The attributes that Rublev used to make visible his inspiration are the postures and gestures of the three angels, to which we now want to turn.” From this milieu sprang an icon of the Holy Trinity with attributes never seen before, influenced by the theology of the Pentecostal feast. Bunge writes that the Trinity icon depicts “this mystery of the grace of the Holy Spirit. In the penultimate chapter of the book, “The Johannine Pentecost,” Fr. In particular it will enhance your appreciation of the final (color) sequence in the film that shows icons attributed to Rublev, of which the portrayal of the icon of the Trinity is the centerpiece. Bunge’s book without reservation to all who love Tarkovsky’s film, Andrei Rublev. Should I regret that despite so many attempts from the Russian perspectives of art history, intellectual history, and even theology, nothing equal to this work has appeared? Or, quite the contrary, give rein to pure joy that the icon, which for every Russian believer expresses the palladium, the sign and meaning of Holy Russia, has been so well understood by a Western Benedictine monk, so perfectly explained? Certainly, the latter. Bunge is from the Western, rather than the Eastern, Christian tradition is noted by the author of the book’s Foreword, Sergei Averintsev (author of the groundbreaking “encyclopedia” articles I referred to in an earlier post), who writes: In it, Father Bunge expounds masterfully on the more than thousand-year-old iconographic tradition behind the icon of the Trinity, and he gives the contemporary believer a deeper appreciation of the icon’s timeless message. The book is 120 pages long and has 23 color plates. The book was originally published in German, in 1994 (and it has also been translated into several other languages besides English). Its author is Father Gabriel Bunge, a Benedictine monk in Switzerland. In 2007, St Vladimir’s Seminary Press published The Rublev Trinity: the Icon of the Trinity by the Monk-Painter Andrei Rublev. But since the Trinity icon is considered the greatest of its kind, and one of the finest works of religious art ever created, Andrei Rublev’s place in history is secure. Little is known about his life, and only one work is known with certainty to be his alone – the icon of the Trinity. 1360 – 1430) was a medieval Russian who painted Orthodox icons and frescoes. Goubert: L'Arc éphésien de Sainte-Marie Majeure et les Évangiles apocryphes, Mél. The reader is referred to reviews of the study when it first appeared, and especially to that of P. The Apostles receive the Messiah and pass him on to the Church of Rome.ĭr Marrou in his avant-propos abstains from any opinion on the iconographical value of Mme Brodsky's theories. The history of Sarah and Isaac is illustrated parallel to that of Joseph and the Virgin. The author detects a sure and direct influence of the De Civitate Dei in the programme of the mosaics. This is the republication in book form of an 'Ekphrasis' of the triumphal arch of Saint Mary Major which previously appeared in Byzantion, 31 (1961), pp. Brodsky, V iconographie oubliée de G Arc éphésien de Sainte- Marie Majeure à Rome, in-8°, 168 pages, 8 plates, Éditions de Byzantion Brussels, 1966. Unfortunately it furnishes no information as to the provenance of these works, nor as to their bibliography. This catalogue of a private collection includes a number of important icons (n° 8 Hodigitria and Pantocrator diptych, attributed to the 15th century, n° 15 Transfiguration, attributed to the 14th century, n° 36 Forty martyrs of Sebaste' attributed to the 16th century). Dean Mckenzie, Greek and Russian icons and other liturgical objects in the collection of Charles Bolles Rogers, 44 pages, 35 plates, University of Wisconsin-Milwaukee, 1966. The text is by the Curator of Ancient monuments of the Department of Antiquities, Cyprus.Ī. This illustrated handbook includes architecture and icons as well as mosaics and frescoes. Papageorghiou, Masterpieces of the Byzantine art of Cyprus, in-4°, 40 pages, 56 plates, Republic of Cyprus, 1966. 9-56), followed by a catalogue raisonné of the ample photographic documentation which he has collected.Ī. Lazarev, Andrew Rublev and his school, in-4°, 168 pages, 18 colour plates, 194 black and white, Moscow, 1966 (in Russian).ĭ Lazarev gives a critical appraisal of the painting of Rublev and his school (pp.
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