We are searching data for your request:
Upon completion, a link will appear to access the found materials.
Rublev's “Savior” is not a picture in the full sense of the word. This is an icon, which means that the meaning of its writing is fundamentally different. The painting expresses the artist’s inner world or captures the external world, which the artist wants to rethink or preserve. The icon from the icon painter takes much less - there are well-established canons that cannot be adhered to if the usual images to which the hand reaches.
“Savior” portrays Christ quite habitually. A narrow face, a light brown beard, blue gimantium, a look full of calm wisdom. It looks, however, a little different than on most icons. Instead of sorrow for the whole world and all-consuming mercy, from which one wants to kneel, the Savior reads rather tiredness and calm expectation.
Before him, I do not want to fight in a fit of remorse. Just stand upright, just act more humane, just listen to your conscience, when once again she will offer something petty, disadvantageous, requiring time, effort and desire.
Because the Lord is looking with tired eyes, because he is tired of already offering everyone his mercy, and is just waiting who will come to him at the end and who will descend into fiery hell. And to disappoint him means not to cause anger, but to add to his fatigue another drop of fatigue, to his pain - another drop of pain. Drop by drop - and who knows if he will not turn away once, tired of watching the endless blood, pain and fear.
Only a fragment of the icon has survived, due to the prescription of years. The board on which it was made was wooden, warped, faded. Only a part of the face and very few clothes have been preserved, but in order to recognize the One who came to earth to suffer for the sins of all people, the One who fed five thousand with five loaves, the One who turned water into wine, made the blind sighted, and the lame let go - this is enough.
Description Pictures of Arable land Spring of the Venetians