Theophanes the Greek, Andrey Rublev, Arseny Tarkovsky, Andrei Tarkovsky

[eva777]

Arseny Tarkovsky
Theophanes the Greek

When I saw the embodiment of hum
And chalk wings came to life,
Revealed to me: I stepped over the life,
A feat I have to pass.

I should testament graves,
Yawning as a knife wound
Reduce to the biblical field of white
And to become an apprentice Feofan.

I recognized him by his claws: he is a lion,
He was bone of the bone own desert
And I was thirsty, and I see dreams, Eastleigh
On hot coals goodness.

I have six centuries of its fire breathing
And jealousy wounded six centuries.
- Do you come, the Good Samaritan,
Povit me your cool linen?



Trinity Theophanes the Greek and Trinity Rublev


Andrei Rublev. Trinity. End of XIV century.
Among the fragments of mural in the church on Ilyina Street in Novgorod preserved representation of the Old Testament Trinity. This image largely determines for us the style and even attitude Theophanes the Greek. Strikingly original style Theophanes seen in comparison with the Trinity by Andrei Rublev, created after only 20-30 years. With all the conventions of this comparison (Trinity Theophanes - fresco Trinity Rublev - the icon, one written by Byzantine masters, the other - in Russian, although perhaps what happens in the Byzantine Empire), it gives us an opportunity to approach the two figures that have shaped the development of ancient Russian art.

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Theophanes the Greek painted Spassky Cathedral in the summer of 1378 should be reminded that he was in Novgorod not only formed, but also very well known, many had seen the master. The date of his birth is traditionally attributed to the first half of the XIV century. So, the creation of mosaics and frescoes of the famous monastery of Chora in Constantinople, Thessaloniki and Mystras comes at a time of its formation as an artist. Before coming to Novgorod, Theophanes spent some time in the Cafe (now Feodosia), one of the largest Genoese colonies on the northern coast of the Black Sea. There, he painted a small church and for reasons unknown to us left Cafu for Novgorod. Works of Theophanes in the center of Byzantium has been preserved, and the frescoes in Feodosia were in poor condition. Therefore Novgorod paintings can be considered the only extant piece of monumental paintings of famous masters.
At the time of arrival of Theophanes in Novgorod were already well acquainted with Byzantine art. Here Theophanes the Greek was in a very distinctive artistic environment, where the mixed highly learned Greek art (for example, some paintings of St. Sophia Cathedral), and somewhat naive, but compelling and passionate local tradition (Church of Our Savior on the frescoes Neredice).
On that, what was the whole idea of an ensemble of paintings of the Theophanes, we can judge only two surviving fragments - and the dome frescoes Trinity Chapel. This interests us chapel is very small, narrow and is located on the second floor of the temple. Therefore there fit only two multi-figured composition - the Old Testament Trinity and Our Lady of the Sign. A small elongated piers occupied by figures Stylites and the righteous, who are facing the two mentioned images. Thus in the interpretation of Theophanes Trinity acquires color vision, appearing before the protagonists.
Icon of Andrei Rublev was part of the iconostasis. In science there are different opinions about the church for what it was created, and what took place in the iconostasis. She could be in the altar, an icon of the temple of local number, and could be the central icon of the deesis. But be that as it may, the images of prophets and saints are unlikely to directly side by side with the characters Rublev Trinity, thus in the iconostasis of Rublev's the story could not be seen in a teacher-nazidatellnom context, like Theophanes.
Composition image in the Church of Our Savior on Ilyina constructed on the basis of the form wall opening. Trinity occupies half of a semi-circular section of the wall, sharply curved line of the left part of the composition defined by the arch of the firmament and the right part is composed of vysyaschihsya stacked bodies, which form an arc, to mirror the line of the left arch. In the semicircular wall inscribed semicircular pictorial compositions, eventually turns out a form, which resembles a cell triforiya a Gothic church, where one large arch is divided into two small.

Theophanes the Greek. Old Testament Trinity. 1378
But then, in the most beautiful songs, you can see the big arch, covering two small. In the lower arch shape fits left and right angels - on their halo by semicircular clearances.

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Rublev's Icon is written on a rectangular board, on the proportions close to a square. Thus the idea of stability is present in the composition initially, due to the format. The heads of angels form a semicircle, seemingly reminiscent semicircular wings in the shape of Theophanes. Substantial difference in how a semicircular ends. In Novgorod fresco, we almost do not notice the provisions of the feet of seated angels. All our attention is given to the wingspan and Sarah figure forming the foundations of the composite arch. In Rublev's icon of the golden wings of angels almost merge with the background, and the viewer's attention focuses on the position of hands, closes, and not razvodiastchy half-circle motion. Rublev stresses coincides form of color, highlighting the angels purple sleeves and azure. Continue this movement in the position of the legs, feet, deployed to each other, and, finally, half circle almost joined the foot.
Composite form an arch defines inequality participants scene Feofan. One of the characters inevitably be exalted above the others. And Theophanes provides one of the angels as the main character. Face of an angel of central compositional takes place capstone of the arch, and the wings, covering satellites, form a set. The figures of angels and Sarah on the right and unpreserved figures of Abraham and the angel on the left likened high foundations of the arch. Very arched form, uniting participants scenes, not so much endowed with firmness and strength, how many features of Gothic sophistication. Drawing attention to the thin gaps between the feathers and capes, wings and a halo, can be likened to the track Theophanes jagged binding of the altar, where a circular rim instead of stones enclosed faces.
The shape of an arched arrangement chosen by Theophanes closer lancet than semicircular shape. In smooth arc inscribed wings narrow, even as it seems, when reduced acute arch haloes of all participants of the scene. In order to get exactly this form, the painter has the faces of the Old Testament characters and angels strictly under each other, and the figure of Sarah's permit issued to the side, only up to the border, which considers the entire composition of an angel wing. It seems that the other symmetrically situated figure of Abraham. The quintessence of composite solutions becomes arcs, located in the center of the foot of the table. (Note that the ruble places in this place horizontally elongated slot.) So Theophanes achieves conciseness, vertically, sort of stolpoobraznosti whole scene reminiscent of stared at her outstretched figures Stylites.
Treasure based composite solutions range, Rublev sensation reaches wholeness, the identity of the characters to each other. And if the fresco Theophanes the central figure and the face of an angel, constituting the axis of symmetry, located frontally, highlighting its role of executors, in Rublev's icon of the central angel is depicted as well as the other - in three quarters. He bowed his head as if listening to his interlocutor, and this change heeded underlined slope of oak in the background.
It is no accident Rublev excludes from its conception of Abraham and Sarah. In the fresco Theophanes their presence underlined the subordination of earthly heaven. Byzantine Master should be in the text of the Old Testament, where the story of the coming to Abraham and Sarah tells us about three strangers meet on earth and in heaven. In Rublev's icon appears in front of us, rather, not the Old Testament story, and the image of the Trinity, instead of embodying the idea of hierarchy of the divine unity.
Can not say that the Byzantine artist avoids portray rounded forms. But within the circles of his compositions are an intricate frame. Face Sarah envelop fold drop-down cape, curved arms, covered with cloth, surrounded by its spherical offering to the table, and around the faces of angels hover tape supporting hairstyles. Each round shape Theophanes around fast, swift stroke.
Another favorite of form - the node, the ends of which are scattered in different directions. Thus, around the central and left-hand angels twine tight folds of his cloak, and on the shoulder of Sarah crossed the line draperies. Twisted and hetero-directed movement occurs in every point of contact forms. Worth seeing at least a piece of the right angel - where it crosses the hand edge of the table at different angles are connected through the wing and draperies. Each piece, which intersect in any form, is solved in the form mnogolepestkovoy composition, and the movement around the center of contact is most important.
Thus, compositional scheme Theophanes complicated, it can be likened to no longer just the arch, but the arch, decorated with fluttering sling.
Andrei Rublev rather than diversify the basic compositional form, and repeats it - semicircular cutouts flank the wings of the head, the mountain inclines, like the neck, arms, not bent, gently lay down on his knees. Especially seen the difference when comparing the figures of angels on the left. If the frescoes of Theophanes the folds of garments covering the hand of an angel on all sides, as she bends his arm, as if resisting external movement, then in the folds of his cloak Rublev's icon of streams under the angel's hand resting on her knee.
Interestingly, and how different masters portray the meal itself. Theophanes the Greek emphasis on the hospitality of Abraham and Sarah. Angels in his fresco sit around the set table in the center of which stands a heavy bowl with the head of slaughtered sheep lying around round loaves and had cut narrow slices at the table's edge - the knife. All items Theophanes writes sharp, crescent-shaped lines on the table and creating a sense of restless movement. Highlights flash and on the knife, and the bowl, and slice, bread seemed to be rolling, and the bowl bends.
Andrei Rublev, the deletion of its composition Abraham and Sarah, and overlooks the meal itself. The icon on the desktop is only a bowl, its shape resembles not a dish, but rather the cup for communion. The void around the bowl makes it the semantic center of the entire composition. Angels only decree for her, not daring to touch. Thus the cup with the head of a lamb in Rublev's icon no longer the subject and becomes a symbol of reflection on the victim. It is no accident outline of this bowl is repeated once more - the same form has the space between the angels, widening from knee to shoulder sit.
Pay attention to the fact that Andrei Rublev wrote his "Trinity" is not just after feofanovskoy. He knows the art of the Byzantine masters, and knows his way to work and himself. Recall that in 1405 they are working together adornment of the Annunciation Cathedral of Moscow Kremlin. Chronicle speaks of this as follows: "In the summer of 6913 ... Toe in the spring pochasha podpisyvati Church of the Annunciation in the holy stone of Prince of Great yard, not the one, Who now stands, and wizards byahu Theophanes Ikonnikov Grchin yes Prohor elder from Gorodets, but novice Andrei Rublev, but the same summer and konchasha S ". It is important that in the above text Andrei Rublev named the third, after Theophanes the Greek and Prokhorov Gorodets. Consequently, at this time in the Artel he was a junior master, although already famous enough to be mentioned personally.

Consequently, between these two images of the Trinity really is an intimate connection, and sit down to work on the icon of Andrei Rublev, already a mature master, conducted an internal dialogue with its predecessor, and partly a teacher. And indeed, much in the compositions agreed in principle in different ways. Theophanes wrote the Old Testament story, without departing from the text of the Bible. Rublev embodies the image of the divine trinity, the favorite among Sergei Radonezhsky. The world depicted by the Byzantine master, covered by emotion, earthly and heavenly encounter sets in motion all matter, it is understood as a poignant revelation is experienced on the verge of spiritual possibilities of man. Rublev, in contrast, gives us the divine world as wise intuition, clarity, and reticence.

[Ninni]

eva777,

Rublev accentuated in the icon of the essence and bypassed the "fuss" - even a very meaningful and symbolic.
In the name of Father, Son and Holy Spirit "and nothing more

[Кирилл Сызранский]

Remembered dialogue Theophanes the Greek and Andrei Rublev from the film:
  - They say you write fast.
- Quickly. What? Do not do otherwise. Annoying. Once a week chuhalsya - cast.
- Emissions?
- Well, why throw? Sauerkraut presses.

[Us-tin]

Sorry, that "revived" an old topic ... But I can not recall that the show "Andrei Rublev" at the Tretyakov Gallery is only open until March 20 ... Gentlemen, if for any reason you have not visited this amazing exhibition - in a hurry, you have 10 more days ... There's everything to do with creativity Rublev and his contemporaries ... There's "Trinity" ... There's "Saviour" from Zvenigorod deesis ... Words can not express it - must be seen ...

[eva777]

join!
Go, do not regret it!
There's still right in front of Exhibition of drawings, no less than amazing, so it can be combined!))

[Vlasta]

Сообщение от "Us-tin

show" Andrei Rublev "at the Tretyakov Gallery is only open until March 20

Thanks, wanted to go, but kept putting it off.
At the weekend day is required, this can not be overlooked.

[Us-tin]

That's nice ...

[bykinist]

In June, the International Film Festival "Zerkalo" in the Ivanovo region presentation archive of Andrei Tarkovsky, repurchased at a London auction, "Sotheby's". And in Moscow already talking about new discoveries. Actress Irma Rausch, the first wife of the famous film director, gave his family papers future museum "House of Tarkovsky." After studying and organizing unique documents show at an exhibition at the Library of cinema behalf of Eisenstein. Their first saw the film crew of "News of culture."

"This is a picture of just the script" Passion According to Andrei, "where we see Andrei Tarkovsky and Andrei Konchalovsky. This is the work of the artist combined shooting for the film" The Passion According to Andrei, "as it builds up decoration", - says Irma Rausch.

It was in this film was shot first director's wife. It Irma Rausch with the consent of the son of the eminent director - Arseniy - handed archive materials Tarkovsky's completely free. They linked the 13 years of life: Film Institute, becoming creative recognition.

"There are a lot of materials related to" Andrei Rublev "," Ivan's Childhood "srednemetrazhnym graduation film" The Steamroller and the Violin "- this is the period of their joint lives," - said the head of the scientific library named after SM cinema Eisenstein Vyacheslav Shmyrov.

Experts do not even hoped to find in this archive rarities such as, for example, miraculously surviving family handwritten journal with poems, stories and pictures, dating back to 1906. A letter from 1915, written by the director Valentin Tarkovsky's uncle, who died during the Civil War. The library staff has not yet learned all the material, but is already being called a priceless archive.

"We felt there about about 250 photos. Among them 230 - 220 just never never published. We still are going to install it on the first vskidku because I was a little guided in the material, it is simply unpublished photographs. Childhood photos are amazing - who would thought it was Tarkovsky "- said an employee of the library named after SM cinema Eisenstein Tatiana Jensen.

Here is a young Tarkovsky skiing - presumably in the taiga of the expedition, just before the arrival of the Film Institute. This snapshots of family photos Hornung.

"Look, picture - this is what he was working on with the" Mirror. "These are the photos - this is, without a doubt, the beginning of the image" Mirrors ", - assured Tatiana Jensen.

Here is the letter of the director himself. He confesses his love to his father. There are official documents, like this one, with the requirement to reduce the script and footage of "Andrei Rublev". Tarkovsky's book "Telling Time" edited by the author in typewriter and a coffee varieties. Unique documents, drawings and photos will become the future museum exhibits under the name "House of Tarkovsky." When he appears ...

[Кирилл Сызранский]

Сообщение от bykinist; 2690461 "

The Return of the archive of Andrei Tarkovsky

Here is the news I have not only read , but also saw the story on Culture , which showed some documents .
But .
Here's the first sentence message :

Сообщение от bykinist; 2690461 "

In June Festival "Zerkalo" in the Ivanovo region presentation archive of Andrei Tarkovsky , repurchased at a London auction , " Sotheby's " .

Сообщение от bykinist; 2690461 "

actress Irma Rausch , the first wife of the famous film director , gave his family papers future museum "House of Tarkovsky ."

It is clear that we are talking about two different archives, but why close with a story about the gift of the archive " House of Tarkovsky " mention podazhe archive at Sotheby's?

[bykinist]

Сообщение от Cyril Syzransky

It is clear that we are talking about two different archives, but why close with a story about the gift of the archive " House of Tarkovsky " mention podazhe archive at Sotheby's

In order to demonstrate the systematic nature of the consolidation of the legacy of one of the brightest representatives of the Soviet cinema in his homeland. Something is done .