Icon of the Holy Trinity. What does the icon of the Holy Trinity help with?

Holy Trinity The revelation of the trinitarian dogma is the main theological thought of the feast of Pentecost. To express it in an image, the Orthodox Church has adopted the icon of the Holy Trinity, which conveys the biblical scene of the appearance of the three wanderers to the forefather Abraham at the oak tree

Chapter XIII THE TRINITY AND TRIANGLES The Divine Trinity We know that the Logos of our system (and most people, when speaking about God, are actually talking about him) is threefold. He has three faces, or rather he exists in three faces and acts through three aspects. In different

Moderate Monotheism and the Trinity Every Sunday in millions of churches around the world, Christians affirm the doctrine of the Incarnation, repeating the statement of faith adopted at the request of Constantine at the Council of Nicaea in 325. Core of the Nicene Creed, still

12 biblical symbols encrypted in Andrei Rublev's "Trinity"

Improvisation is a risky business: they can even be accused of heresy. However, “Trinity” is a vivid example of a violation of church canons. Instead of the traditional multi-figure scene of a meal in Abraham's house, Andrei Rublev depicted a conversation between three angels about how to save the world. Now the icon is considered a masterpiece, and its author canonized

1 BOWL. This is the center of the composition - a symbol of the suffering of Christ, to which he will go to atone for the sins of mankind (the blood of Jesus crucified on the cross will be collected in the chalice). The contours of the figures of the side angels also form the outline of the bowl.
2 HEAD OF TAURUS. Symbol of the sacrifice of God the Son.
3 GOD THE FATHER. According to the German art critic Ludolf Müller, “The Father, as the “beginning and cause of everything,” as the first among equals, bears the signs of power: in addition to the central position, this is the purple color of his clothes and a gold stripe over his right shoulder.” Tilting his head towards the left angel, the Holy Spirit, God the Father seems to be asking the question that the prophet Isaiah heard in his revelation: “Whom shall I send? And who will go for Us [to make an atoning sacrifice]?” At the same time, he brings two fingers to the cup, folded in a sign of blessing.
4 AZURE CLOTHES. A symbol of the unearthly essence of God the Father (as well as the other persons of the Trinity).
5 SCEPTER. A symbol of power (everyone sitting at the table has it).
6 TREE. In traditional iconography, this was the Oak of Mamre, under which Abraham rested. In Rublev, the oak tree turns into the tree of life, which God planted in Eden.
7 GOD THE HOLY SPIRIT. In response to God the Father’s question, the Holy Spirit directs his gaze and raises his right hand towards the angel sitting opposite, that is, towards God the Son. It is both a gesture of blessing and a gesture of command. As Metropolitan Hilarion wrote in his Confession of Faith (11th century), the Holy Spirit wants the Son to follow the path of suffering, and at the same time blesses this path.
8 SCARLET CLOTHES. This is an allusion to the biblical story, when the Holy Spirit descended on the apostles in the form of tongues of fire.
9 BUILDING symbolizes the Christian church, called the house of the Holy Spirit.
10 GOD THE SON. His humbly lowered head and gaze directed at the sacrificial cup indicate his readiness to fulfill the assigned mission. The right hand of Christ is already raised to take the cup of suffering. “In the position of his legs,” says culturologist Vadim Lankin, “one can notice a hint of the dynamics of standing up: the cloak is gathered together, and its lower edge rises slightly, tucks up, revealing readiness to stand up and go out into the world.”
11 GREEN HIMATIA(a cape over a tunic) - a symbol of the earthly world where Christ will descend. The combination of azure and green in the clothes of God the Son symbolizes his dual nature: divine and human.
12 MOUNTAIN. This is a symbol of the redemption of the fallen world, a prototype of Golgotha, which Jesus is destined to ascend.

In the Old Testament there is a story about how the forefather Abraham received the Lord. In the midday heat, ninety-nine-year-old Abraham sat near his tent under the greenery of the Mamre oak grove. Suddenly he saw three travelers, whom he quickly recognized as the Almighty and two angels. The owner invited the wanderers to rest and refresh themselves. The servants washed the guests' feet, and Abraham's wife Sarah baked bread. The owner of the house himself chose the best calf and ordered it to be slaughtered. At the meal, the Lord predicted to Abraham that in a year he would have a son, from whom the Jewish people would come - “great and strong.”
In Christianity, this plot, called “Hospitality of Abraham,” was interpreted somewhat differently: not only the Lord Yahweh (Judaism does not know a trinitarian deity) appeared to Abraham, accompanied by two companions, but the entire Holy Trinity: God the Father, God the Son and God the Holy Spirit , - and not in the form of wanderers, but in the form of angels. Therefore, Christians also call the meal in the house of Abraham the “Old Testament Trinity.”

This plot was very popular among medieval icon painters: three angels, figures of Abraham and Sarah, a set table, a servant cutting a calf - in general, an illustration of the biblical text. At the beginning of the 15th century, Andrei Rublev also turned to the topic: he was asked to paint an image for the Trinity Cathedral of the Trinity-Sergius Monastery (the icon is currently kept in the Tretyakov Gallery). However, something completely special came out of the brush.
Rublev abandoned the depiction of everyday details and focused on the figures of angels, personifying the three divine faces. The artist depicted them talking: the world is mired in evil, who will we send to suffer in order to atone for human sins? This question is asked by the central angel (God the Father) to the left angel (the Holy Spirit). “I will go,” answers the right angel, Christ. This is how the scene of blessing for the atoning sacrifice for the sake of people unfolds before our eyes. St. Petersburg art historian Vladimir Frolov is sure that Rublev wanted to reveal the eternal law of the universe - the sacrifice of divine love. “The lack of additional details,” says the scientist, “reveals the intention and does not allow one to be distracted by the plot of the biblical event.”

This and the previous images of the Holy Trinity are, strictly speaking, non-canonical, although they are not uncommon.

Icons of the Savior, with the exception of the Image Not Made by Hands, do not have special names. The Savior is sometimes depicted as a King sitting on a throne and is revered as the image of the Lord

The faces of the Holy Trinity, seated next to God the Father, the so-called. "New Testament Trinity". Some images of the Crucified Christ are realistic, reflecting His physical and mental suffering; others were written in a conventional manner: the Savior’s features were given an expression of serious calm and grandeur. The Moscow Council of 1667 condemned any images of God the Father. The basis for the resolution of the Council of 1667 was the Holy Scripture and Holy Tradition. “No one has ever seen God,” says the Evangelist John, “the only begotten Son, who is in the bosom of the Father, He has revealed” (John 1:18; 1 John 4:12). The Seventh Ecumenical Council considered it possible to permit the depiction of the Son of God precisely because He, “taking the form of a servant, became in the likeness of men, and became in appearance like a man” (Phil. 2:7) and, thanks to this, became accessible to sensory contemplation. As for the essence of God, outside of its revelation in the Person of the God-Man, it remains hidden and inaccessible not only to sight, but also to reason, for God is the One Who “dwells in the inaccessible light, Whom no man has seen and cannot be seen.” can" (1 Tim. 6:16). The Lord, out of His boundless love for fallen people, met the eternal thirst to see Him or, at least, to perceive Him sensually. He “gave His only begotten Son, that whoever believes in Him should not perish but have eternal life” (John 3:16), and “the great mystery of godliness was accomplished: God was revealed in the flesh” (1 Tim. 3:16). Thus, the inaccessible God, in the Person of the Son and Word of God, the Second Person of the Holy Trinity, became a Man accessible to sight, hearing, touch and, as the Church approved at its 7th Council, also accessible to image. Likewise, the symbolic image of the Holy Spirit in the form of a dove has a biblical basis, for at the baptism of the Savior He descended on Him in the form of a dove. This image of the Holy Spirit is canonical, as is the image of Him in the form of tongues of fire descending on the apostles. Although the Moscow Council did not allow the depiction of the Lord of Hosts, this prohibition was consigned to oblivion and He began to be depicted as the “Ancient of Days” (i.e., the Elder) on the icons of the “New Testament Trinity” Isa. 6:1-2; Dan. 7:9-13; Rev. 5:11). In the Orthodox East, there are icons of the “Old Testament Trinity,” which depict the appearance of God to Abraham in the form of three wanderers. Such an image is quite canonical: God was pleased to reveal Himself in this image, which had a deep symbolic meaning, and does not pretend to be a realistic reflection of the Personality. This icon has been widespread since ancient times, both in the Orthodox East and in Russia.

The Tretyakov Gallery also houses the most famous work of Andrei Rublev - the famous "Trinity". Created in the prime of his creative powers, the icon is the pinnacle of the artist’s art.

During the time of Andrei Rublev, the theme of the Trinity, which embodied the idea of ​​a triune deity (Father, Son and Holy Spirit), was perceived as a certain symbol of time, a symbol of spiritual unity, peace, harmony, mutual love and humility, readiness to sacrifice oneself for the common good. Sergius of Radonezh founded a monastery near Moscow with a main church in the name of the Trinity, firmly believing that “by looking at the Holy Trinity, the fear of the hated discord of this world was overcome.”

Reverend Sergius of Radonezh, under the influence of whose ideas Andrei Rublev’s worldview was formed, was an outstanding personality of his time. He advocated for overcoming civil strife, actively participated in the political life of Moscow, contributed to its rise, reconciled warring princes, and contributed to the unification of Russian lands around Moscow. A special merit of Sergius of Radonezh was his participation in the preparation of the Battle of Kulikovo, when he helped Dmitry Donskoy with his advice and spiritual experience, strengthened his confidence in the correctness of his chosen path and, finally, blessed the Russian army before the Battle of Kulikovo.

The personality of Sergius of Radonezh had special authority for his contemporaries; a generation of people during the Battle of Kulikovo was brought up on his ideas, and Andrei Rublev, as the spiritual heir of these ideas, embodied them in his work.

In the twenties of the 15th century, a team of masters, headed by Andrei Rublev and Daniil Cherny, decorated the Trinity Cathedral in the monastery of St. Sergius, erected above his tomb, with icons and frescoes. The iconostasis included the “Trinity” icon as a highly revered temple image, placed according to tradition in the lower (local) row on the right side of the Royal Doors. There is evidence from one of the sources of the 17th century about how the abbot of the monastery Nikon instructed Andrei Rublev “to paint the image of the Most Holy Trinity in praise of his father Saint Sergius.”

The plot of “Trinity” is based on the biblical story of the appearance of deity to righteous Abraham in the form of three beautiful young angels. Abraham and his wife Sarah treated the strangers under the shade of the Mamre oak, and Abraham was given to understand that the deity in three persons was embodied in the angels. Since ancient times, there have been several options for depicting the Trinity, sometimes with details of the feast and episodes of the slaughter of the calf and the baking of bread (in the gallery’s collection these are 14th-century Trinity icons from Rostov the Great and 15th-century icons from Pskov).

In the Rublev icon, attention is focused on the three angels and their condition. They are depicted seated around a throne, in the center of which is a Eucharistic cup with the head of a sacrificial calf, symbolizing the New Testament lamb, that is, Christ. The meaning of this image is sacrificial love.

The left angel, signifying God the Father, blesses the cup with his right hand. The middle angel (Son), depicted in the gospel clothes of Jesus Christ, with his right hand lowered onto the throne with a symbolic sign, expresses submission to the will of God the Father and readiness to sacrifice himself in the name of love for people. The gesture of the right angel (the Holy Spirit) completes the symbolic conversation between the Father and the Son, affirming the high meaning of sacrificial love, and comforts the doomed to sacrifice. Thus, the image of the Old Testament Trinity (that is, with details of the plot from the Old Testament) turns into the image of the Eucharist (the Good Sacrifice), symbolically reproducing the meaning of the Gospel Last Supper and the sacrament established at it (communion with bread and wine as the body and blood of Christ). Researchers emphasize the symbolic cosmological significance of the compositional circle, into which the image fits laconically and naturally. In the circle they see a reflection of the idea of ​​the Universe, peace, unity, which embraces multiplicity and cosmos. When comprehending the content of the Trinity, it is important to understand its versatility. The symbolism and polysemy of the images of the “Trinity” go back to ancient times. For most peoples, such concepts (and images) as a tree, a bowl, a meal, a house (temple), a mountain, a circle, had a symbolic meaning. The depth of Andrei Rublev's awareness in the field of ancient symbolic images and their interpretations, the ability to combine their meaning with the content of Christian dogma, suggest a high level of education, characteristic of the enlightened society of that time and, in particular, of the artist’s likely environment.

The symbolism of the “Trinity” is correlated with its pictorial and stylistic properties. Among them, color is the most important. Since the contemplated deity was a picture of the heavenly heavenly world, the artist, with the help of paints, sought to convey the sublime “heavenly” beauty that was revealed to the earthly gaze. The painting of Andrei Rublev, especially the Zvenigorod rank, is distinguished by a special purity of color, nobility of tonal transitions, and the ability to impart a luminous radiance to the color. Light is emitted not only by golden backgrounds, ornamental cuts and assists, but also by the delicate melting of bright faces, pure shades of ocher, and the peacefully clear blue, pink and green tones of the angels’ clothes. The symbolism of color in the icon is especially noticeable in the leading sound of blue-blue, called Rublevsky cabbage roll.

Comprehending the beauty and depth of content, correlating the meaning of the “Trinity” with the ideas of Sergius of Radonezh about contemplation, moral improvement, peace, harmony, we seem to come into contact with the inner world of Andrei Rublev, his thoughts translated into this work.

The image of the New Testament Trinity in Russian art of the 16th century.

The name of this iconographic version - “Trinity of the New Testament”, as well as the definition of its composition - “Co-throne”, are terms accepted in modern art history literature. In the 16th century, judging by the inscriptions preserved on the icons, this image could be called the words of the Easter troparion “Carnally in the grave”; “On the throne was with the Father and the Holy Spirit,” borrowed from Psalm 109 with the verse “The Lord said to my Lord: sit at My right hand, until I will make all Your enemies a footstool for Your feet.” The first version of the inscription, in addition to the famous “Four-Part” icon from the Annunciation Cathedral of the Moscow Kremlin, which gives a detailed illustration of the troparion, can be seen on the Moscow icon “The Lenten Triodion” (Tretyakov Gallery, inv. No. 24839), where the image of the New Testament Trinity is included in the composition of the Last Judgment. The same inscription was on the Solovetsky icon of the New Testament Trinity mentioned by V.P. Nikolsky (XVI-XVII centuries). Examples can be more numerous if we include monuments from the 17th century. The second version of the inscription is visible on the icon “The Last Judgment” from the village of Lyadiny (GE, inv. No. ERI-230). S.A. Nepein describes a folding house from the Vologda Vladychenskaya Church of the late 16th century. where in the middle there was an image of the text of Psalm 109:1. The second variant of the name seems to be more rare. In addition, being included in the composition illustrating the Creed, the image of Jesus Christ and the Lord of Hosts seated on the co-throne refers to the words: “and ascended into heaven, and sits on the right hand of the Father.”

The image of the New Testament Trinity in the iconographic type of the Co-Altar in Russian art earlier than the 16th century. unknown Probably, one of the first images of this kind could have been the image on the outer eastern wall of the Assumption Cathedral of the Moscow Kremlin, which has not reached us in its original form, but was painted based on traces taken from previous frescoes and parts of the large composition of the Last Judgment in the same cathedral (1513-1515 - 1642-1643). The painting of the outer eastern wall is the only example in Russian art of the 16th century. representative image of the New Testament Trinity. It is impossible to say whether this fresco has retained its original composition in all details. This makes it difficult to resolve the question of the sources of its iconography.

The most favorable material allowing us to trace the formation of the iconography of the New Testament Trinity on Russian soil are images of the Last Judgment. On the Novgorod icon “The Last Judgment” from the collection of A.V. Morozov (Tretyakov Gallery, inv. No. 14458, second half of the 16th century), the Lord of Hosts sits at the top in the center, on his right hand an empty place is left on the throne, which is made especially noticeable thanks to to the second, also empty, foot. On this side of the throne, at the front edge of the back, there is a sacrificial cup at the top. Between the cup and the head of Hosts the Holy Spirit is depicted in the form of a dove. The image of Hosts is repeated on the right, but there is no free space on the throne next to it. Instead, here we see the image of Jesus Christ surrounded by a mandorla. He is shown approaching the throne of God the Father, which contradicts the inscription that speaks of Christ being sent to earth “to judge the living and the dead.” In this icon one can see borrowings from Western compositions. These two scenes on the Novgorod icon in the fresco of the Assumption Cathedral correspond to the “Eternal Council” and

“The Sending of Christ to Earth”, however, the question again arises of how much preserved painting of the 17th century. corresponded to the original composition of the 16th century.

On another Novgorod icon “The Last Judgment” from the Church of Boris and Gleb in Plotniki (Novgorod Museum, inv. No. 2824, mid-16th century) appears that had developed by the mid-16th century. composition of the New Testament Trinity - Christ and the Lord Hosts are seated on a co-throne half-turned to each other, between them is placed the image of the Holy Spirit in the form of a dove. Christ's garments are revealed and he points to a wound on his ribs. We see a similar image of the New Testament Trinity on the famous icon from the Trinity-Sergius Monastery. On this icon, the image forms a rich and thoughtful iconographic program. I know of only one icon that repeats this iconographic program - “The New Testament Trinity” in the State Russian Museum (inventory No. DZh3085, 17th century)

During the second half of the 16th century. the image of the New Testament Trinity is enriched with new details, such as the fallen doors of the heavenly gates borrowed from the scene of the “Ascension of Christ” (an early example of the “Four-Part” icon from the Annunciation Cathedral), the throne with the Gospel placed on it and a standing chalice, and the cross and instruments of the passion placed nearby (on icon "Saturday of All Saints" from Stroganov's letter of the late 16th century from the collection of I.S. Ostroukhov, Tretyakov Gallery, inv. No. 12113).

The question may be raised, on the one hand, about borrowings from Western art of both the iconographic scheme as a whole and individual details of the image of the New Testament Trinity, and on the other hand, about the prerequisites that take place in Russian art, opening the way for these borrowings and allowing rethinking and organically include them in the context of Russian iconographic creativity of the 16th century.

The image of the Trinity on other icons

Baptism (Epiphany). Around 1497

Academician B.V. Rauschenbach. ADDITION

". FACE THE HOLY TRINITY"

The doctrines of the Trinity are among the fundamental ones, and it is therefore not surprising that icons of the Trinity are found very often. Suffice it to recall, for example, the classic Russian five-tiered iconostasis, in which the Trinity icon is placed in the center of the forefathers' row, then in the row of holidays and, in addition, in the local row. It is quite natural that the icons of the Trinity have long attracted the close attention of researchers, especially the icons of the Old Testament Trinity, which have more ancient roots than the New Testament Trinity. Of course, this is due to the fact that the Monk Andrei Rublev wrote his “Trinity”, following precisely the ancient iconography.

If we analyze the very extensive literature devoted to Rublev’s Trinity, it becomes obvious that the authors paid the main attention to the artistic features of the outstanding creation of human genius. The connection of the icon with the difficult circumstances of a historical nature characteristic of the time of its painting was not left aside. However, it is not complete enough, it seems that these works provide a theological interpretation of what is shown on the icon. In recent years, many researchers have turned to the question of which of the angels depicted on it corresponds to which Person. Opinions are expressed very different. Most often, the middle angel is identified with either the Father or Son, and depending on the choice made, the correspondence of the side angels to the other two Persons is determined. The number of possible combinations here is quite large, and it must be said that the authors provide many interesting arguments to confirm their points of view. But there is still a long way to go to an unambiguous answer to this question. Perhaps , he will never be found. The most complete and critical examination of this problem can be found in the book by L. Muller.

There is no doubt, however, that the problem of identifying angels and Persons is of a secondary nature. After all, no matter how the question of correspondence between angels and Persons is resolved, the Trinity continues to remain only the Trinity. Only the interpretation of gestures changes, but not the cardinal quality of the icon, which is naturally considered to be the complete expression of the dogmatic teaching about the Trinity. Indeed, in the Orthodox Church, an icon is not just an illustration explaining the Holy Scripture (which is quite acceptable for Catholics), but is organically included in liturgical life. It will be shown below that in Rublev this completeness of expression reaches its maximum. Considering the icons of the Trinity from the point of view of the completeness of expression of dogmatic teaching, it is interesting to trace how gradually this expression is improved and how, as theological rigor weakens when painting icons, it becomes clouded. In addition, the proposed approach allows us to analyze the icons of the Old Testament Trinity and the New Testament Trinity from a single point of view, to compare them essentially, and not attribute them to different iconographic types and, accordingly, consider them separately, without connection with each other.

In order to streamline the subsequent analysis, it is useful to formulate in the briefest form the main qualities that the Trinity possesses according to the teaching of the Church.

1. Trinity

2. Consubstantiality

3. Inseparability

4. Co-essence

5. Specificity

6. Interaction

The six qualities formulated here and related issues were discussed in my previous article. The listed qualities could be called structural-logical, since they define precisely these aspects of the dogma of the Trinity. In addition, the Trinity is also: 7. Saint; 8. Life-giving.

It seems that the latest definitions do not need any comment.

When considering the question of the evolution of the complete expression of the Trinity dogma in icons, it would seem natural to begin with the most ancient examples and end with modern ones. However, another path seems more expedient: first turn to the highest achievement in the matter of such expression - the icon of St. Andrei Rublev, and then move on to the analysis of the types of icons that preceded and followed it. This will make it possible to more clearly identify the features of other icons, the weakening in them of the full expression of dogma, having before our eyes the highest example. Much of what Rublev used goes back to earlier iconographic traditions, but will not be mentioned in the analysis of his Trinity. It will become clear when we subsequently turn to more ancient icons.

The fact that Rublev's "Trinity" carries within itself a highly complete expression of dogma was intuitively felt by many. This is best evidenced by the unpublished work of V.N. Shchepkin, in which he, nevertheless, absolutely rightly writes that Rublev created “the direct embodiment of the main dogma of Christianity” and, further, that “the poetic thought about dogma is poured out everywhere in the icon.” . In a similar sense, one can interpret the thought of Father Pavel Florensky that the icon of the Trinity "Rublev". has already ceased to be one of the images of facial life, and its relation to Mamvra is already a rudiment. This icon shows in a striking vision the Most Holy Trinity - a new revelation, although under the veil of old and undoubtedly less significant forms."

An analysis of how fully and by what artistic means Rublev embodied the dogma of the Trinity in his icon will be carried out in the same sequence as proposed above. The first quality in this series was named trinity . It is possible to show that three Persons make up one God only by depicting them on one icon (therefore, it is unthinkable here what is often done in the icons of the Annunciation, where the Mother of God and the Archangel Gabriel - for example, on the royal doors - are depicted on separate icons that make up in turn a single composition). An additional and very significant technique is the prohibition on the inscription of halos on Persons and the use instead of them of a unifying inscription representing the Triad in the form of a Monad: “The Most Holy Trinity.” Related to this is the prohibition on separating Faces by depicting different halos. The above suggests that, without clearly distinguishing the Persons on his icon, Rublev acted from dogmatic considerations. But if this is so, then the “deciphering” of “characters,” which is now often attempted, to a certain extent loses its meaning, becoming a secondary matter.

The second quality to discuss is consubstantiality . Rublev conveys it extremely simply: the three depicted angels are completely of the same type. There are no visible differences between them, and this is enough for the sensation of consubstantiality to arise. As for inseparability, then it is symbolized by the sacrificial cup located on the throne. The cup is rightly interpreted as a symbol of the Eucharist. But the Eucharist unites people into the Church, therefore, in this case, the cup unites three Persons into some kind of unity. Such a subtle expert in the theology of icon veneration as L.A. Uspensky speaks about it this way: “If the tilt of the heads and figures of two angels directed towards the third unites them with each other, then the gestures of their hands are directed towards the one standing on a white table, as if the altar, the Eucharistic chalice with the head of a sacrificial animal. It constrains the movements of the hands." The sacrificial cup - the semantic and compositional center of the icon - is one for all three angels, and this also suggests that we have a Monad.

Transfer on the icon co-essence presents a very difficult task. After all, this means that the three Persons exist only together (this is evidenced by their inseparability) and always. But “always” is a category of time, and it is extremely difficult to convey time using the means available to fine art. Here only indirect methods are possible. Rublev very subtly and successfully uses this opportunity. By using all the means available to him (composition, line, color), he creates a feeling of silence, peace and stopping time. This is also facilitated by the fact that the angels have a silent conversation. After all, an ordinary conversation requires the utterance of words, takes time, and if Rublev had depicted such a conversation, time would have entered the icon. In a silent conversation, images and emotions are exchanged, not words. After all, emotions can arise instantly and last indefinitely. No wonder such concepts as “love at first sight” or “eternal love” appeared. Images are similar: a person is able to immediately imagine a beautiful landscape. If you try to convey love or a landscape in words, then it will take time, and it is impossible to adequately convey such subtle feelings as love in words. The image and emotions will always be richer and brighter than words in this sense. As a result of the totality of the means used by Rublev, it seems that the three angels have been sitting and talking for an infinitely long time and will continue to sit here for just as long. They are outside the bustling and hurrying world of people - they are in eternity. But in eternity time does not flow, it is entirely within it. That which is in eternity truly becomes ever-present , always existing.

Specificity Persons are a kind of opposition to consubstantiality. Consubstantiality does not mean the complete identity of Persons; they are not impersonal. As P.A. Florensky very successfully formulated, the trinitarian dogma makes Persons distinguishable, but not different. In Rublev, specificity is shown very simply: the angels have different poses, they wear different clothes. But the simplicity of this technique allows us to simultaneously achieve the fact that Rublev’s specificity is not striking. He very subtly and restrainedly conveys the differences of the Persons while emphasizing their consubstantiality, which is fully consistent with the teaching of the Church about the Trinity.

Interaction Rublev conveys the faces in the form of a silent conversation of angels. It was already said above that the three Persons not only coexist, but are in close interaction: the Son is born, and the Holy Spirit comes from the Father. But it is unthinkable to depict birth and procession on an icon, especially since, due to the incomprehensibility of God, we do not know the exact meaning of the words birth And origin and I can’t imagine it. Of course, the interaction of Persons is not limited to these two points included in the Creed, but is more multifaceted. Therefore, depicting interaction in the form of a silent conversation, or rather, an exchange of images and inexpressible words-emotions, is quite reasonable as a method of visually representing celestial interaction.

Holiness The Trinity is emphasized by the halos of the three Persons, by the fact that they are depicted as angels, and, in addition, by the fact that in the background of the icon, on the right, a mountain is shown, which also embodies a symbol of holiness.

Vitality characterizes the tree of life located behind the middle angel. This is the appearance that Rublev took on the Mamvri oak tree, in the shade of which Abraham feasted on the Trinity. Thus, an everyday detail - oak - became a symbol for Rublev, appropriate when depicting the mountain world.

The brief analysis carried out here showed that all the fundamental components of the rather complex trinitarian dogma were conveyed by Rublev with amazing accuracy and precisely by artistic means. Of course, the meaning of Rublev’s icon is not limited to finding worthy visual means for this purpose. Researchers of the work of St. Andrew quite rightly pointed out, for example, that the sacrificial cup on the throne symbolizes the voluntary sacrifice of the Son, and interpreted the gestures of the angels accordingly. They also found that the interaction of the depicted angels (through their poses and gestures) speaks of the love that binds the Persons into Unity. All these and other considerations of this type are certainly interesting, they attempt to understand the life of God in Himself, but they are not directly related to the issue that is being discussed here: the problem of the completeness of the transmission of the Trinity dogma in icons. Concluding the analysis of Rublev's "Trinity", I would like to especially emphasize that, starting from the Old Testament story about Abraham's meeting with God, Rublev deliberately eliminated everything everyday and secular from the icon and gave an amazing image of the heavenly world. This is probably what Father Pavel Florensky had in mind when he said that the icon shows the Most Holy Trinity, and its relation to Mamvre is already a rudiment.

In the time preceding Rublev, all icons of the Trinity were painted according to a type known as the “Hospitality of Abraham.” Not only the Trinity was depicted here, but also Abraham and Sarah treating dear guests, and sometimes the slaughter of a calf by a youth. This immediately reduced the emerging image, bringing it closer to everyday earthly life - it no longer represented the world above, but the world below, which, however, was visited by God. It should be noted here that compositions depicting the Trinity in the form of three angels existed before Rublev, but the absence of Abraham and Sarah in them is explained quite simply: there was not enough space to depict them. Such compositions are found only on panagia, the bottoms of small vessels, and in other cases when the icon painter was severely limited by the size of the field provided to him. As soon as the size of the sacred image increased, Abraham and Sarah inevitably appeared in the field of view.

The first images of the Old Testament Trinity appeared in the Roman catacombs. Of the later images that have reached us, we should first of all mention the mosaics of the 5th century (Santa Maria Maggiore, Rome) and the 6th century (San Vitale, Ravenna). What is characteristic of all these works is that here the authors were not too concerned with conveying the Trinity dogma through artistic means; they were more interested in strictly following the text of the Old Testament, which speaks of the appearance of God to Abraham: “And the Lord appeared to him at the oak grove of Mamre, as he sat at the entrance to his tent in the heat of the day. He lifted up his eyes and looked, and, behold, three men stood against him" (Gen. 18: 1-2). In full agreement with this text, the Persons of the Trinity are depicted as men, not angels. From the Trinity dogma, one can see here only a weakened transmission of holiness (only halos), trinity and consubstantiality. Specificity and distinction of persons are completely absent, just like inseparability, co-essence, interaction and life-giving origin. Later, and by the 11th century everywhere, Persons are already depicted in the form of angels, which indicates a desire to, as it were, strengthen the external signs of Their level of holiness: on the table at which Abraham’s guests are sitting, a sacrificial bowl appeared, but besides it, other “cutlery” is also shown ", as a result of which the scene does not acquire the deepest symbolic meaning as in Rublev's.

The desire to be closer to the text of the Old Testament leads to the emergence of a specific iconography of the Trinity: the middle angel is depicted as sharply different from the side angels; he clearly stands at a higher level of the hierarchy. Sometimes the halo of this angel is made baptized, i.e. tells the angel the signs of Jesus Christ. Such iconography goes back to the interpretation of God’s appearance to Abraham that was widespread in its time, according to which it was not the three Persons of the Trinity that appeared to him, but Christ, accompanied by two angels. The Old Testament text provides the basis for such an interpretation, but then what is depicted is no longer the Trinity (although the corresponding inscription claims this), since here, perhaps, the main thing in the dogmatic teaching about the Trinity - consubstantiality - is clearly violated. Some icon painters, realizing the inadmissibility of departing from the dogmatic doctrine of consubstantiality, make the halos of all three angels baptized, although such a halo is appropriate only when depicting Christ and is completely excluded when depicting the Father and the Holy Spirit.

Over the centuries, the completeness of the transmission of the Trinity dogma, achieved by the 11th century, remains almost unchanged. Only minor enhancements can be noted. The angels begin to interact more intensively, the Mamvrian oak is now depicted conditionally, not as “realistically” as on the Ravenna mosaic, and can be interpreted as tree of life(although in many cases he is not depicted at all). This suggests that icon painters understand the need to depict not only Abraham’s hospitality, but also to convey the dogmatic teaching about the Trinity. It would be possible to consider from this point of view numerous icons of the Trinity of the 11th-14th centuries and for each of them formulate the degree of completeness of the transmission of the Trinity dogma, following the methodology used above for the analysis of Rublev’s “Trinity”. However, such an analysis, useful when studying any individual icon, is of little use when referring to a large array of icons. The fact is that the average statistical conclusion that such an analysis would lead to would only indicate that the level of compliance with dogma in these icons is always lower than that of Rublev.

The appearance of Rublev's "Trinity" in the 15th century was not the result of gradual development, it was a leap, something explosive. With amazing courage, the artist completely excludes scenes of hospitality and removes everything from the background. The table is no longer set with “cutlery” according to the number of people eating - this is no longer a joint meal that can unite members of a single fellowship, but the Eucharist, which unites not into fellowship, but into the Church. Rublev manages to make the person contemplating the icon sees complete trinitarian dogma. In pre-Rubble times, icons, relatively speaking, had to have a commentator who would explain and supplement what was depicted, since their content from the point of view of the embodiment of dogma was always incomplete. Here, for the first time, such a commentator turned out to be unnecessary. It is not surprising that immediately after the appearance of the “Trinity”, Rublev’s iconography - with one or another variant - began to quickly spread in Russia.

The further development of the iconography of the Trinity, in which icon painters tried to “improve” what Rublev had achieved, only confirmed the obvious: if the maximum has been achieved in some matter, then any deviation from it, no matter in which direction it is made, will mean deterioration. Surprisingly, the main and widespread “improvements” of Rublev’s iconography primarily concerned the “setting” of the table. Here again some mugs, bowls, jugs and similar objects appear. In this regard, Simon Ushakov’s “Trinity” from the Gatchina Palace (1671) is very characteristic, almost exactly repeating Rublev’s iconography in form and noticeably departing from it in essence. Not only the numerous “cutlery” lowers the high symbolism of Rublev to the level of everyday life, but also tree of life again becomes an oak tree, under whose shade the Trinity sits. Completely conventional chambers, which in Rublev symbolized the house-building of the Holy Trinity, are transformed in Ushakov into a spatial and intricate architectural ensemble of the Italian type. The entire icon becomes an image of a certain everyday scene, but in no way symbol heavenly world.

Another example typical of the 17th century is the Trinity icon from the Trinity Church in Nikitniki in Moscow. Its authors are presumably Yakov Kazanets and Gavrila Kondratyev (mid-17th century). Everything that was said above about Simon Ushakov’s “Trinity” is visible here: a richly served table under the shade of a spreading oak tree, and the architecture of the quaint chambers in the background, but there is also something new: an appeal to the theme of Abraham’s hospitality, i.e. refusal to depict the world above (where Abraham and Sarah are inappropriate) and a return to depicting the world below on the icon. This is characteristic not only of this icon, but also of icon painting in the 16th-17th centuries in general. One can clearly see (especially in the 17th century) a decline in interest in high dogma and an increase in interest in the possibility of a realistic depiction of people's lives. It seems that the icon becomes a reason for creating everyday scenes using pictorial means. Returning to the icon under discussion, it should be noted that it is highly narrative. Here you can see not only the Trinity sitting at the table, but also a whole story about it: first the scene of Abraham’s meeting with the Trinity, then Abraham washing the feet of three angels, then the main semantic center - the meal and, finally, the departure of the Trinity, and Abraham’s farewell to her . Such a narration shows that the Old Testament text is rather a source of imagination for the icon painter. To create such a composition developing over time from a series of almost everyday scenes is much easier than to do what Rublev managed: to exclude time from the icon and thereby give a feeling of eternity.

The deviation from dogmatic teaching in the icons of the 17th century is quite consistent with the lowering of the level of theological thought and weakening of holiness noted at that time. The noted evolution thus turns out to be not an accidental phenomenon, but a completely natural consequence of the ongoing secularization of all life in the country. If we return to the discussion of dogmatic completeness in the icons of the Trinity of that time, what is striking is the increase in the number of icons of the New Testament Trinity, which in previous centuries were a rare exception.

Many theologians rightly noted the danger of rationalizing the Trinity dogma, which often led to heretical constructions. The basis of the tendency towards rationalization is, as a rule, the desire to make this dogma “understandable”, to reconcile it with familiar ideas. The icons of the New Testament Trinity can be interpreted as a kind of rationalization performed by artistic means. Indeed, instead of the symbolic representation of the three Persons in the form of angels, a more “intelligible” form is used. The Second Person of the Trinity is depicted as is customary on all icons of the Savior, the third Person - in the form of a dove (which, strictly speaking, is only appropriate on the “Baptism” icons). This choice of symbol for depicting the Holy Spirit is quite natural: if it is depicted in the form of a tongue of flame (as on the icons of the “Descent of the Holy Spirit”) or in the form of a cloud (as on Mount Tabor), then the problem of composition of the icon would become practically insoluble. As for the First Person - the Father, here he is shown as the “ancient of days”, based on dubious interpretations of the visions of the prophets Isaiah and Daniel. As can be seen, in this case, too, the attempt at rationalization and the desire for clarity led, in fact, to a kind of “heresy”, to a departure from the resolutions of the VII Ecumenical Council. This was understood by many, and by the decrees of the Great Moscow Cathedral (1553-1554), icons of this type were actually prohibited. The ban, however, was not enforced, since the number of such icons was already large, and they seemed to be legitimized by church practice. Related issues are discussed in detail in the monograph by L.A. Uspensky.

In all icons of this type, one notices a departure from the dogmatic doctrine of the consubstantiality of Persons (or at least its unacceptable weakening). If we can talk about the consubstantiality of the Father and the Son depicted on the icon, since both are represented in the form of people, then there can be no talk about the consubstantiality of man and dove. Here again, next to the icon, it is necessary to place a commentator explaining that the Holy Spirit, nevertheless, is consubstantial with the Father and the Son. Compared to the icons of the Old Testament Trinity, in which there is consubstantiality visible this is not the case here: the icon painter seems to be demonstrating his inability to convey through pictorial means the most important position of the dogmatic doctrine of the Trinity.

Icons of the New Testament Trinity are usually painted in two types, which are known as “Co-throne” and “Fatherland”. In the icons of the first type, the Father and Son are depicted sitting side by side on a co-throne, and the Holy Spirit is depicted as a dove hovering in the air between them, just above their heads. Since the New Testament Trinity is radically different from those discussed earlier, let us repeat its analysis for compliance with the need for complete expression of the dogmatic teaching about the Trinity formulated above, bearing in mind the “Co-throne” option.

Trinity shown here, as before, in the form of a joint image of three Persons on one icon. As for the ban on the inscriptions of halos, now it is meaningless, because Persons are depicted in different ways, and besides, as a rule, they have different halos: Christ is baptized, the Father is eight-pointed, the Holy Spirit is ordinary. But the trinity, albeit not as perfectly as before, is shown.

Transmission of the most important position of the Trinity dogma - consubstantiality- it turns out to be impossible to implement, as was already mentioned above. The same can be said about inseparability . In Rublev, to make this quality clear, the unifying symbolism of the Eucharist was used, but here nothing (except, of course, a conventional commentator) prevents the Persons from “dispersing” in different directions, each according to their own affairs. Coexistence is a quality associated with time, with eternity. It was shown above how subtly and skillfully Rublev managed to convey this eternity, using various indirect methods. There is nothing like it here. Moreover, the icons of the New Testament Trinity provide grounds for denying it. By showing the Father as an old man and the Son as a younger man, the icon gives the right to assume that there was a time when the Father already existed and the Son did not yet exist, which contradicts the Creed. Here again a conditional commentator is needed to deny the absence of co-essence of Persons in the icon. For the icons of the Old Testament Trinity, such a comment is not required - the angels are always depicted as “of the same age.” Specificity The faces are very strongly expressed - they all have a completely different appearance. It can even be argued that this specificity is shown too emphatically, to the detriment of consubstantiality. The icon painter is not able to do what Rublev managed - to show both at the same time. Interaction The faces are depicted, as in Rublev, but weakened - in the form of a conversation between the Father and the Son, in which the Holy Spirit (dove), of course, cannot take part. The holiness of faces is expressed through halos, vitality - has not been identified at all.

If we turn to another version of the New Testament Trinity - “Fatherland”, then almost everything said remains valid here. In icons of this type, the Father seems to be holding on his knees (or in his bosom?) the Son, who is now presented as Christ the Youth (Savior Emannuil). This further enhances the undesirable appearance of the difference in their “ages”, which was mentioned above. Such iconography also tries to convey the indescribable - the birth of the Son from the Father. Perhaps this is just what the interaction of the first two Persons shown here comes down to. The Holy Spirit no longer hovers above, but is visible on a large medallion held in the hands of the Son, and, of course, again in the form of a dove.

As follows from what has been said, the completeness of expression of the Trinity dogma in the icons of the New Testament Trinity is very small, even if we compare them with the “Trinity” not of Rublev, but with the entire totality of icons of the Old Testament Trinity. As for the “Fatherland” icons, here one can see not only an insufficiently complete transmission of dogmatic teaching, but even a distortion of it. As already noted, the composition of the icon speaks of the desire to show the indescribable - the birth of the Son from the Father; but this is not enough; the icon also attempts to show the procession of the Holy Spirit. The medallion with the Holy Spirit - a dove - is held in the hands of the Son, and he himself is held by the Father, and this indicates that the icon is closer to the Creed distorted by Catholics, according to which the Holy Spirit comes from the Father and the Son, than to the Orthodox Niceno-Constantinopolitan Symbol according to which the Holy Spirit proceeds only from the Father.

Summing up the analysis of various icons of the Trinity from the point of view of the transmission of the Trinity dogma in them, we can state that in different periods the completeness of this transmission was also different. Initially, it intensified; over time, icon painters strove for an ever more complete expression of the dogma, reaching its greatest completeness in Rublev. Then interest in dogmatic teaching begins to wane, icons become closer and closer to illustrations of the texts of Holy Scripture, and their theological depth decreases accordingly. Even icons of the New Testament Trinity appear, in which the dogmatic side is of little interest to the icon painter. He now strives to make the icon “more intelligible”, allowing himself what clerk Viskovaty called “self-thinking” and “Latin wisdom.” All this speaks of the decline of church consciousness in the 17th century, however, this is another topic.

Icon of the Holy Trinity - what is depicted on it? We will talk about this by examining the issue using the example of the ten most famous icons depicting the Holy Trinity.

The Holy Trinity

One of the founding fathers of ancient philosophy, and with it the entire European civilization, the ancient Greek philosopher Aristotle said: “Philosophy begins with wonder.” The same can be said about Christian dogma - it cannot but cause surprise. The worlds of Tolkien, Ende and Lewis with all their fabulous mysteries do not even touch the shadow of the mysterious and paradoxical world of Christian theology.

Christianity begins with the great mystery of the Most Holy Trinity - the mystery of God's Love, revealed in this one incomprehensible unity. V. Lossky wrote that in the Trinity we see the unity in which the Church abides. Just as the Persons of the Trinity remain unmerged, but constitute One, we are all gathered into the single Body of Christ - and this is not a metaphor, not a symbol, but the same reality as the reality of the Body and Blood of Christ in the Eucharist.

How to depict a mystery? Only through another secret. The joyful mystery of the Incarnation made it possible to depict the Indescribable. The icon is a symbolic text about God and holiness, revealed in time and space and abiding in eternity, just as the fairy-tale forest from Michael Ende’s “The NeverEnding Story”, created in the imagination of the protagonist, begins to exist without end and beginning.

We can comprehend this eternity thanks to one more mystery, far from the last in the world of Christian theology: God Himself enlightens every Christian, following the Apostles, by bestowing Himself - the Holy Spirit. We receive the gifts of the Holy Spirit in the Sacrament of Confirmation, and He permeates the whole world, thanks to which this world exists.

So, the Holy Spirit reveals to us the mystery of the Trinity. And that is why we call the day of Pentecost - the Descent of the Holy Spirit on the Apostles - “The Day of the Holy Trinity”.

Trinity and “Hospitality of Abraham” - the plot of the icon of the Life-Giving Trinity

The indescribable can be depicted only to the extent that it has been revealed to us. On this basis, the Church does not allow the depiction of God the Father. And the most correct image of the Trinity is the iconographic canon “Hospitality of Abraham,” which sends the viewer to distant Old Testament times:

And the Lord appeared to him at the oak grove of Mamre, when he was sitting at the entrance to [his] tent, during the heat of the day.

He lifted up his eyes and looked, and behold, three men stood against him. When he saw it, he ran towards them from the entrance to [his] tent and bowed to the ground and said: Master! If I have found favor in Your sight, do not pass by Your servant; and they will bring some water and wash your feet; and rest under this tree, and I will bring bread, and you will strengthen your hearts; then go [on your way]; as you pass by your servant. They said: do as you say.

And Abraham hurried to Sarah’s tent and said to [her], “quickly knead three sati of fine flour and make unleavened bread.”

And Abraham ran to the herd, and took a tender and good calf, and gave it to the lad, and he hastened to prepare it.

And he took the butter and the milk and the calf that had been prepared, and set it before them, while he stood beside them under the tree. And they ate.

The story of a hospitable old man who recognized God in three men is in itself touching and instructive for any believer: if you serve your neighbor, you serve the Lord. We meet the image of this event very early.

Mosaic on the triumphal arch of the Basilica of Santa Maria Maggiore in Rome created in the 5th century. The image is visually divided into two parts. At the top, Abraham runs out to meet three men (one of them is surrounded by radiance, symbolizing the glory of the Divine). In the lower part, the guests are already sitting at the set table, and Abraham is serving them. Sarah stands behind Abraham. The artist conveys the movement by depicting the old man twice: here he is giving instructions to his wife, and here he turns around to bring a new dish to the table.

By the 14th century, the canon “Hospitality of Abraham” was already fully formed. Icon "Trinity of Zyryansk", which, according to legend, belonged to the brush of St. Stefan of Perm is a slightly modified version of it. Three angels are seated at a table, a calf lies under it, and Abraham and Sarah stand at the bottom left. In the background there is a building with a turret (the house of Abraham) and a tree (the Oak of Mamre).

The images may change, but the set of symbols and characters remains the same: three angels, a couple serving them, below - a calf (sometimes with a youth slaughtering it), an oak tree, the chambers of Abraham. 1580, icon " Holy Trinity in existence”, surrounded by stamps depicting events associated with the apparitions of the Trinity. An interesting detail: Abraham and Sarah here not only serve at the table, but also sit at it. The icon is located in the Solvychegodsk Historical and Art Museum:

More typical, for example, is a 16th-century icon from the Trinity-Gerasimov Church in Vologda. Angels are in the center of the composition, followed by Abraham and Sarah.

The icon is considered the pinnacle of Russian icon painting Trinity, written by Rev. Andrei Rublev. Minimum symbols: three angels (Trinity), a cup (Atoning sacrifice), a table (the Lord's Table, the Eucharist), a reverse perspective - “expanding” from the viewer (the space of the icon, describing the heavenly world, is immeasurably larger than the world below). Among the recognizable realities - an oak tree (Mamre), a mountain (here is the sacrifice of Isaac, and Golgotha) and a building (Abraham's house? Church?..).

This image will become a classic image for the Russian icon, although some discrepancies in details are possible. For example, sometimes the middle angel has a cross on his halo - this is how Christ is depicted on icons.

Icon of the Holy Trinity, 17th century

Another example: Simon Ushakov depicts the meal in more detail.

The canon “Hospitality of Abraham” is optimal for depicting the Holy Trinity: it emphasizes the unity of essence (three angels) and the difference of hypostases (angels are present in the space of the icon “autonomously” from each other).

Therefore, a similar canon is used when depicting the appearance of the Trinity to saints. One of the most famous images is Appearance of the Holy Trinity to Saint Alexander of Svirsky:

Non-canonical images

However, there have been attempts to portray God in the Trinity in other ways.

It is extremely rare in Western European and Russian temple painting to come across an image used in the iconography of the Renaissance, where three faces are combined in one body. It did not take root in church painting because of its obvious heresy (mixing of Hypostases), and in secular painting because it was unaesthetic.

The image is by Hieronymus Cocido, Spain, Navarre

But the image " Trinity New Testament"occurs often, although it contains the other extreme - the division of the Essence of the Divine.

The most famous icon of this canon is “ Fatherland» Novgorod school (XIV century). The Father sits on the throne in the form of a gray-haired old man, on his knees is the Youth Jesus, holding a circle with the image of the Holy Spirit in the form of a dove. Around the throne are seraphim and cherubim, closer to the frame are saints.

No less common is the image of the New Testament Trinity in the form of the Elder-Father, on the right hand - Christ the King (or Christ holding the Cross), and in the middle - the Holy Spirit, also in the form of a dove.

XVII century, Museum of Ancient Russian Art named after. Andrey Rublev

How did the canon of the “New Testament Trinity” appear if the image of God the Father, Whom no one has seen, is prohibited by the council? The answer is simple: by mistake. The book of the prophet Daniel mentions the Old Denmi - God:

The Ancient of Days sat down; His robe was white as snow, and the hair of His head was like pure wool. (Dan.7:9).

It was believed that Daniel saw the Father. In fact, the Apostle John saw Christ in exactly the same way:

I turned to see whose voice was speaking to me; and turning, he saw seven golden lampstands and, in the midst of the seven lampstands, one like the Son of Man, clothed in a robe and girded around the chest with a golden belt: His head and hair were as white as white wool, like snow...

(Rev.1:12-14).

The image of the “Old Day” exists on its own, but is an image of the Savior, not the Trinity. For example, on the fresco of Dionysius in the Ferapontov Monastery, a halo with a Cross, with which the Savior is always depicted, is clearly visible.

Two more interesting images of the “New Testament Trinity” came from the Catholic Church. They are rarely used, but also deserve attention.

"Adoration of the Holy Trinity" by Albrecht Durer(the painting is kept in the Vienna Museum of Art History): at the top of the composition is the Father, below Him is Christ on the Cross, and above them is the Spirit as a dove. The Trinity is worshiped by the Heavenly Church (angels and all saints with the Mother of God) and the Earthly Church - the bearers of secular (emperor) and ecclesiastical (pope) power, priests and laity.

Image " Coronation of the Mother of God“is associated with the Mother of God dogmas of the Catholic Church, but due to the deep veneration of the Most Pure Virgin by all Christians, it also became widespread in Orthodoxy.

The Virgin Mary on images of the Trinity, Prado, Madrid

In the center of the composition is the Virgin Mary, the Father and the Son holding a crown over Her head, and a dove depicting the Holy Spirit hovers above them.

The dogma of the trinity of God is one of the main ones in Christianity, regardless of denomination, therefore the Trinity icon has its own symbolic meaning and an interesting history. In this article we will talk about the history, significance and meaning of the Holy Trinity icon, and how it can help Christians.

Basics of Faith

According to Christian doctrine, there cannot be an exact image of God the Trinity. He is incomprehensible and too great, besides, no one has seen God (according to the biblical statement). Only Christ descended to earth in his own form, and it is impossible to directly depict the Trinity.

However, symbolic images are possible:

• in angelic form (three Old Testament guests of Abraham);
• festive icon of the Epiphany;
• the descent of the Spirit on the day of Pentecost;
• Transfiguration.

All these images are considered icons of the Holy Trinity, because each case is marked by the appearance of different hypostases. As an exception, it is allowed to depict God the Father as an old man on icons of the Last Judgment.

Famous icon of Rublev

Another name is “The Hospitality of Abraham”, since it depicts a specific Old Testament story. The 18th chapter of Genesis tells how the righteous man received God Himself, under the guise of three travelers. They symbolize the different personalities of the Trinity.

The complex dogmatic teaching about the Christian God was best revealed by Rublev the artist; his Icon of the Trinity differs from other options. He refuses Sarah, Abraham, uses minimal utensils for meals. The main characters do not eat food; they appear engaged in silent communication. These thoughts are far from mundane, which becomes clear even to the uninitiated viewer.

The Trinity Icon of Andrei Rublev is the most famous image painted by the hand of a Russian master. Although very few works by the monk Andrei have survived, the authorship of this one is considered proven.

Appearance of Rublev’s “Trinity”

The image is written on a board, the composition is vertical. Behind the table are three figures, behind you can see the house where the Old Testament righteous man lived, the Mamre oak tree (it still survives and is located in Palestine), and a mountain.

A fair question would be: who is depicted on the icon of the Holy Trinity? Behind the appearance of an angel are hidden the personalities of God:

• Father (the figure in the center blessing the cup);
• Son (the right angel, in a green cape. Bowed his head, thereby agreeing to his role in the plan of salvation, travelers talk about him);
• God the Holy Spirit (to the left of the viewer, raises his hand to bless the Son for the feat of self-sacrifice).

All the figures, although they express something through poses and gestures, are in deep thought, there is no action. Gazes are directed to eternity. The icon also has a second name - “Eternal Council”. This is the communication of the Holy Trinity about the plan of salvation of the human race.

Composition is important for describing the Trinity icon. Its main element is the circle, which clearly expresses the unity and equality of the three hypostases. The bowl is the center of the icon; it is on it that the viewer’s gaze stops. This is nothing more than a prototype of Christ’s sacrifice on the cross. The cup also reminds us of the sacrament of the Eucharist, the main thing in Orthodoxy.

The colors of the clothes (azure) are reminiscent of the divine essence of the characters in the plot. Each angel also holds a symbol of power - a scepter. The tree here is intended to recall the tree of paradise, because of which the first people sinned. The house is a symbol of the Spirit's presence in the Church. The mountain anticipates the image of Golgotha, a symbol of atonement for the sins of all mankind.

History of the image of the Holy Trinity

The details of the life of the great master are little known. He is hardly mentioned in the chronicles; he did not sign his works (a common practice for that time). Also, the history of writing the masterpiece still has many blank spots. It is believed that the Monk Andrew carried out obedience in the Trinity-Sergius Lavra, for which his most famous icon was painted. There are different opinions about the time of creation of the Trinity icon. Part dates it to 1412, other scholars call it 1422.

Realities of life in the 15th century. were far from peaceful, the Moscow principality was on the verge of a bloody war. The theological content of the icon, the unity of the hypostases of the depicted Persons is a prototype of universal love. It was precisely for agreement and fraternal unity that the icon painter called upon his contemporaries. The Old Testament Trinity for Sergius of Radonezh was a symbol of unity, which is why he named the monastery in its honor.

The abbot of the Lavra really wanted to complete the decoration of the Trinity Cathedral, for which he gathered the best. Frescoes were planned on the walls - traditional for that period. Also, the iconostasis needed filling. “Trinity” is a temple icon (the most important), which is located in the bottom row near the Royal Doors (the clergy exits through them during services).

Return of color

In the history of the Trinity icon, an important stage was the rediscovery of long-familiar material. Several decades ago, restorers learned how to remove drying oil from old images. V. Guryanov, under a small fragment of the “Trinity,” discovered a surprisingly vibrant shade of blue (the color of the robes). A whole wave of visitors followed.

But the monastery was not happy about this; the icon was hidden under a massive frame. Work has stopped. Apparently, they were afraid that there would be people who wanted to spoil the shrine (this happened with other famous images).

The work was completed after the revolution, when the Lavra itself was closed. The restorers were amazed by the bright colors that were hidden under a dark coating: cherry, gold, azure. One of the angels is wearing a green cape, in places you can see pale pink. These are heavenly colors that indicate one of the meanings of the Trinity icon. It seems to call the praying person back to where unity with God is possible, this is a real window into another world.

The meaning and meaning of the icon of the Holy Trinity

The icon of the Life-Giving Trinity has several layers of meaning. Approaching it, a person becomes, as it were, a participant in the action. After all, there are four seats at the table, but only three sit at it. Yes, this is the place where Abraham should sit. But everyone is invited to participate. Any person, as a child of God, must strive into the arms of the heavenly Father, into the lost paradise.

The icon of the Holy Trinity is not only a famous image, but also a great work of world art. This is an excellent example of reverse perspective: the lines of the table (or more precisely, the throne) inside the composition go to infinity. If you extend them in the opposite direction, they will point to the place where the observer is standing, as if inscribing him into the composition.

The search for God, on which many spend their entire lives, for Andrei Rublev seems to have a logical conclusion in this work. We can say that the icon of the Holy Trinity became a catechism written in colors, expounded by the great ascetic of the faith. Fullness of knowledge, peace and confidence in God's love fill everyone who looks at the image with an open heart.

Rublev - a mysterious person

The authorship of the great image, one of a kind, was established a century later. Contemporaries quickly forgot who painted the Trinity icon; they were not particularly concerned with the task of collecting information about the great master and preserving his work. For five hundred years he was not mentioned in the calendar. The saint was officially canonized only at the end of the 20th century.

Popular memory almost immediately made the icon painter a saint. It is known that he was a student of Saint Sergius of Radonezh himself. He probably perfectly learned the spiritual lessons of the great old man. And although St. Sergius did not leave theological works, his position is clearly read in the icon created by his disciple. And the people's memory has preserved his monastic exploits.

Back in the 17th century. Rublev was mentioned in the legend about the great icon painters. He was even depicted on icons, among other ascetics from the Lavra.

Non-canonical images

Many believers have seen an icon called “Trinity of the New Testament.” It depicts a gray-haired old man, Christ and a soaring dove. However, such stories are strictly prohibited in Orthodoxy. They violate the canonical prohibition according to which God the Father cannot be depicted.

In accordance with the Holy Scriptures, only symbolic images of the Lord are permissible, for example, in the guise of an angel or Christ. Anything else is heresy and should be removed from the homes of godly Christians.

The dogma of the Trinity, which is very difficult to understand, looks very accessible in such non-canonical icons. The desire of ordinary people to make something complex simple and clear is understandable. However, you can purchase these images only at your own risk - the cathedral decree prohibits them, even consecrating them is prohibited.

An old image in a new incarnation

In the 17th century In Moscow, icon painter Simon Ushakov enjoyed well-deserved fame. Many images came from his pen, including the Trinity icon. Ushakov took Rublev’s painting as a basis. The composition and elements are the same, but executed in a completely different manner. The influence of the Italian school is noticeable, the details are more real.

For example, a tree has a spreading crown, its trunk has darkened with age. The angel wings are also made realistically, reminiscent of real ones. Their faces have no reflections of internal experiences, they are calm, their features are drawn in detail and volume.

The meaning of the Trinity icon in this case does not change - a person is also invited to become a participant in his own salvation, for which God, for his part, has already prepared everything. It's just that the writing style isn't as elevated anymore. Ushakov managed to combine ancient canons with new European trends in painting. These artistic techniques make the Trinity more earthy and accessible.

How does the icon of the Holy Trinity help?

Since the Trinity is a kind of catechism (only these are not words, but an image), it will be useful for every believer to have it at home. The image is present in every Orthodox church.

The “Trinity” icon helps to better understand the relationship between God and man; in front of it, you can turn to all the divine Persons at once, or to one of Them. It is good to say prayers of repentance, read the Psalms, ask for help when faith is weakening, and also for the guidance of those who have fallen into error and followed the wrong path.

Trinity Day is a moving holiday, celebrated after Easter (50 days later). In Rus', on this day, churches are decorated with green branches, the floor is covered with grass, and priests wear green vestments. The first Christians at this time began to harvest crops and brought them for consecration.

When choosing an icon of the Holy Trinity, you should exercise caution, because non-canonical images are sometimes found even in church shops. It is better to take the image as it was written by Rublev or his followers. You can pray about everything, because the Lord is merciful and will help in any matter if a person’s heart is pure.

Prayers to the icon of the Holy Trinity

Prayer 1

Glory to the Father, and the Son, and the Holy Spirit, now and ever, and unto ages of ages. Amen.
Most Holy Trinity, have mercy on us; Lord, cleanse our sins; Master, forgive our iniquities; Holy One, visit and heal our infirmities, for Thy name's sake.

Prayer 2

To the Most Holy Trinity, the Consubstantial Power, all the good Wines that we will reward You for everything that You have rewarded us sinners and unworthy before, before you came into the world, for everything that You have rewarded us every day, and that You have prepared for all of us in the world to come !
It is fitting, then, for so much good deeds and generosity, to thank Thee not just in words, but more than in deeds, for keeping and fulfilling Thy commandments: but we, being aware of our passions and evil customs, have cast ourselves into countless sins and iniquities from our youth. For this reason, as unclean and defiled, do not just appear before Your Trisholy face without coldness, but below Your Most Holy Name, speak to us, even if You Yourself had deigned, for our joy, to proclaim that the pure and righteous are loving, and sinners who repent are merciful and kindly accept. Look down, O Divine Trinity, from the height of Your Holy Glory upon us, many sinners, and accept our good will, instead of good deeds; and give us the spirit of true repentance, so that, having hated every sin, in purity and truth, we may live until the end of our days, doing Your most holy will and glorifying Your sweetest and most magnificent name with pure thoughts and good deeds. Amen.