In the medieval Russia, all newly-painted icons were coated with a layer of a special drying oil to protect the painting against mechanical damage and impart greater intensity to the colors. Unfortunately, with time oil darkened, thereby darkening the initial colors of icons and eventually turning absolutely black. For this reason, the icon had to be renewed, and the Trinity was painted over with fresh paints within its faintly discernible contours. This procedure was repeated several times. Towards the turn of the twentieth century there remained nothing of Rublev's masterpiece apart from the rapturous recollections of antiquity. The first attempt to remove later accretions from the fifteenth-century icon was made in 1905. At the end of 1918 restoration work was continued, the surround was removed and it is only since then that the icon's appearance has become close to the original. We say "close to" because in these long five centuries the icon's painting turned out to be damaged: the gold background was lost, the tree was painted anew within the old contours, the top layers of paint were washed off, even the ground was occasionally disturbed and cracks appeared, the outlines of the Angels' heads were partly altered. All this notwithstanding, even in its present state the Trinity remains one of the best extant Russian icons.
The subject of the icon is based on the Biblical story about the visit by three Angels to the Prophet Abraham and his wife Sarah. According to the theological interpretations whose authors associated the Old Testament events with events of the New Testament, these Angels were the three Persons of the Trinity: God the Father, God the Son and the Holy Spirit. Though revealing direct iconographic affinity with this kind of representations, the Trinity as painted by Rublev, has its own features which carry a new quality and a new content. In Rublev's icon we observe for the first time all the three Angels shown equal. This icon alone conformed to the strict rules of the orthodox doctrine of the Trinity.
Meantime, some historians of art believe that Rublev expressed in the icon the need for and benefit of love, of a union based on the trust of one individual in another. Whereas Rublev's Trinity is void of any noticeable energy of earthly life, of corporeality of forms and external manifestations of love, equally absent from it is that cold soaring of the spirit, so remote from humans. The image determines the subtle struck balance between soul and spirit, the corporeal and the imponderable, endless and immortal sojourn in the heavens. When speaking of Rublev's work, different authors describe the Trinity's Angels as quiet, gentle, anxious, sorrowful, and the mood permeating the icon as detached, meditative, contemplative, intimate.
Depicting the Trinity as an indivisible essence without beginning and without end, infinite and eternal, Rublev chose repetitive light and airy movement as the leitmotif of the composition. The Angels' attitudes and meaningful gestures, their inclinations are amazing in their dissimilarity while being almost identical, so that the icon leaves the clear impression of a seemingly many-voice talk.
It is not fortuitous that we perceive Andrei Rublev's Trinity as the highest achievement of Russian art. Crowning a long artistic career of a single master, it is also an embodiment of the creative thought of several generations. Just as any other medieval artist, Rublev highly valued tradition and collective effort. All the best features of early fifteenth-century Russian culture merged in the Trinity: a form of philosophical generalization, outwordly abstract, but with an amazingly concrete content, a capacity to express through iconographic images the national character, and artistic skills attaining to the pinnacles of world art.
park.org/Guests/Russia/moscow/sergiev/rublev.html
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