extensive in comparison with others and accurate up to historical indication (“under Pontius Pilate”), corresponds to the clarity and clarity of the colors of the middle angel, whose clothes have the usual colors of the incarnated Son of God (purple tunic and blue cloak). Finally, the main color of the third angel is green, the color of his cloak, which, according to St. Dionysius the Areopagite, means "young, in full strength", definitely indicates the properties of the third Person of the Holy Trinity that renews everything and revives to new life. The subtly felt harmony of the colorful relationships of the icon of the Trinity of St. Andrew is one of her main charms. Particularly striking is the extraordinary strength and purity of the cornflower blue color of the cloak of the middle angel in combination with golden wings, the color of ripe rye. The clear and distinct color characteristic of the middle angel is contrasted with the soft colors of the other two angels; but bright spots of blue burst into them too, shining like precious stones. Combining all three figures in terms of color, he, in turn, points to the unity of the nature of the Persons of the Holy Trinity and gives the whole icon a calm and clear joy. Thus, in the colorful combinations of this icon, the same life that permeates its images, forms and lines resounds. “Here there is a selection of the center, and color contrasts, and the balance of parts, and complementary colors, and gradual transitions that take the eye away from the saturated color to the shimmer of gold (background. – L. U.), and above all this is the radiance of a calm, like a cloudless sky, pure stuffed cabbage. This icon, with its inexhaustible content, harmoniously balanced composition, majestically calm figures of angels, light, summer-like joyful colors, could only be created by a person who calmed anxieties and doubts in his soul and enlightened by the light of divinity.

Holy Trinity. Russia. 15th century timing

Icon of St. Andrew remains to this day a classic example of the iconography of the Holy Trinity. Both its main tones and individual details of the composition and drawing are preserved. Another remarkable image of the Holy Trinity reproduced here (see p. 305) is an obvious copy from the Rublev icon. This icon is in the Russian Museum in Leningrad (St. Petersburg. - Ed.) and is considered to have been written no later than the end of the 15th century. Here are the same poses and figures of angels, but they are no longer arranged in a circle, but almost in a straight line with a barely noticeable highlight of the middle one. Almost shoulderless figures are even more feminine than on the original. The composition is more static, and the figures of angels are connected to each other more in tone than in movement. The main colors of the clothes preserved here are muted and highly generalized. The general tone of this icon is not fresh and clear, like Rublev's, but restrained and warm. Thanks to the enhanced value of the background, the whole scene becomes, as it were, closer to the earth, and the opened prp. Andrey, in its incomprehensible grandeur, the image here acquires more accessibility, intimacy and warmth.

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Clive Lewis

Lion, Witch and wardrobe

Dedicated to Lucy Barfield

Dear Lucy!

I wrote this story for you, but when I started it, I didn't realize that girls grow up faster than books are written.

And now you are already too big for fairy tales, and by the time this fairy tale is printed and published, you will be even older. But someday you will grow up to the day when you start reading fairy tales again. Then you take this little book off the top shelf, dust it off, and then tell me what you think of it. Perhaps by then I will be so old that I will not hear or understand a word, but even then I will still be your loving godfather.

Clive S. Lewis

Chapter first

Lucy peeks into the wardrobe

Once upon a time there were four guys in the world, their names were Peter, Susan, Edmund and Lucy. This book tells about what happened to them during the war, when they were taken out of London so that they would not suffer from air raids. They were sent to an old professor who lived in the very center of England, ten miles from the nearest post office. He never had a wife and lived in a very big house with a housekeeper named Mrs. Macready and three maids - Ivy, Margaret and Betty (but they hardly took part in our story at all). The professor was very old, with disheveled gray hair and a disheveled gray beard almost to the very eyes. Soon the guys fell in love with him, but on the first evening, when he came out to meet them at the front door, he seemed very wonderful to them. Lucy (the youngest) was even a little scared of him, and Edmund (following Lucy in age) could hardly restrain himself from laughing - he had to pretend that he was blowing his nose.

When they said goodnight to the professor that evening and went upstairs to the bedrooms, the boys went into the girls' room to chat about everything they had seen that day.

“We're pretty lucky, that's a fact,” Peter said. - Well, we'll live here! We can do whatever you want. This grandpa won't say a word to us.

“I think he's just adorable,” said Susan.

- Shut up! Edmund said. He was tired, although he pretended not to be, and when he was tired he was always out of sorts. - Stop talking like that.

- How so? Susan asked. “Anyway, it’s time for you to sleep.

“You think you are a mother,” said Edmund. Who are you to tell me? It's time for you to sleep.

"We'd better all lie down," Lucy said. “If they hear us, we will get hit.”

"It won't," said Peter. “I tell you, this is the kind of house where no one will look at what we are doing. Let us not be heard. From here to the dining room is not less than ten minutes walk through all sorts of stairs and corridors.

- What is this noise? Lucy suddenly asked.

She had never been in such a huge house, and at the thought of long corridors with rows of doors to empty rooms, she felt uneasy.

“Just a stupid bird,” said Edmund.

"It's an owl," Peter added. - There should be all sorts of birds apparently-invisibly. Well, I'm going to bed. Listen, let's go scouting tomorrow. In places like here, you can find a lot of things. Did you see the mountains when we drove here? And the forest? Here, right, and eagles are found. And deer! And the hawks for sure.

“And badgers,” Lucy said.

“And foxes,” said Edmund.

“And rabbits,” Susan said.

But when morning came, it turned out that it was raining, and so often that neither the mountains nor the forest could be seen from the window, not even the stream in the garden, and that was not visible.

“Obviously, we can’t do without rain!” Edmund said.

They had just had breakfast with the professor and went upstairs to the room he had set aside for them to play in, a long, low room with two windows on one wall and two on the opposite wall.

“Stop grumbling, Ed,” Susan said. “I bet whatever you want, it will clear up in an hour. In the meantime, there is a receiver and a bunch of books. What's bad?

“Well, no,” Peter said, “this is not my occupation. I'll go scouting around the house.

Everyone agreed that the game couldn't be better. And so their adventure began. The house was huge - it seemed there would be no end to it - and it was full of the most amazing corners. At first, the doors they opened led, as one would expect, to empty guest bedrooms. But soon the guys got into a long, long room, hung with paintings, where there were knightly armor; behind it was a room with green curtains, in the corner of which they saw a harp. Then, descending three steps and ascending five, they found themselves in a small hall with a door to a balcony; behind the hall was a suite of rooms, all the walls of which were lined with bookcases - these were very old books in heavy leather bindings. And then the guys looked into the room, where there was a large wardrobe. You have certainly seen such wardrobes with mirrored doors. There was nothing else in the room but a dried blue fly on the windowsill.

“Empty,” Peter said, and they left the room one after the other…everyone except Lucy. She decided to try to see if the closet door would open, although she was sure it was locked. To her surprise, the door immediately swung open and two balls of mothballs fell out.

Lucy looked inside. Several long fur coats hung there. More than anything, Lucy loved ironing fur. She immediately climbed into the closet and began to rub her face against the fur; she left the door open, of course, because she knew there was nothing more foolish than locking oneself in a closet. Lucy climbed deeper and saw that behind the first row of fur coats a second one was hanging. It was dark in the closet, and, afraid to hit something with her nose, she held out her hands in front of her. The girl took a step, another and another. She waited for her fingertips to rest against the back wall, but her fingers still went into the void.

“Well, a huge closet! thought Lucy, parting her fluffy fur coats and making her way farther and farther. Something crunched under her foot. - I wonder what it is? she thought. “Another moth ball?” Lucy bent down and began to fumble with her hand. But instead of a smooth wooden floor, her hand touched something soft and crumbling and very, very cold.

“How strange,” she said, and took two more steps forward.

In the next second, she felt that her face and hands rested not on the soft folds of fur, but on something hard, rough and even prickly.

- Just like the branches of a tree! Lucy exclaimed.

And then she noticed a light ahead, but not where the closet wall should be, but far, far away. Above

The Lion, the Witch and the Wardrobe
Cover of the first edition of The Lion, the Witch and the Wardrobe
Author	Clive Staples Lewis
Genre	fantasy
Original language	English
Original published	October 16
Series	"The Chronicles of Narnia "
Publisher	Children's literature. Leningrad
Release	October 16, 1950 1978
ISBN
Cycle	The Chronicles of Narnia
Next	"Prince Caspian"

"The Lion, the Witch and the Wardrobe"(English) The Lion, the Witch and the Wardrobe) is the first (second in internal chronology) book of the Chronicles of Narnia series. Released in 1950. Included in 100 best novels on the English language rated by Time magazine.

The book is dedicated to Lucy Barfield, the author's goddaughter.

Title translations

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Plot

While playing hide-and-seek, Lucy hides in the Wardrobe, through which she gets to Narnia, where she meets the faun Tumnus. Tumnus tells her that Narnia is under the rule of the White Witch, who has taken over the country and proclaimed herself queen; because of her, there is eternal winter in Narnia and there is never Christmas. Returning to her brothers and sister, Lucy tells about her adventure, but they do not believe her. Later, when she enters Narnia for the second time, Edmund follows her. He meets the White Witch, who gives him water and treats, thereby subordinating the boy's will to herself. Under a plausible pretext, she orders Edmund to bring all four children to her castle.

Later, all four children end up in Narnia and discover that Tumnus was taken away by the servants of Jadis (as it turned out, Edmund repeated Lucy's story to the sorceress and thereby betrayed the faun). Mr. Beaver meets the children and tells that Aslan is already on his way, which means that the ancient prophecy begins to come true that Aslan will come, the Long Winter will end, and four people will become the rulers of Narnia, overthrowing the White Witch. During the story, Edmund escapes and heads for the Queen's castle. Jadis is angry with Edmund because he did not bring her all the Pevensie children, and shackles him. Meanwhile, Peter, Susan, Lucy and the Beavers go to see Aslan. On the way, they meet Santa Claus, who gives them gifts: Peter - a sword and shield, Susan - a bow, arrows and a horn, Lucy - a dagger and a magic drink from the juice of fiery flowers, one drop of which heals any wounds. Having met with the Great Lion, the children ask him to help save Edmund.

Edmund understands how wrong he was. But still he became a traitor and now belongs to the queen. Aslan makes the exchange: he remains in the hands of the White Witch, and Edmund is released. At night, the queen kills Aslan, but the latter is resurrected, because “when, instead of a traitor, one who is not guilty of anything, who has not committed any betrayal, voluntarily ascends to the sacrificial Table, the Table will break, and Death itself will retreat before him.” The next day, the battle for Narnia takes place.

Aslan helps defeat the White Witch. After Peter's victory, he is proclaimed Peter the Magnificent, High King in Cair Paravel, he rules Narnia for 15 years with his sisters and brother: Susan the Magnanimous, Lucy the Courageous and Edmund the Just. One day, while hunting white deer, they end up back in England. It turns out that not even a minute has passed there.

Characters

• Peter Pevensie- the eldest of the Pevensie children who ended up in Narnia.
• Susan Pevensie- Second in seniority after Peter.
• Edmund Pevensie is the second child to enter Narnia through the Wardrobe. However, in Narnia, he met the White Witch and became bad for a while, falling under her influence.
• Lucy Pevensie- the youngest of the Pevensie children, who first got to Narnia and met the faun Mister Tumnus there.
• Digory Kirk- a professor in whose house the children were visiting.
• White Witch- a sorceress who captured Narnia, proclaimed herself queen, because of which there is eternal winter in Narnia and there is never Christmas.
• Aslan- The Great Lion, who helped the children free Narnia from the White Witch and become their kings and queens.
• Mr Tumnus- a faun whom Lucy met when she first came to Narnia.
• beavers- a married couple of beavers. Mr. Beaver met the four children when they got to Narnia, explained to them what was going on, and helped them get to Aslan.
• Maugrim- wolf, captain of the secret police, henchman of the White Witch.
• Dwarf, Ginabrik - the main henchman of the white witch. Drives her sleigh. His name is not mentioned in the book. During the battle, he attacked Edmund, but Ginabrika killed Susan in time.
• Mintaur is a minor minion of the white sorceress. Killed by Peter.

Influence

Lewis life

At the beginning of the book, it is told that the four main characters were sent from London to the countryside due to the bombing. During the Second World War this happened to many London children. Lewis also had children in the house. Professor Kirk's prototype was apparently Professor W. T. Kirkpatrick, with whom Lewis studied and lived from 1914 to 1917.

Christianity and mythology

"The Lion, the Witch and the Wardrobe" combines both Christian motives, and the elements