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	ANDREI RUBLEV
		As a monk in the Trinity-St. Sergius Monastery, Rublev was doubtlessly a follower of St. Sergius (1314-1392), who was the founder of the monastery and was in many ways considered the leader of the 14th century spiritual and political revival.
		Many of Rublev's surviving works were created in or near Moscow, and there is evidence to suggest that he received his training in this general area (although not exactly within the city) under the guidance of Prokhor of Gorodets.
		Perhaps Rublev contributed the most to icon painting, however, when he "broke away from the prevailing severity of form, color, and expression" that characterized the developing Russian style of icon painting, especially the work of Theophanes the Greek.
	www.rollins.edu /Foreign_Lang/Russian/rublev.html (373 words)

	Andrei Rublev - Wikipedia, the free encyclopedia
		Andrei Rublev probably lived in the Troitse-Sergiyeva Lavra under Nikon of Radonezh, who became hegumen after the death of Sergii Radonezhsky (1392).
		The first mention about Rublev’s iconography was in 1405 when he decorated icons and frescos for the Cathedral of the Annunciation of the Moscow Kremlin in company with Feofan Grek and Prokhor of Gorodets.
		At Stoglavi Sobor (1551) Rublev’s iconography was announced as a model for church paintings.
	en.wikipedia.org /wiki/Andrei_Rublev (380 words)

	Andrei Rublev (film) - Wikipedia, the free encyclopedia
		Andrei Rublev (Russian Андре́й Рублёв), also known as The Passion of Andrei, is a film made by Andrei Tarkovsky on Mosfilm in the Soviet Union in 1966.
		Andrei Rublev was not intended to be directly biographical; little is known about Andrei Rublev and several historical facts were changed for the movie.
		Andrei is rather an observer who looks on upon the events in the movie, especially evident in the sequences centered on the casting of the bell towards the end of the movie, where Andrei plays the role of observer and is not central to the scenes.
	en.wikipedia.org /wiki/Andrei_Rublev_(movie) (408 words)

	Andrei Tarkovsky
		Rublev (Anatoli Solonitsyn) is, in fact, almost a peripheral character: a chronicler of medieval life, attempting to create religious art in a harsh world devoid of inspiration and community.
		Andrei Tarkovsky deliberately obscures time by using the same actors to portray the two phases of the narrator's life: the fatherless boy attempting to reach out to his distracted mother, and the distant father unable to relate to his self-absorbed son.
		Domenico implores Andrei with a seemingly innocuous task that he, considered mentally unstable by the villagers, is unable to execute, to cross the natural spring with a lit candle, as part of his redemptive design.
	www.filmref.com /directors/dirpages/tarkovsky.html (2561 words)

	Petrova on Andrei Rublev
		Andrei Rublev is an astonishing document of the intellectual maturity and the aesthetic radicalism of the then 32 year-old director.
		Tarkovsky's experimental efforts in Andrei Rublev are, to a great extent, an attempt to intervene in the verbal/visual dichotomy, examining the narrative and representational potential of the film medium and pushing the limits of their mutual implication and referentiality further.
		Andrei Rublev is central to Tarkovsky's exploration of the Trinitarian model on several levels of the plot, but his fascination with the dramatic possibilities of the triad is echoed in other films as well, for instance, the character structure in Solaris (Soviet Union, 1972) and Stalker (West Germany/Soviet Union, 1979).
	www.latrobe.edu.au /screeningthepast/19/andrei-rublev.html (3306 words)

	Andrei Rublev's Trinity Icon.
		Still extant among Rublev's more or less authentic works are individual icons of the festival tier in the iconostasis of the Annunciation Cathedral in Moscow's Kremlin, individual icons and frescoes of the Cathedral of the Assumption of Vladimir and The Old Testament Trinity from the Holy Trinity Cathedral at the St.Sergius Trinity Monastery.
		In Moscow, Rublev's clients were Prince Dmitry Donskoy's sons Vasily and Yury, and also the disciples and followers of St.Sergius of Radonezh.
		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.
	park.org /Guests/Russia/moscow/sergiev/rublev.html (1200 words)

	\| Andrei Rublev \| (Site not responding. Last check: )
		Andrei Tarkovsky's second film, Andrei Rublev, is a massive and sweeping retelling of the life of the 15th-century Russian icon painter and perhaps the first great Russian artist.
		Neither strict biography nor historical epic, Andrei Rublev is the visual depiction of the mystical capacity for art to transform the struggles and joys of the human into the divine.
		>Rublev is a visual and cerebral journey: a thematically adaptive interpretation of Rublev's life, a conduit into the bleak existence of medieval Russia, a meditation on the search for the spiritual and artistic light.
	www.collectivechaos.org /andreirublev.html (716 words)

	Tarkovsky's Rublev
		The scene [cut #21] opens with the greatest of all Russian Icon painters Andrei Rublev and his crew of apprentices and helpers on their way to a job in the once-powerful feudal fortress city Vladimir in June of 1408.
		Andrei is captured and bound in a stable by villagers who do not want him to interfere with their dear ritual.
		Andrei has made himself her protector in earlier scenes, and now they are trapped together as the cathedral door breaks open.
	www.uoregon.edu /~kimball/tarkovsky.rublev.htm (1679 words)

	ANDREI RUBLEV, THE STALKER & SOCIAL REALISM/Bircan Unver
		Andrei Rublev, set in 1400 AD, opens with a sequence showing a peasant preparing to inflate and fly a homemade hot-air balloon; after inflation, he flies the balloon around the city for a while then over a river and mountain before falling back to earth.
		Andrei Tarkovsky was particularly skilled at such encoding, and his films, like Andrel Rublev, The Mirror, and Solaris, aroused considerable debate as viewers sought to interpret the hidden messages.
		Rublev's thinking was, of course, based on the fact that he had killed a Tatar during the raid to save her from the Tatars and here she was prepared to go off with one of her attackers.
	www.lightmillennium.org /archive/Summer/BU_Rublev.html (1607 words)

	Andrei Rublev [1973] \| Funny UK Comedy
		The sack of Vladimir and the Bell Casting scenes are particularly memorable and the cinematography throughout "Andrei Rublev" is exceptional.
		The film is ultimately a tribute to the indefatigability of the human spirit, battered and bruised by acts of brutality, cruelty and injustice throughout life's journey, but capable of sublime acts of creation, love and forgiveness which transcend the baseness of the material world and the inevitabilty and omnipresence of sin.
		Andrei Rublev is considered by most experts (including James Billington in his marvelous book, The Icon and the Axe) to be the greatest icon-painter and muralist in Russian history.
	www.funny.co.uk /comedy/prod_0-B00005UCZI-Andrei-Rublev-1973.html (944 words)

	Our Lord Jesus Christ
		This icon is a masterpiece of ancient Russian iconography, and it is not surprising that the Church established it as the model for depicting the Trinity.
		In Andrei Rublev’s icon, the persons of the Holy Trinity are shown in the order in which they are confessed in the Credo.
		Thus Andrei Rublev’s icon, while being an unsurpassed work of iconography, is first and foremost a “theology in color,” which instructs us in all that concerns the revelation of the triune God and the three Persons of the Holy Trinity.
	www.holy-transfiguration.org /library_en/lord_trinity_rublev.html (683 words)

	Barnes & Noble.com - Andrei Rublev -- Andrei Tarkovsky - DVD - Wide Screen
		Rublev leaves his remote monastery to paint a great cathedral, but in his travels he encounters a chaotic landscape of pagan rituals, medieval brutality, and destruction wrought by the Tartar conquest.
		Widely recognized as a masterpiece, Andrei Tarkovsky's 205-minute medieval epic, based on the life of the Russian monk and icon painter, was not seen as the director intended it until its re-release over twenty years after its completion.
		Commissioned to paint the interior of the Vladimir cathedral, Andrei Rublev (Anatoli Solonitsyn) leaves the Andronnikov monastery with an entourage of monks and assistants, witnessing in his travels the degradations befalling his fellow Russians, including pillage, oppression from tyrants and Mongols, torture, rape, and plague.
	video.barnesandnoble.com /search/product.asp?ean=715515009928&itm=6 (757 words)

	Neil Young's Film Lounge
		Andrei Rublev reveals an artist experimenting with future paths, and while marginally a less successful film than Ivan’s Childhood, and perhaps even the least satisfactory of all his works - it’s a vital stage in his development, paving the way to his 1970s golden age.
		Rublev is a withdrawn, peripheral figure, watching the efforts of teenage bell-founder’s son Boris, (Kolya Burlyayev, from Ivan) hired by a prince to strike a new bell.
		Boris, Rublev learns, has never actually made a bell himself, and makes it up as he goes along: faith in action, and the results are enough to restore Rublev’s speech and his desire to paint.
	www.jigsawlounge.co.uk /film/andrei.html (771 words)

	Andrei Rublev - Definition, explanation
		Andrei Rublev probably lived in the Troitse-Sergiyeva Lavra under Nikon of Radonezh, who became monk after the death of Sergii Radonezhsky (1392).
		The first mention about Rublev’s iconography was in 1405 when he decorated icons and frescos for the Cathedral of the Dormition of the Moscow Kremlin in company with Feofan Grek and Prokhor of Gorodets.
		Since 1959 the Andrei Rublev museum has been open in Andronnikov Monastery, showing the art of his works and his epoch.
	www.calsky.com /lexikon/en/txt/a/an/andrei_rublev.php (341 words)

	Andrei Rublev (1966)
		Born near Moscow in 1360, Andrei Rublev was a monk who became a painter, best known for his "Icon of the Holy Trinity." His work fills many palaces and monasteries, including the Kremlin.
		Andrei Rublev is more aptly described as a fictional fresco linked by poetic rather than narrative logic." The film's famous prologue announces the themes of spiritual longing: an anonymous man, like Icarus, tries to soar in a ragged air balloon above the stark horizon of rivers and farms.
		Born in 1932, in the Volga countryside of modern Belorus, Andrei Tarkovsky was the son of a famous poet and actress.
	www.gordon.edu /article.cfm?iArticleID=171&iReferrerPageID=1174&iPrevCatID=33&bLive=1 (1077 words)

	Andrei Rublev Movie: Andrei Rublev DVD is available from Bestprices.com
		Director Andrei Tarkovsky’s second film, ANDREI RUBLEV, is a massive and sweeping retelling of the life of the 15th-century Russian icon painter and perhaps the first great Russian artist.
		Unfolding in a free-flowing series of eight episodes, ANDREI RUBLEV follows the painter (Anatoli Solonitsyn) as he faces unbearable violence, endless attacks by the crude and malicious Tartars, and, eventually, a crippling crisis of faith.
		ANDREI RUBLEV is a vast, free-form fresco of life in 15th-century Russia under the reign of Tartar invaders, beautifully composed and photographed by director Andrei Tarkovsky.
	www.bestprices.com /cgi-bin/vlink/715515009928IE (366 words)

	Andrei Rublev. Biography. - Olga's Gallery
		Andrei Rublev was most probably born in the Moscow princedom, into the family of an artisan, as the family name comes from the word ‘rubel’ — a tool used in the processing of leathers.
		Historians suppose that Rublev took his vows in the Troitsky (Trinity) monastery under abbot Nikon, pupil and successor of Sergei Radonezhsky.
		As all reformers Rublev was often criticized for deviation from the canons; his works were considered to be ‘very joyful’, ‘devoid of fear of the Lord’, ‘lacking splendor’ and much more.
	www.abcgallery.com /I/icons/rublevbio.html (639 words)

	[ Nostalghia.com \| The Topics :: Andrei Tarkovsky on Andrei Rublev ]
		Our film about Andrei Rublev will tell of the impossibility of creating art outside of the nation's aspirations, of the artist's attempts to express its soul and character, and of the way that an artist's character depends upon his historical situation.
		Rublev was the summit of the Russian renaissance, one of the most colourful figures in the history of our culture.
		Andrei Konchalovsky and I are writing a screenplay entitled The Passion According to Andrei.
	www.acs.ucalgary.ca /~tstronds/nostalghia.com/TheTopics/TarkovskyonRublev.html (3591 words)

	Journal of Religion and Film: Andrei Rublev: Religious Epiphany in Art by Nigel Savio D'Sa
		Their Rublev is, for the most part, a passive and reflective observer of his times, seeking, in his art, a response and solution to the discords in Russia.
		Rublev ends the vision by saying, "Perhaps Christ was born and died to make peace between God and man." This statement is also, in a sense, Tarkovsky's view of the role of the artist.
		Rublev's creed of beneficence has led him to murder and it is precisely this predicament of polarities touching - good and evil, kindness and killing, reality and dream - that Tarkovsky stresses in both his theme and aesthetic.
	www.unomaha.edu /jrf/saviodsa.htm (3384 words)

	The Criterion Contraption: #34: Andrei Rublev
		So Rublev's influence was not limited to artists independently imitating and learning from him (as is true of every other artist); his style of painting was church law.
		Rublev's personal artistic development is at best a secondary concern; the main concern as I see it is dealing with a world in which the exercise of power, whether by God or man, is unjust and arbitrary.
		In the first act, Rublev says nothing as the jester is taken away; in the third, he stumbles onto a pagan celebration and later says nothing as soldiers round up the revelers.
	criterioncollection.blogspot.com /2005/07/34-andrei-rublev.html (2104 words)

	Andrei Rublev - OrthodoxWiki
		Andrei (commonly Andrew in English) went to a monastery, called Holy Trinity Monastery, at a young age and grew up there.
		Eventually Andrei decided to become a monk, and with the blessing of the new igumen of his monastery traveled to another, the Spaso-Andronikov Monastery, founded by St Andronicus (June 13).
		Rublev's most famous icon depicts the three angels who appeared to Abraham and Sarah.
	orthodoxwiki.org /Andrei_Rublev (387 words)

	Andrei Rublev
		Andrei Rublev was co-scripted by Tarkovsky's fellow Moscow film school graduate, Konchalovsky, and photographed by Vadim Youssov, Tarkovsky's trusted cameraman until he refused to work on Mirror (1974), claiming that the director's script was self-indulgent and unintelligible.
		Andrei Rublev charts seven episodes in the life of its eponymous hero, an artist and monk who, from the cocooned seclusion of a monastery, is exposed to the horrors of the 15th-century world.
		He defended Andrei Rublev from the charge of obscurity by citing Engels, who claimed that the more sophisticated the work, the more intricate was its use of formal device.
	www.filmreference.com /Films-Am-Aw/Andrei-Rublev.html (1537 words)

	Muscovite Culture
		Rublev used this brief period of creative liberty to ex press in the creations of his genius the most memorable representations of the world, of humankind, and of beauty, and to express his dreams and ideals.
		The lyricism of Rublev is a sympathy of the artist for what is personal, and this sympathy is raised to a level of a general human norm.
		Rublev was not only an artist, poet and thinker, but he was also a painter, a master of colors....
	www.stetson.edu /~psteeves/classes/muscoviteculture.html (3555 words)

	Andrei Tarkovsky
		Although loosely based on the life of famous mediaeval icon painter Andrei Rublev, this episodic series of meditations on art's survival and relevance in the face of harrowing historical circumstances was interpreted by many as an allegory for the plight of the artist under the Soviet regime.
		Andrei Rublev also marked the first time Tarkovsky juxtaposed colour and fl and white film stock, a practice he was to continue and refine throughout the rest of his work.
		In Andrei Rublev the colour appears only in the stirring final montage of Rublev's paintings, coming at the end of a series of often harrowing episodes of mediaeval life and death that follow Rublev's transformation from an idealistic young painter into a monk sworn to silence in reaction to the suffering around him.
	www.sensesofcinema.com /contents/directors/02/tarkovsky.html (2575 words)

	Andrei Rublev (1969)
		In one episode, Rublev is captured by pagan revelers carousing nude in the forest, and is tied cruciform in a hut and probed by an alluring, naked witch, who questions the distinctiveness of his Christian ideal and kisses him sensuously before setting him free.
		In a later episode, Rublev is caught up in a horrific Tatar raid in which he is forced to kill a soldier to prevent a rape.
		His faith and sense of vocation shaken, Rublev is unable to paint, unable to relate to his world, unable eventually even to speak, taking a vow of silence (like the protagonist of the director’s later Offret).
	www.decentfilms.com /sections/reviews/andreirublev.html (724 words)

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