In Tarkovsky’s film, Andrei Rublev is a monk icon painter. His colleague Kirill, saw Feofan’s murals in a church, and couldn’t help admiring Feofan’s simple, solemn and divine paintings. The paintings are superb, they are the ultimate icon. NS. Listening to this set of compliments whipped everyone's appetites, and at this time the camera slowly pulled out Feofan's huge iconic works. What the hell, it's so ugly, the line drawing of children, what is the aesthetics of people in the Middle Ages? The contrast between this perception and their language description is too great. What exactly did these icon painters pursue in their life? Can Rublev paint uglier than this? The director should show us Rublev's paintings for comparison. Not really. In the whole movie, only Rublev and his colleagues, the trips to the various churches to paint, the conversations, and the white walls that the church has not painted yet. Lublev and Feofan went to Moscow to paint the Cathedral of the Annunciation of the Virgin. The old tower did not photograph their work; Lubrev and Daniel did not take pictures of their paintings. The old tower did not take pictures of what they had painted, their arguments and insistence. And persistence, what works did it bring? Until the black and white film plot is over, when the camera is switched, the old tower uses a full-color picture, accompanied by a magnificent soundtrack, to release the vividly colored original works of Rublev in various periods. Three hours of long anticipation finally came out. See the truth. I was stunned when I put it in the panorama, too..., don't get me wrong, it's too ugly! ! ! What the hell! The three-hour art pursuit is to achieve this? The Middle Ages are so fascinating! More than a thousand years ago in the Middle Ages, in the Greco-Roman era, there was already a statue of Venus that made modern people look up at it. More than a thousand years later, the art of the Middle Ages actually regressed to the level where the figures were all drawn by children. Sure enough, the dark Middle Ages deserved its reputation. Was European art really so bad at that time? I re-turned the story of Gombrich’s art. One hundred years before Lublev’s time, Giotto of Florence, Italy had painted Mourning Christ (1305). The characters are vivid, rich in expressions, natural in structure, and modern. People's aesthetics are all excellent. It is of course unfair to put Rublev and Giottobi, Giotto is an epoch-making figure, he opened the curtain of the Renaissance. Giotto brought a revolutionary technical concept. In his paintings, the characters have light and shade, shadows, texture, volume, and the environment has a sense of depth and single-point perspective. The paintings in the Middle Ages before him were all Byzantine, based on lines and color blocks, and presented a sense of flatness and decoration as a whole, without developing the light and shade, perspective, and precise anatomical structure of modern painting. The Russian Orthodox School of Painting that Rublev belongs to, he inherited It is the ancient method of Byzantine icon painting. The first Christ statue of Rublev in the movie has a very typical Byzantine rigidity. The last pair in the movie, his most prestigious work, "Holy Trinity" around 1410, is the culmination of his lifelong search. "Holy Trinity" is colorful, and the clothing of the characters is a bit out of the Byzantine craftsmanship and conceptual expression. It looks more elegant, and the faces of the characters also have a sense of volume, but they still look stiff and ugly. It is still far from the level of true beauty at the beginning of the Renaissance a hundred years ago, and even far from the level of Giotto’s master Cimabue. After all, in that era, Italy was the center of European civilization, and the three brilliant Renaissance masters in the next few decades: Leonardo, Raphael, and Michelangelo are going to climb the historical stage. The Rus state in the Rublev era was a marginal place of civilization and was ruled by barbarians. It was normal for paintings to remain at the level of the Middle Ages at that time. The ugly pot cannot be carried by Rublev. The question then becomes why the medieval Byzantine-style icon painting is so ugly? This starts with Christianity’s opposition to idolatry. Christianity believes that God is intangible, intangible, and invisible. Statues and portraits are idolatry and must be absolutely forbidden. But if there is no intuitive feeling, it is too difficult for the uneducated ordinary people to rely on the brain to think and understand this kind of abstract behavior. At the end of the 6th century, in order to popularize Christianity, Pope Gregorian broke the taboo of not being able to portray images and began to advocate the use of images to spread Christianity. He said, "The effect of articles on literate persons and the effect of painting on illiterate people have the same effect." This decision is too important for painting. It means that the Holy See, the richest master of the Middle Ages, can finally fund the cause of painting. Of course, painting preaching was not invented by Gregorian. Other religions in the world used painting stories and sculptures to instruct believers in routine operations. By the time of Gregorian, the religious murals and statues of Dunhuang Mogao Grottoes had been created for hundreds of years. It is difficult to break the ancient system. Gregory allowed portraits to break the taboo. The ancient system of Byzantine portraits they pioneered became a barrier to medieval painting. Byzantine paintings have a specific purpose according to Gregorian's ancient teachings. They are not to create true portrayals of nature, nor are they to create beautiful things. They just faithfully express the content and essence of religious stories to the faithful. Painters realized that telling the story clearly like a comic strip and conveying the divine will in one picture is the highest state. Solemn communication is the goal, but unreal, unnatural, and unbeautiful has become part of the tradition. It shows that we feel the ugliness of icon paintings are real, and icon paintings have no need for beauty. The artist achieves the highest level, not only to draw the story, but also to convey the divine will. The painter must first have sentiment, and he must freeze the feelings he has received about the gods in the painting through painting. Only in this way can the icon painting itself be sacred and become a mysterious connection between the devout believer and another supernatural world. In this movie, Tarkovsky talks about the process of the monk painter Rublev, who devotes himself to the world to temper his humanity, and to the success of his cultivation, he can express his divinity in his works. At the beginning of the film, Lublev’s painting skills have become famous all over the world, but Kirill told Feofan that Lublev’s painting skills are outstanding, but there is still something missing. He did not respect Fear, faith born without the heart. If you cannot feel the divinity, you cannot express the divinity. Compared with Feofan's paintings, Rublev's paintings lack soul. It's easy to draw shapes, what should I do to draw divine nature? Rublev walked out of the church where he learned art and classics, saw the world with his own eyes, and personally felt the world’s laziness, lies, temptation, pain, jealousy, hunger and cold, fear, violence, betrayal, anger, sin, and despair. He will finally understand after going through the ordeal. The first scene of the movie is a hot air balloon. Someone made a hot air balloon, and after leaving the ground to soar for a while, it eventually fell to death and failed. The last scene casts a bell. With cunning, courage, perseverance and rigor, young people have taken the lead in uniting and leading the people, and have gone through difficulties and dangers, and succeeded in casting the big bell. These two scenes talk about unrelated others accomplishing one thing each, without talking about Rublev, completely out of the plot of the movie. Except for these two scenes, every scene in between is an event that Rublev personally experienced. From the structural point of view, the failure of the hot air balloon in the first act and the success of the bell-casting in the last act are an echo, which is also the main theme of the whole movie. The failure of the hot air balloon indicates that if you break away from the connection between people and look high above the earth, such joy and success are short-lived and meaningless, and you will soon fall. The success of making a bell indicates that you can improve yourself, devote yourself to the cause of the world, lead others, contribute to and contribute to others and the collective, and achieve mutual achievement, in order to obtain lasting value and meaning. In the first act, the state of being high on the hot air balloon is also the state of Rublev at the beginning of the movie. He has never been far away from the church. He understands the world through the eyes and words of others. All beings, but there is something lacking... And before the last scene, Lublev was very confused after going through the sufferings and sins in the world. He couldn't talk loudly anymore, was silent and aphasia, and stopped painting, unable to find direction and meaning. At this moment he saw the whole process of the youth's success in casting the bell, and he couldn't help crying with joy in his arms. At that moment Rublev regained the guidance of God. What is missing in the first portrait of Rublev, this is only after he has devoted himself to the career of the world, has endured the sufferings with the world, and has empathized with the sufferings and sins of the world, can he understand and understand the heaviness and true meaning of compassion and sacrifice. Only then can he realize the true divinity, and finally paint the "Holy Trinity" and express the divinity in the painting. Seeing the world with his own eyes and personally experiencing the laziness, lies, temptations, pain, jealousy, hunger and cold, fear, violence, betrayal, anger, sin and despair in the world, he will eventually understand after experiencing hardships. The first scene of the movie is a hot air balloon. Someone made a hot air balloon, and after leaving the ground to soar for a while, it eventually fell to death and failed. The last scene casts a bell. With cunning, courage, perseverance and rigor, young people have taken the lead in uniting and leading the people, and have gone through difficulties and dangers, and succeeded in casting the big bell. These two scenes talk about unrelated others accomplishing one thing each, without talking about Rublev, completely out of the plot of the movie. Except for these two scenes, every scene in between is an event that Rublev personally experienced. From the structural point of view, the failure of the hot air balloon in the first act and the success of the bell-casting in the last act are an echo, which is also the main theme of the whole movie. The failure of the hot air balloon indicates that if you break away from the connection between people and look high above the earth, such joy and success are short-lived and meaningless, and you will soon fall. The success of making a bell indicates that you can improve yourself, devote yourself to the cause of the world, lead others, contribute to and contribute to others and the collective, and achieve mutual achievement, in order to obtain lasting value and meaning. In the first act, the state of being high on the hot air balloon is also the state of Rublev at the beginning of the movie. He has never been far away from the church. He understands the world through the eyes and words of others. All beings, but there is something lacking... And before the last scene, Lublev was very confused after going through the sufferings and sins in the world. He couldn't talk loudly anymore, was silent and aphasia, and stopped painting, unable to find direction and meaning. At this moment he saw the whole process of the youth's success in casting the bell, and he couldn't help crying with joy in his arms. At that moment Rublev regained the guidance of God. What is missing in the first portrait of Rublev, this is only after he has devoted himself to the career of the world, has endured the sufferings with the world, and has empathized with the sufferings and sins of the world, can he understand and understand the heaviness and true meaning of compassion and sacrifice. Only then can he realize the true divinity, and finally paint the "Holy Trinity" and express the divinity in the painting. Seeing the world with his own eyes and personally experiencing the laziness, lies, temptations, pain, jealousy, hunger and cold, fear, violence, betrayal, anger, sin and despair in the world, he will eventually understand after experiencing hardships. The first scene of the movie is a hot air balloon. Someone made a hot air balloon, and after leaving the ground to soar for a while, it eventually fell to death and failed. The last scene casts a bell. With cunning, courage, perseverance and rigor, young people have taken the lead in uniting and leading the people, and have gone through difficulties and dangers, and succeeded in casting the big bell. These two scenes talk about unrelated others accomplishing one thing each, without talking about Rublev, completely out of the plot of the movie. Except for these two scenes, every scene in between is an event that Rublev personally experienced. From the structural point of view, the failure of the hot air balloon in the first act and the success of the bell-casting in the last act are an echo, which is also the main theme of the whole movie. The failure of the hot air balloon indicates that if you break away from the connection between people and look high above the earth, such joy and success are short-lived and meaningless, and you will soon fall. The success of making a bell indicates that you can improve yourself, devote yourself to the cause of the world, lead others, contribute to and contribute to others and the collective, and achieve mutual achievement, in order to obtain lasting value and meaning. In the first act, the state of being high on the hot air balloon is also the state of Rublev at the beginning of the movie. He has never been far away from the church. He understands the world through the eyes and words of others. All beings, but there is something lacking... And before the last scene, Lublev was very confused after going through the sufferings and sins in the world. He couldn't talk loudly anymore, was silent and aphasia, and stopped painting, unable to find direction and meaning. At this moment he saw the whole process of the youth's success in casting the bell, and he couldn't help crying with joy in his arms. At that moment Rublev regained the guidance of God. What is missing in the first portrait of Rublev, this is only after he has devoted himself to the career of the world, has endured the sufferings with the world, and has empathized with the sufferings and sins of the world, can he understand and understand the heaviness and true meaning of compassion and sacrifice. Only then can he realize the true divinity, and finally paint the "Holy Trinity" and express the divinity in the painting. The others did one thing individually, without talking about Lublev, completely out of the plot of the movie. Except for these two scenes, every scene in between is an event that Rublev personally experienced. From the structural point of view, the failure of the hot air balloon in the first act and the success of the bell-casting in the last act are an echo, which is also the main theme of the whole movie. The failure of the hot air balloon indicates that if you break away from the connection between people and look high above the earth, such joy and success are short-lived and meaningless, and you will soon fall. The success of making a bell indicates that you can improve yourself, devote yourself to the cause of the world, lead others, contribute to and contribute to others and the collective, and achieve mutual achievement, in order to obtain lasting value and meaning. In the first act, the state of being high on the hot air balloon is also the state of Rublev at the beginning of the movie. He has never been far away from the church. He understands the world through the eyes and words of others. All beings, but there is something lacking... And before the last scene, Lublev was very confused after going through the sufferings and sins in the world. He couldn't talk loudly anymore, was silent and aphasia, and stopped painting, unable to find direction and meaning. At this moment he saw the whole process of the youth's success in casting the bell, and he couldn't help crying with joy in his arms. At that moment Rublev regained the guidance of God. What is missing in the first portrait of Rublev, this is only after he has devoted himself to the career of the world, has endured the sufferings with the world, and has empathized with the sufferings and sins of the world, can he understand and understand the heaviness and true meaning of compassion and sacrifice. Only then can he realize the true divinity, and finally paint the "Holy Trinity" and express the divinity in the painting. The others did one thing individually, without talking about Lublev, completely out of the plot of the movie. Except for these two scenes, every scene in between is an event that Rublev personally experienced. From the structural point of view, the failure of the hot air balloon in the first act and the success of the bell-casting in the last act are an echo, which is also the main theme of the whole movie. The failure of the hot air balloon indicates that if you break away from the connection between people and look high above the earth, such joy and success are short-lived and meaningless, and you will soon fall. The success of making a bell indicates that you can improve yourself, devote yourself to the cause of the world, lead others, contribute to and contribute to others and the collective, and achieve mutual achievement, in order to obtain lasting value and meaning. In the first act, the state of being high on the hot air balloon is also the state of Rublev at the beginning of the movie. He has never been far away from the church. He understands the world through the eyes and words of others. All beings, but there is something lacking... And before the last scene, Lublev was very confused after going through the sufferings and sins in the world. He couldn't talk loudly anymore, was silent and aphasia, and stopped painting, unable to find direction and meaning. At this moment he saw the whole process of the youth's success in casting the bell, and he couldn't help crying with joy in his arms. At that moment Rublev regained the guidance of God. What is missing in the first portrait of Rublev, this is only after he has devoted himself to the career of the world, has endured the sufferings with the world, and has empathized with the sufferings and sins of the world, can he understand and understand the heaviness and true meaning of compassion and sacrifice. Only then can he realize the true divinity, and finally paint the "Holy Trinity" and express the divinity in the painting. After the sufferings and sins in the world, I was very confused. He couldn't talk loudly anymore, was silent and aphasia, and stopped painting, unable to find direction and meaning. At this moment he saw the whole process of the youth's success in casting the bell, and he couldn't help crying with joy in his arms. At that moment Rublev regained the guidance of God. What is missing in the first portrait of Rublev, this is only after he has devoted himself to the career of the world, has endured the sufferings with the world, and has empathized with the sufferings and sins of the world, can he understand and understand the heaviness and true meaning of compassion and sacrifice. Only then can he realize the true divinity, and finally paint the "Holy Trinity" and express the divinity in the painting. After the sufferings and sins in the world, I was very confused. He couldn't talk loudly anymore, was silent and aphasia, and stopped painting, unable to find direction and meaning. At this moment he saw the whole process of the youth's success in casting the bell, and he couldn't help crying with joy in his arms. At that moment Rublev regained the guidance of God. What is missing in the first portrait of Rublev, this is only after he has devoted himself to the career of the world, has endured the sufferings with the world, and has empathized with the sufferings and sins of the world, can he understand and understand the heaviness and true meaning of compassion and sacrifice. Only then can he realize the true divinity, and finally paint the "Holy Trinity" and express the divinity in the painting.
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