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From 2 hours, 53 minutes, 47 seconds to 3 hours, 1 minute and 45 seconds, almost a full 8 minutes of footage is from Andrei Rublev’s masterpiece "The Trinity": the background composed of the garden tree and the mansion is quiet; Angel III The person sits there, forming a stable composition structure; the lens slowly sweeps through the saint’s clothing with a very small displacement; the singing gradually sounds, and the saint’s eyes seem to be bursting with a strange light... from the part to the whole From the details to the whole, from the picture to the music, the final sacredness is presented, and the mottled paintings have a sense of historical vicissitudes, all conveying the exquisite techniques of the famous Russian painter Andrei Rublev in the 15th century. , And deep feelings for religion.
But the painting is a static existence. When Andrei Tarkovsky used an 8-minute narrative to fully and detailedly show the "Trinity" that has lasted for more than four hundred years, he did not only capture the painting from an artistic point of view. The realm and spiritual height of the paintings, instead of moving the lens slowly from the paintings to reality: the singing slowly stopped, thunder rang loudly, and the paintings were wetted in the world filled with the patter of rain, and looking at the distance, it was 氤氲On the bank of the river, there are leisurely horses and nature in the rain. This harmonious and beautiful existence seems to be the reality corresponding to the painting. When the painting environment of 8 minutes turns to the last rain environment, it is quiet and long-distance, but silence is speaking and muttering. Mumbling, is the arrival of a truly lifelike world.
It is a painting by Andrei Rublev in the 15th century and a fable by Andrei Tarkovsky in the 20th century: from the final plot to the painting, it is a transition from black and white to color; from painting to artistic conception, it is from color to black and white The conversion of black-and-white and the color between black and white, the holy painting is completely independent, and this work showing Rublev’s exquisite technique and religious connotation has actually been lost. History does not provide information about the time and place of Rublev’s painting. That is to say, Tarkovsky completely relied on imagination to “create” this holy painting, and this imaginative representation has undoubtedly become Tarkovsky’s words-from outside the lens In the movie, Tarkovsky projected a heavy motif about art, life, religion, country, and nation on Rublev, and Rublev’s last words to the bell-casting boy Boris became his own. A realistic expectation: "Didn’t you succeed in making the bell? Why are you crying?... Let’s go with me. You make the bell and I paint the icon... Everyone is happy, this is a day worth celebrating, no one Will blame you..."
Andrei Rublev was finally comforting, Andrei Tarkovsky was finally expressing, comfort and expression constitute a kind of speech, and this kind of speech is a denial of silence-just like the last two chapters of the movie The title is the same: Vladimir who suffered three years of war, a famine symbolized by a rotten apple, followed by the dumb woman who left the Tatars, and Kirill who was blinded by one eye came back, which constituted the 1412" Silence”; and Bolis, who suffered from the pandemic, finally used his own technology to forge a big bell and completed the church ceremony. This 1423 “bell” is a deconstruction of “silence”: being an emperor and a priest. The staff held the inauguration ceremony of the big bell. Kirill stood in front of Rublev and said: "My soul was dirty at the time. But why are all the sacred causes given to you?" Kirill had gone with Rublev. In Moscow, he could even stay together to paint the icon, but he left the monastery because of jealousy. The sentence he threw down was: "Eternal things are sold here, you are businessmen!" Then he left angrily. When he appeared again, one eye was already blind, and the jealous soul was dirty. When he came back, it was confession, but it was also a question. "Why is the sacred cause given to you" is still a dirty soul, jealousy. At that moment, Rublev chose to be silent, because once he said it, he would fall into the predicament of jealousy.
However, in Rublev’s silence, the bell rang for the first time. In the scene where Kirill’s question was unanswered, the bell that rang seemed to be Rublev’s response and answer. It was faith. Returning, in the midst of "silence" and "speaking", Lublev seemed to have also completed the definition of himself. When Boris sat alone at the ceremony site, Lublev came forward to comfort him, and Boris told him Said: "Father didn't teach me the technique of making bells at all. He died silently and took everything to the grave..." Father brought the secret of making bells to the grave. It was also a kind of silence, but Boli Si relied on his skill to accomplish this great move, so Rublev spoke to him and juxtaposed the success of bell-casting and painting together into a "celebration" ceremony-Bolis sat there A pile of fire turned into charcoal for heating, and the texture of charcoal was continuously enlarged under Tarkovsky's lens, and finally became the texture on the painting of "Trinity". The warmth in reality has become the driving force of creation. , And creation, whether it is a bell or a painting, is a statement to the world and self: In 1423, the bell of faith rang in the land of Vladimir; in 1423, the invading Tatars were driven out of Russia. ; In 1423, Rublev finally completed the masterpiece "The Trinity".
From silence to speaking, it was actually a road of faith that Rublev took. As an icon painter in the St. Sergius Radonezhsky Monastery near Moscow, Rublev has become well-known. In 1405, in the chapter "Feopan Grek", Glick met When Kirill came, he asked Kirill where he came from. Kirill told his own monastery. Glek named Rublev’s name and borrowed the philanthropist Sergeyev’s name. He said that Rublev's paintings were "sincere and unpretentious", so he hoped that Rublev would come here to paint holy paintings for the Grand Duke. Grek called Rublev’s paintings "unpretentious and unpretentious." This is actually a state of holy painting, but this state is just a kind of knowledge in a sense, so Grek said with emotion: "Who has increased knowledge? , It means increasing pain." Glek’s emotions actually represent his art and religious views. Knowledge increases pain, so he doesn’t need additional knowledge, he only understands God in his own world. When Rublev came to Moscow, the differences between the two appeared in the dialogue between the Birchwood and Glek. Glek leaned on a fallen tree. What he said to Rublev: "I only serve God, not for the people." In the "Invasion" of 1408, when the Tatars were riding on iron The land of Vladimir was leveled. When a large number of lives were slaughtered by the invaders, Glek did not mention the people at all. When Rublev refused to paint, Glek told him that he had experienced too many holy paintings. Destroyed-Glek still remembers the holy paintings and Gods in his "aggression", so obviously, he abides by his principle: keeping a distance from the people. So by the river, Rublev asked him: "I really don't understand, how can you paint with this kind of thinking?"
Glek, who served God, and Lublev, who had witnessed the reality, obviously took different paths. When they were talking, a surreal scene appeared in the picture: Jesus was walking on the land of Russia with the cross on his back. , Finally boarded the hillside, and then was nailed to the cross. This is the concretization of the "Bible". This scene of crucifixion and resurrection is completely Russified. The differences between Lublev and Glek still exist. When Glek believed that the murderer of Jesus was Judas, Rublev believes that God was crucified not because of Judas, but because of the Pharisees. For Russia, the Pharisees were the invading Tatars, "a disaster that men have to endure." More and more: at one time it was three captives per year by the Tatars, at one time it was famine, and then it was plague. But he continued to work, still carrying his cross docilely, without despair, but just praying, Be patient. Pray to God in order to get enough strength. Couldn’t God forgive them for their ignorance.” Starting from the suffering men, the suffering Jesus is a portrayal of a nation. “People should always be reminded that they are human beings. They are Russians. The Russians are of the same descent and live on the same land." It is obvious to blame the Pharisees for the death of Jesus, and to take care of the method of national salvation after returning from the Tatar invasion of Russia. , The God that Glek serves only asks for the name of God, and Lubrov needs people who have suffered and resurrected, and only in the people can there be a true Christian spirit.
"I remain silent with God." This is what Rublev said to Glek. From silence to speech, from God to the people, Rublev's spiritual path is actually tortuous, and it is mixed with doubts. , What it suffers is suspicion, what it experiences is the renaming after subversion. The first is a certain denial of God. At the beginning of the movie, the "overture", which is almost out of the plot, is a metaphor: beside the dilapidated church, a balloon sewn with rags has been completed, and the flames below are burning, Ye Fei Efim eagerly climbed into the balloon, and then let the people below loosen the rope, so the balloon rose, and Yefim shouted: "I'm flying!" The balloon was climbing. From Yefim's perspective, what I saw was The river below is a running cow and sheep, a withered country, a barren wilderness, but the balloon did not fly far, it began to fall, and finally fell on the edge of the pond, and the leaf shouting "I flew" Feim also became silent during the fall.
The balloon soars from the church, and the earth looks down from the balloon. Yefim who "I flew" is a flesh of God, but such a God can never become a real overlooker. God finally falls in a short naming. This is faith The fall of God is also the physical reappearance of the death of God. Therefore, for this land of suffering, the God mentioned by Glick is only in the holy paintings, and Rublev is also looking for the true God while questioning this God. God, it is invisible and tangible. It is hidden and seen. It is high and walks on the earth. He carries the cross on his back and saves everyone in the resurrection. For Rublev, being silent with God means speaking to the people, and his understanding and concern for the people, as well as making himself a member of them, experienced physical pain as well as soul experience.
On the way to Moscow, in order to avoid the heavy rain, the "wandering entertainers" that Lublev, Kirill and Danila saw in the hut were the first representatives of the people. "God made monks, and the devil made wandering entertainers." As a monk, Rublev hid from the rain in the house. The "stray entertainers" sang and danced there, but the words were full of irony. They satirized the dignitaries, and there was a burst of laughter. In fact, it was a sigh for the wandering artist's own destiny. When the "vagrant artist" walked out of the house singing a song, the rain outside made him soak, and he took off his clothes and still sang. The "vagrant artist" not only has no identity, but also no property. They had only one body naked, and this seemed to be a collective symptom of the suffering people of the Russian land. At this time, after a few soldiers on horseback, they broke into the house and took away the "wandering entertainers". Without the singing, there is only silence. Without the naked body, there is only nothingness. Rublev kept smiling to the "vagrant artist" from beginning to end, but the absence of the vagrant artist also made him think.
The "wandering entertainers" disappeared. This was the first time that the "people" was absent, and in the chapter "Festivals", Rublev saw those called "infidels" in the woods at night. This is the "Night of Kubala" of polytheism. Men and women light up candles, take off their clothes, and complete their physical union in celebration. Polytheism is the "indigenous religion" of the local people before Christianity was introduced to Russia. They believed in the animism of all things, and the animism allowed the passion to bloom in the midsummer. Rublev entered their territory as an intruder. He even saw the naked woman's body. Before the temptation, he chose to flee, but was caught by the believers and hung from a tree. In the end it was the woman named Marfa who untied his rope. Rublev thinks that "doing indiscriminately is a sin", and Marfa questioned him: "Why scold us and said to burn us with fire?... Is it love? Is it a sin?...Why do we force us to believe in your faith?" Rublev got away, but he never answered Marfa's question. The silence was because he didn't find an answer at all.
What Christianity needs is abstinence, but polytheism expresses reverence for the flesh in animism. Why does one religion conflict with another? The so-called evil is produced in this alienation. However, when Christianity defines them as pagans, Rublev as an intruder is also defined by them as pagans, and the terrible thing about Christian believers is that, They must kill this kind of paganism. Before dawn, Lublev saw the riders hunting down the followers of polytheism. Marfa escaped the catastrophe when she jumped into the water. When she swam past Lublev When Leov’s ship, he seemed to question Rublev, who is a Christian, again: "Why do we force us to believe in your faith?" At this time, Rublev still couldn't answer.
The contradiction between one religion and another must be resolved by violence? This problem continued until the Tatar invasion, and it completely turned into a massacre by one nation on another. In 1408 of the "invasion", the Tatars crossed the river and their iron horses stepped on Vladimir. Mill's land. In the course of this invasion, the Grand Duke’s brother undoubtedly became the sinful Judas. It was he who called the Tatars "brothers" and even led them to attack the capital of Vladimir. Unsuspectingly, the residents there were Tatar massacre: someone cursed the Tatar, he was tied to a wooden board, the Tatar poured hot oil on him, and then dragged it out into the fire; Rublev’s disciple Fuma was painting in the monastery Leaving him, and in Vladimir, he also died under the arrow of the Tatars; in Vladimir, all the churches were destroyed in one fell swoop, and the Tatars even painted Mary on the wall. Ya called "women"-this is a blasphemy against religion, and in the face of violence, the unarmed Russian people have no resistance. Just like the violence of one religion against another, the war between nations is the same. One time destruction.
Maria is a "girl", and the heretics can only escape. The wandering entertainer made by the devil disappeared. Where is God? In the wheat field, Rublev said to Glek: "I don't know why, I just can't paint it. I can't paint like this. It's against my will, understand... I don't want to scare people. "However, Rublev as an intruder, Rublev as a witness, and Rublev as a creator, after being silent with God, are also looking for God. The God of the Trinity is actually in reality. On the land of suffering. In the "wandering entertainers", he saw the spirit of unyielding optimism, in the pagans, he saw the desire for freedom, and in the invasion of the Tatars, when the Tatar invaders tried to rape the mute girl, Lubrio The husband raised an ax and killed the rapist. When Rublev raised his weapon and killed someone, as a Christian, he violated the taboo of murder, but in the sense of protecting the weak and protecting the land from encroachment, he has become A Russian, or even a Russian who was redeemed and resurrected. When the Tatars captured Vladimir, he said to the brother of the Grand Duke: "Without us, you will bite yourself." This is a kind of irony. Laughing, the brother of the Grand Duke is the betrayed Judas, and the only one who really saves this nation is himself. Only the Pharisees who crucified Jesus, and only when the invaders are driven away, will the silent God begin to speak and redeem himself.
The bell carefully made by Bolis was finally completed, and finally brought the first sound. This is the return of religion. This is the word of faith. The secrets of the father’s generation have been buried in the soil. Only the waking Russians will send out their own. With voice, Bollyov completed his salvation, and Rublev also completed his self-naming. When he experienced doubts, suffered pain, and faced silence, Rublev carried his own cross, and even more tragic and magnificent for a nation. And suffering, new life and hope are merged into the paintings. This is the devotion to faith, the perseverance to universal love, the taste of national suffering, and the keen perception of art, just like the blessing that he used to study painting. Ma said: "True prayer can make the invisible become visible."
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