Where is the icon of the Holy Trinity located? "Old Testament Trinity": description of the icon

Orthodoxy is perhaps the only Christian denomination in which icon veneration is very developed. Moreover, if Catholics respect sacred images, then numerous Protestant churches unanimously accuse the Orthodox of almost idolatry.

In fact, for a believer, an icon is not an idol at all, but a reminder of another world, of saints and God. The phrase “to venerate an icon” carries a slightly different meaning than “to venerate God.” An icon can be compared to a photograph of a loved one, which is carefully stored in or hung on the wall. No one considers a photo to be an idol or a replacement for the original, even if it receives a lot of attention.

In many religions there are no icons, and any images are prohibited for a completely reasonable reason: no one has ever seen God, so how can one depict the indescribable?

Orthodox icon painters also do not invent anything, and, according to the rules, only what was material is depicted on icons.

But what about the “Holy Trinity” icon, because no one has ever seen God! This is not entirely true. We saw our God in human form. Jesus Christ is God and man. So at least the second Face can be depicted. The Holy Spirit also had some incarnation. He appeared several times in the form of a white dove. It wasn't a real dove, of course, but it could be written that way.

So, the two Persons of the Trinity are depicted, but for completeness, God the Father is not enough. The “Holy Trinity” icon cannot exist without the Father.

Icon painters found several ways out of this situation - more or less successful. For example, there is an icon of the Holy Trinity, a photo or reproduction of which is located in every prayer corner. On it, God the Son sits on a throne, above Him is God the Holy Spirit, and is indicated by a certain icon of outpouring grace. There is another option, which is usually called Catholic, where God the Father is arbitrarily depicted as an old man, and God the Holy Spirit as a dove. Everyone admits that it is non-canonical, that is, it does not correspond to the Orthodox rules of icon painting, but it came into widespread use back in the 19th century.

The most famous icon “Holy Trinity” was painted by Rublev.

This depicts a moment in Old Testament history when three angels came to Abraham. According to the interpretation, this was God, or maybe Andrei Rublev used only an image. In any case, the icon is a unique work not only of icon painting, but also of theological thought. Rublev’s “Holy Trinity” icon is not only that moment at the tent of Abraham, but also the eternal council. This idea is suggested by the contents of the bowl on the table. It (according to many interpreters) contains the sacrament, that is, the Blood of Jesus Christ. This is the moment of a certain prophecy about the future, about the incarnation of the Son of God and about His suffering. It is this mysterious meeting that is called the eternal council.

The “Holy Trinity” icon is mysterious; it has a huge number of symbolic details, by which one can determine that Andrei Rublev designated a certain Person of the Holy Trinity with each Angel. Discussions about it are still ongoing. This image is now kept in the temple at the Tretyakov Gallery. Here it is under guard, but you can venerate it, pray to God and light a candle.

This and the previous images of the Holy Trinity are, strictly speaking, non-canonical, although they are not uncommon.

Icons of the Savior, with the exception of the Image Not Made by Hands, do not have special names. The Savior is sometimes depicted as a King sitting on a throne and is revered as the image of the Lord

The faces of the Holy Trinity, seated next to God the Father, the so-called. "New Testament Trinity". Some images of the Crucified Christ are realistic, reflecting His physical and mental suffering; others were written in a conventional manner: the Savior’s features were given an expression of serious calm and grandeur. The Moscow Council of 1667 condemned any images of God the Father. The basis for the resolution of the Council of 1667 was the Holy Scripture and Holy Tradition. “No one has ever seen God,” says the Evangelist John, “the only begotten Son, who is in the bosom of the Father, He has revealed” (John 1:18; 1 John 4:12). The Seventh Ecumenical Council considered it possible to permit the depiction of the Son of God precisely because He, “taking the form of a servant, became in the likeness of men, and became in appearance like a man” (Phil. 2:7) and, thanks to this, became accessible to sensory contemplation. As for the essence of God, outside of its revelation in the Person of the God-Man, it remains hidden and inaccessible not only to sight, but also to reason, for God is the One Who “dwells in the inaccessible light, Whom no man has seen and cannot be seen.” can" (1 Tim. 6:16). The Lord, out of His boundless love for fallen people, met the eternal thirst to see Him or, at least, to perceive Him sensually. He “gave His only begotten Son, that whoever believes in Him should not perish but have eternal life” (John 3:16), and “a great mystery of godliness was accomplished: God was revealed in the flesh” (1 Tim. 3:16). Thus, the inaccessible God, in the Person of the Son and Word of God, the Second Person of the Holy Trinity, became a Man accessible to sight, hearing, touch and, as the Church approved at its 7th Council, also accessible to image. Likewise, the symbolic image of the Holy Spirit in the form of a dove has a biblical basis, for at the baptism of the Savior He descended on Him in the form of a dove. This image of the Holy Spirit is canonical, as is the image of Him in the form of tongues of fire descending on the apostles. Although the Moscow Council did not allow the depiction of the Lord of Hosts, this prohibition was consigned to oblivion and He began to be depicted as the “Ancient of Days” (i.e., the Elder) on the icons of the “New Testament Trinity” Isa. 6:1-2; Dan. 7:9-13; Rev. 5:11). In the Orthodox East, there are icons of the “Old Testament Trinity,” which depict the appearance of God to Abraham in the form of three wanderers. Such an image is quite canonical: God was pleased to reveal Himself in this image, which had a deep symbolic meaning, and does not pretend to be a realistic reflection of the Personality. This icon has been widespread since ancient times, both in the Orthodox East and in Russia.

The Tretyakov Gallery also houses the most famous work of Andrei Rublev - the famous "Trinity". Created in the prime of his creative powers, the icon is the pinnacle of the artist’s art.

During the time of Andrei Rublev, the theme of the Trinity, which embodied the idea of ​​a triune deity (Father, Son and Holy Spirit), was perceived as a certain symbol of time, a symbol of spiritual unity, peace, harmony, mutual love and humility, readiness to sacrifice oneself for the common good. Sergius of Radonezh founded a monastery near Moscow with a main church in the name of the Trinity, firmly believing that “by looking at the Holy Trinity, the fear of the hated discord of this world was overcome.”

Reverend Sergius of Radonezh, under the influence of whose ideas Andrei Rublev’s worldview was formed, was an outstanding personality of his time. He advocated for overcoming civil strife, actively participated in the political life of Moscow, contributed to its rise, reconciled warring princes, and contributed to the unification of Russian lands around Moscow. A special merit of Sergius of Radonezh was his participation in the preparation of the Battle of Kulikovo, when he helped Dmitry Donskoy with his advice and spiritual experience, strengthened his confidence in the correctness of his chosen path and, finally, blessed the Russian army before the Battle of Kulikovo.

The personality of Sergius of Radonezh had special authority for his contemporaries; a generation of people during the Battle of Kulikovo was brought up on his ideas, and Andrei Rublev, as the spiritual heir of these ideas, embodied them in his work.

In the twenties of the 15th century, a team of masters, headed by Andrei Rublev and Daniil Cherny, decorated the Trinity Cathedral in the monastery of St. Sergius, erected above his tomb, with icons and frescoes. The iconostasis included the “Trinity” icon as a highly revered temple image, placed according to tradition in the lower (local) row on the right side of the Royal Doors. There is evidence from one of the sources of the 17th century about how the abbot of the monastery Nikon instructed Andrei Rublev “to paint the image of the Most Holy Trinity in praise of his father Saint Sergius.”

The plot of “Trinity” is based on the biblical story of the appearance of deity to righteous Abraham in the form of three beautiful young angels. Abraham and his wife Sarah treated the strangers under the shade of the Mamre oak, and Abraham was given to understand that the deity in three persons was embodied in the angels. Since ancient times, there have been several options for depicting the Trinity, sometimes with details of the feast and episodes of the slaughter of the calf and the baking of bread (in the gallery’s collection these are 14th-century Trinity icons from Rostov the Great and 15th-century icons from Pskov).

In the Rublev icon, attention is focused on the three angels and their condition. They are depicted seated around a throne, in the center of which is a Eucharistic cup with the head of a sacrificial calf, symbolizing the New Testament lamb, that is, Christ. The meaning of this image is sacrificial love.

The left angel, signifying God the Father, blesses the cup with his right hand. The middle angel (Son), depicted in the gospel clothes of Jesus Christ, with his right hand lowered onto the throne with a symbolic sign, expresses submission to the will of God the Father and readiness to sacrifice himself in the name of love for people. The gesture of the right angel (the Holy Spirit) completes the symbolic conversation between the Father and the Son, affirming the high meaning of sacrificial love, and comforts the doomed to sacrifice. Thus, the image of the Old Testament Trinity (that is, with details of the plot from the Old Testament) turns into the image of the Eucharist (the Good Sacrifice), symbolically reproducing the meaning of the Gospel Last Supper and the sacrament established at it (communion with bread and wine as the body and blood of Christ). Researchers emphasize the symbolic cosmological significance of the compositional circle, into which the image fits laconically and naturally. In the circle they see a reflection of the idea of ​​the Universe, peace, unity, which embraces multiplicity and cosmos. When comprehending the content of the Trinity, it is important to understand its versatility. The symbolism and polysemy of the images of the “Trinity” go back to ancient times. For most peoples, such concepts (and images) as a tree, a bowl, a meal, a house (temple), a mountain, a circle, had a symbolic meaning. The depth of Andrei Rublev's awareness in the field of ancient symbolic images and their interpretations, the ability to combine their meaning with the content of Christian dogma, suggest a high level of education, characteristic of the enlightened society of that time and, in particular, of the artist’s likely environment.

The symbolism of the “Trinity” is correlated with its pictorial and stylistic properties. Among them, color is the most important. Since the contemplated deity was a picture of the heavenly heavenly world, the artist, with the help of paints, sought to convey the sublime “heavenly” beauty that was revealed to the earthly gaze. The painting of Andrei Rublev, especially the Zvenigorod rank, is distinguished by a special purity of color, nobility of tonal transitions, and the ability to impart a luminous radiance to the color. Light is emitted not only by golden backgrounds, ornamental cuts and assists, but also by the delicate melting of bright faces, pure shades of ocher, and the peacefully clear blue, pink and green tones of the angels’ clothes. The symbolism of color in the icon is especially noticeable in the leading sound of blue-blue, called Rublevsky cabbage roll.

Comprehending the beauty and depth of content, correlating the meaning of the “Trinity” with the ideas of Sergius of Radonezh about contemplation, moral improvement, peace, harmony, we seem to come into contact with the inner world of Andrei Rublev, his thoughts translated into this work.

The image of the New Testament Trinity in Russian art of the 16th century.

The name of this iconographic version - “Trinity of the New Testament”, as well as the definition of its composition - “Co-throne”, are terms accepted in modern art history literature. In the 16th century, judging by the inscriptions preserved on the icons, this image could be called the words of the Easter troparion “Carnally in the grave”; “On the throne was with the Father and the Holy Spirit,” borrowed from Psalm 109 with the verse “The Lord said to my Lord: sit at My right hand, until I will make all Your enemies a footstool for Your feet.” The first version of the inscription, in addition to the famous “Four-Part” icon from the Annunciation Cathedral of the Moscow Kremlin, which gives a detailed illustration of the troparion, can be seen on the Moscow icon “The Lenten Triodion” (Tretyakov Gallery, inv. No. 24839), where the image of the New Testament Trinity is included in the composition of the Last Judgment. The same inscription was on the Solovetsky icon of the New Testament Trinity mentioned by V.P. Nikolsky (XVI-XVII centuries). Examples can be more numerous if we include monuments from the 17th century. The second version of the inscription is visible on the icon “The Last Judgment” from the village of Lyadiny (GE, inv. No. ERI-230). S.A. Nepein describes a folding house from the Vologda Vladychenskaya Church of the late 16th century. where in the middle there was an image of the text of Psalm 109:1. The second variant of the name seems to be more rare. In addition, being included in the composition illustrating the Creed, the image of Jesus Christ and the Lord of Hosts seated on the co-throne refers to the words: “and ascended into heaven, and sits on the right hand of the Father.”

The image of the New Testament Trinity in the iconographic type of the Co-Altar in Russian art earlier than the 16th century. unknown Probably, one of the first images of this kind could have been the image on the outer eastern wall of the Assumption Cathedral of the Moscow Kremlin, which has not reached us in its original form, but was painted based on traces taken from previous frescoes and parts of the large composition of the Last Judgment in the same cathedral (1513-1515 - 1642-1643). The painting of the outer eastern wall is the only example in Russian art of the 16th century. representative image of the New Testament Trinity. It is impossible to say whether this fresco has retained its original composition in all details. This makes it difficult to resolve the question of the sources of its iconography.

The most favorable material allowing us to trace the formation of the iconography of the New Testament Trinity on Russian soil are images of the Last Judgment. On the Novgorod icon “The Last Judgment” from the collection of A.V. Morozov (Tretyakov Gallery, inv. No. 14458, second half of the 16th century), the Lord of Hosts sits at the top in the center, on his right hand an empty place is left on the throne, which is made especially noticeable thanks to to the second, also empty, foot. On this side of the throne, at the front edge of the back, there is a sacrificial cup at the top. Between the cup and the head of Hosts the Holy Spirit is depicted in the form of a dove. The image of Hosts is repeated on the right, but there is no free space on the throne next to it. Instead, here we see the image of Jesus Christ surrounded by a mandorla. He is shown approaching the throne of God the Father, which contradicts the inscription that speaks of Christ being sent to earth “to judge the living and the dead.” In this icon one can see borrowings from Western compositions. These two scenes on the Novgorod icon in the fresco of the Assumption Cathedral correspond to the “Eternal Council” and

“The Sending of Christ to Earth”, however, the question again arises of how much preserved painting of the 17th century. corresponded to the original composition of the 16th century.

On another Novgorod icon “The Last Judgment” from the Church of Boris and Gleb in Plotniki (Novgorod Museum, inv. No. 2824, mid-16th century) appears that had developed by the mid-16th century. composition of the New Testament Trinity - Christ and the Lord Hosts are seated on a co-throne half-turned to each other, between them is placed the image of the Holy Spirit in the form of a dove. Christ's garments are revealed and he points to a wound on his ribs. We see a similar image of the New Testament Trinity on the famous icon from the Trinity-Sergius Monastery. On this icon, the image forms a rich and thoughtful iconographic program. I know of only one icon that repeats this iconographic program - “The New Testament Trinity” in the State Russian Museum (inventory No. DZh3085, 17th century)

During the second half of the 16th century. the image of the New Testament Trinity is enriched with new details, such as the fallen doors of the heavenly gates borrowed from the scene of the “Ascension of Christ” (an early example of the “Four-Part” icon from the Annunciation Cathedral), the throne with the Gospel placed on it and a standing chalice, and the cross and instruments of the passion placed nearby (on icon "Saturday of All Saints" from Stroganov's letter of the late 16th century from the collection of I.S. Ostroukhov, Tretyakov Gallery, inv. No. 12113).

The question may be raised, on the one hand, about borrowings from Western art of both the iconographic scheme as a whole and individual details of the image of the New Testament Trinity, and on the other hand, about the prerequisites that take place in Russian art, opening the way for these borrowings and allowing rethinking and organically include them in the context of Russian iconographic creativity of the 16th century.

The image of the Trinity on other icons

Baptism (Epiphany). Around 1497

Academician B.V. Rauschenbach. ADDITION

". FACE THE HOLY TRINITY"

The doctrines of the Trinity are among the fundamental ones, and it is therefore not surprising that icons of the Trinity are found very often. Suffice it to recall, for example, the classic Russian five-tiered iconostasis, in which the Trinity icon is placed in the center of the forefathers' row, then in the row of holidays and, in addition, in the local row. It is quite natural that the icons of the Trinity have long attracted the close attention of researchers, especially the icons of the Old Testament Trinity, which have more ancient roots than the New Testament Trinity. Of course, this is due to the fact that the Monk Andrei Rublev wrote his “Trinity”, following precisely the ancient iconography.

If we analyze the very extensive literature devoted to Rublev’s Trinity, it becomes obvious that the authors paid the main attention to the artistic features of the outstanding creation of human genius. The connection of the icon with the difficult circumstances of a historical nature characteristic of the time of its painting was not left aside. However, it is not complete enough, it seems that these works provide a theological interpretation of what is shown on the icon. In recent years, many researchers have turned to the question of which of the angels depicted on it corresponds to which Person. Opinions are expressed very different. Most often, the middle angel is identified with either the Father or Son, and depending on the choice made, the correspondence of the side angels to the other two Persons is determined. The number of possible combinations here is quite large, and it must be said that the authors provide many interesting arguments to confirm their points of view. But there is still a long way to go to an unambiguous answer to this question. Perhaps , he will never be found. The most complete and critical examination of this problem can be found in the book by L. Muller.

There is no doubt, however, that the problem of identifying angels and Persons is of a secondary nature. After all, no matter how the question of correspondence between angels and Persons is resolved, the Trinity continues to remain only the Trinity. Only the interpretation of gestures changes, but not the cardinal quality of the icon, which is naturally considered to be the complete expression of the dogmatic teaching about the Trinity. Indeed, in the Orthodox Church, an icon is not just an illustration explaining the Holy Scripture (which is quite acceptable for Catholics), but is organically included in liturgical life. It will be shown below that in Rublev this completeness of expression reaches its maximum. Considering the icons of the Trinity from the point of view of the completeness of expression of dogmatic teaching, it is interesting to trace how gradually this expression is improved and how, as theological rigor weakens when painting icons, it becomes clouded. In addition, the proposed approach allows us to analyze the icons of the Old Testament Trinity and the New Testament Trinity from a single point of view, to compare them essentially, and not attribute them to different iconographic types and, accordingly, consider them separately, without connection with each other.

In order to streamline the subsequent analysis, it is useful to formulate in the briefest form the main qualities that the Trinity possesses according to the teaching of the Church.

1. Trinity

2. Consubstantiality

3. Inseparability

4. Co-essence

5. Specificity

6. Interaction

The six qualities formulated here and related issues were discussed in my previous article. The listed qualities could be called structural-logical, since they define precisely these aspects of the dogma of the Trinity. In addition, the Trinity is also: 7. Saint; 8. Life-giving.

It seems that the latest definitions do not need any comment.

When considering the question of the evolution of the complete expression of the Trinity dogma in icons, it would seem natural to begin with the most ancient examples and end with modern ones. However, another path seems more expedient: first turn to the highest achievement in the matter of such expression - the icon of St. Andrei Rublev, and then move on to the analysis of the types of icons that preceded and followed it. This will make it possible to more clearly identify the features of other icons, the weakening in them of the full expression of dogma, having before our eyes the highest example. Much of what Rublev used goes back to earlier iconographic traditions, but will not be mentioned in the analysis of his Trinity. It will become clear when we subsequently turn to more ancient icons.

The fact that Rublev's "Trinity" carries within itself a highly complete expression of dogma was intuitively felt by many. This is best evidenced by the unpublished work of V.N. Shchepkin, in which he, nevertheless, absolutely rightly writes that Rublev created “the direct embodiment of the main dogma of Christianity” and, further, that “the poetic thought about dogma is poured out everywhere in the icon.” . In a similar sense, one can interpret the thought of Father Pavel Florensky that the icon of the Trinity "Rublev". has already ceased to be one of the images of facial life, and its relation to Mamvra is already a rudiment. This icon shows in a striking vision the Most Holy Trinity - a new revelation, although under the veil of old and undoubtedly less significant forms."

An analysis of how fully and by what artistic means Rublev embodied the dogma of the Trinity in his icon will be carried out in the same sequence as proposed above. The first quality in this series was called trinity . It is possible to show that three Persons make up one God only by depicting them on one icon (therefore, it is unthinkable here what is often done in the icons of the Annunciation, where the Mother of God and the Archangel Gabriel - for example, on the royal doors - are depicted on separate icons that make up in turn a single composition). An additional and very significant technique is the prohibition on the inscription of halos on Persons and the use instead of them of a unifying inscription representing the Triad in the form of a Monad: “The Most Holy Trinity.” Related to this is the prohibition on separating Faces by depicting different halos. The above suggests that, without clearly distinguishing the Persons on his icon, Rublev acted from dogmatic considerations. But if this is so, then the “deciphering” of “characters,” which is now often attempted, to a certain extent loses its meaning, becoming a secondary matter.

The second quality to discuss is consubstantiality . Rublev conveys it extremely simply: the three depicted angels are completely of the same type. There are no visible differences between them, and this is enough for the sensation of consubstantiality to arise. As for inseparability, then it is symbolized by the sacrificial cup located on the throne. The cup is rightly interpreted as a symbol of the Eucharist. But the Eucharist unites people into the Church, therefore, in this case, the cup unites three Persons into some kind of unity. Such a subtle expert in the theology of icon veneration as L.A. Uspensky speaks about it this way: “If the tilt of the heads and figures of two angels directed towards the third unites them with each other, then the gestures of their hands are directed towards the one standing on a white table, as if the altar, the Eucharistic chalice with the head of a sacrificial animal. It constrains the movements of the hands." The sacrificial cup - the semantic and compositional center of the icon - is one for all three angels, and this also suggests that we have a Monad.

Transfer on the icon co-essence presents a very difficult task. After all, this means that the three Persons exist only together (this is evidenced by their inseparability) and always. But “always” is a category of time, and it is extremely difficult to convey time using the means available to fine art. Here only indirect methods are possible. Rublev very subtly and successfully uses this opportunity. By using all the means available to him (composition, line, color), he creates a feeling of silence, peace and stopping time. This is also facilitated by the fact that the angels have a silent conversation. After all, an ordinary conversation requires the utterance of words, takes time, and if Rublev had depicted such a conversation, time would have entered the icon. In a silent conversation, images and emotions are exchanged, not words. After all, emotions can arise instantly and last indefinitely. No wonder such concepts as “love at first sight” or “eternal love” appeared. Images are similar: a person is able to immediately imagine a beautiful landscape. If you try to convey love or a landscape in words, then it will take time, and it is impossible to adequately convey such subtle feelings as love in words. The image and emotions will always be richer and brighter than words in this sense. As a result of the totality of the means used by Rublev, it seems that the three angels have been sitting and talking for an infinitely long time and will continue to sit here for just as long. They are outside the bustling and hurrying world of people - they are in eternity. But in eternity time does not flow, it is entirely within it. That which is in eternity truly becomes ever-present , always existing.

Specificity Persons are a kind of opposition to consubstantiality. Consubstantiality does not mean the complete identity of Persons; they are not impersonal. As P.A. Florensky very successfully formulated, the trinitarian dogma makes Persons distinguishable, but not different. In Rublev, specificity is shown very simply: the angels have different poses, they wear different clothes. But the simplicity of this technique allows us to simultaneously achieve the fact that Rublev’s specificity is not striking. He very subtly and restrainedly conveys the differences of the Persons while emphasizing their consubstantiality, which is fully consistent with the teaching of the Church about the Trinity.

Interaction Rublev conveys the faces in the form of a silent conversation of angels. It was already said above that the three Persons not only coexist, but are in close interaction: the Son is born, and the Holy Spirit comes from the Father. But it is unthinkable to depict birth and procession on an icon, especially since, due to the incomprehensibility of God, we do not know the exact meaning of the words birth And origin and I can’t imagine it. Of course, the interaction of Persons is not limited to these two points included in the Creed, but is more multifaceted. Therefore, depicting interaction in the form of a silent conversation, or rather, an exchange of images and inexpressible words-emotions, is quite reasonable as a method of visually representing celestial interaction.

Holiness The Trinity is emphasized by the halos of the three Persons, by the fact that they are depicted as angels, and, in addition, by the fact that in the background of the icon, on the right, a mountain is shown, which also embodies a symbol of holiness.

Vitality characterizes the tree of life located behind the middle angel. This is the appearance that Rublev took on the Mamvri oak tree, in the shade of which Abraham feasted on the Trinity. Thus, an everyday detail - oak - became a symbol for Rublev, appropriate when depicting the mountain world.

The brief analysis carried out here showed that all the fundamental components of the rather complex trinitarian dogma were conveyed by Rublev with amazing accuracy and precisely by artistic means. Of course, the meaning of Rublev’s icon is not limited to finding worthy visual means for this purpose. Researchers of the work of St. Andrew quite rightly pointed out, for example, that the sacrificial cup on the throne symbolizes the voluntary sacrifice of the Son, and interpreted the gestures of the angels accordingly. They also found that the interaction of the depicted angels (through their poses and gestures) speaks of the love that binds the Persons into Unity. All these and other considerations of this type are certainly interesting, they attempt to understand the life of God in Himself, but they are not directly related to the issue that is being discussed here: the problem of the completeness of the transmission of the Trinity dogma in icons. Concluding the analysis of Rublev's "Trinity", I would like to especially emphasize that, starting from the Old Testament story about Abraham's meeting with God, Rublev deliberately eliminated everything everyday and secular from the icon and gave an amazing image of the heavenly world. This is probably what Father Pavel Florensky had in mind when he said that the icon shows the Most Holy Trinity, and its relation to Mamvre is already a rudiment.

In the time preceding Rublev, all icons of the Trinity were painted according to a type known as the “Hospitality of Abraham.” Not only the Trinity was depicted here, but also Abraham and Sarah treating dear guests, and sometimes the slaughter of a calf by a youth. This immediately reduced the emerging image, bringing it closer to everyday earthly life - it no longer represented the world above, but the world below, which, however, was visited by God. It should be noted here that compositions depicting the Trinity in the form of three angels existed before Rublev, but the absence of Abraham and Sarah in them is explained quite simply: there was not enough space to depict them. Such compositions are found only on panagia, the bottoms of small vessels, and in other cases when the icon painter was severely limited by the size of the field provided to him. As soon as the size of the sacred image increased, Abraham and Sarah inevitably appeared in the field of view.

The first images of the Old Testament Trinity appeared in the Roman catacombs. Of the later images that have reached us, we should first of all mention the mosaics of the 5th century (Santa Maria Maggiore, Rome) and the 6th century (San Vitale, Ravenna). What is characteristic of all these works is that here the authors were not too concerned with conveying the Trinity dogma through artistic means; they were more interested in strictly following the text of the Old Testament, which speaks of the appearance of God to Abraham: “And the Lord appeared to him at the oak grove of Mamre, as he sat at the entrance to his tent in the heat of the day. He lifted up his eyes and looked, and, behold, three men stood against him" (Gen. 18: 1-2). In full agreement with this text, the Persons of the Trinity are depicted as men, not angels. From the Trinity dogma, one can see here only a weakened transmission of holiness (only halos), trinity and consubstantiality. Specificity and distinction of persons are completely absent, just like inseparability, co-essence, interaction and life-giving origin. Later, and by the 11th century everywhere, Persons are already depicted in the form of angels, which indicates a desire to, as it were, strengthen the external signs of Their level of holiness: on the table at which Abraham’s guests are sitting, a sacrificial bowl appeared, but besides it, other “cutlery” is also shown ", as a result of which the scene does not acquire the deepest symbolic meaning as in Rublev's.

The desire to be closer to the text of the Old Testament leads to the emergence of a specific iconography of the Trinity: the middle angel is depicted as sharply different from the side angels; he clearly stands at a higher level of the hierarchy. Sometimes the halo of this angel is made baptized, i.e. tells the angel the signs of Jesus Christ. Such iconography goes back to the interpretation of God’s appearance to Abraham that was widespread in its time, according to which it was not the three Persons of the Trinity that appeared to him, but Christ, accompanied by two angels. The Old Testament text provides the basis for such an interpretation, but then what is depicted is no longer the Trinity (although the corresponding inscription claims this), since here, perhaps, the main thing in the dogmatic teaching about the Trinity - consubstantiality - is clearly violated. Some icon painters, realizing the inadmissibility of departing from the dogmatic doctrine of consubstantiality, make the halos of all three angels baptized, although such a halo is appropriate only when depicting Christ and is completely excluded when depicting the Father and the Holy Spirit.

Over the centuries, the completeness of the transmission of the Trinity dogma, achieved by the 11th century, remains almost unchanged. Only minor enhancements can be noted. The angels begin to interact more intensively, the Mamvrian oak is now depicted conditionally, not as “realistically” as on the Ravenna mosaic, and can be interpreted as tree of life(although in many cases he is not depicted at all). This suggests that icon painters understand the need to depict not only Abraham’s hospitality, but also to convey the dogmatic teaching about the Trinity. It would be possible to consider from this point of view numerous icons of the Trinity of the 11th-14th centuries and for each of them formulate the degree of completeness of the transmission of the Trinity dogma, following the methodology used above for the analysis of Rublev’s “Trinity”. However, such an analysis, useful when studying any individual icon, is of little use when referring to a large array of icons. The fact is that the average statistical conclusion that such an analysis would lead to would only indicate that the level of compliance with dogma in these icons is always lower than that of Rublev.

The appearance of Rublev's "Trinity" in the 15th century was not the result of gradual development, it was a leap, something explosive. With amazing courage, the artist completely excludes scenes of hospitality and removes everything from the background. The table is no longer set with “cutlery” according to the number of people eating - this is no longer a joint meal that can unite members of a single fellowship, but the Eucharist, which unites not into fellowship, but into the Church. Rublev manages to make the person contemplating the icon sees complete trinitarian dogma. In pre-Rubble times, icons, relatively speaking, had to have a commentator who would explain and supplement what was depicted, since their content from the point of view of the embodiment of dogma was always incomplete. Here, for the first time, such a commentator turned out to be unnecessary. It is not surprising that immediately after the appearance of the “Trinity”, Rublev’s iconography - with one or another variant - began to quickly spread in Russia.

The further development of the iconography of the Trinity, in which icon painters tried to “improve” what Rublev had achieved, only confirmed the obvious: if the maximum has been achieved in some matter, then any deviation from it, no matter in which direction it is made, will mean deterioration. Surprisingly, the main and widespread “improvements” of Rublev’s iconography primarily concerned the “setting” of the table. Here again some mugs, bowls, jugs and similar objects appear. In this regard, Simon Ushakov’s “Trinity” from the Gatchina Palace (1671) is very characteristic, almost exactly repeating Rublev’s iconography in form and noticeably departing from it in essence. Not only the numerous “cutlery” lowers the high symbolism of Rublev to the level of everyday life, but also tree of life again becomes an oak tree, under whose shade the Trinity sits. Completely conventional chambers, which in Rublev symbolized the house-building of the Holy Trinity, are transformed in Ushakov into a spatial and intricate architectural ensemble of the Italian type. The entire icon becomes an image of a certain everyday scene, but in no way symbol heavenly world.

Another example typical of the 17th century is the Trinity icon from the Trinity Church in Nikitniki in Moscow. Its authors are presumably Yakov Kazanets and Gavrila Kondratyev (mid-17th century). Everything that was said above about Simon Ushakov’s “Trinity” is visible here: a richly served table under the shade of a spreading oak tree, and the architecture of the quaint chambers in the background, but there is also something new: an appeal to the theme of Abraham’s hospitality, i.e. refusal to depict the world above (where Abraham and Sarah are inappropriate) and a return to depicting the world below on the icon. This is characteristic not only of this icon, but also of icon painting in the 16th-17th centuries in general. One can clearly see (especially in the 17th century) a decline in interest in high dogma and an increase in interest in the possibility of a realistic depiction of people's lives. It seems that the icon becomes a reason for creating everyday scenes using pictorial means. Returning to the icon under discussion, it should be noted that it is highly narrative. Here you can see not only the Trinity sitting at the table, but also a whole story about it: first the scene of Abraham’s meeting with the Trinity, then Abraham washing the feet of three angels, then the main semantic center - the meal and, finally, the departure of the Trinity, and Abraham’s farewell to her . Such a narration shows that the Old Testament text is rather a source of imagination for the icon painter. To create such a composition developing over time from a series of almost everyday scenes is much easier than to do what Rublev managed: to exclude time from the icon and thereby give a feeling of eternity.

The deviation from dogmatic teaching in the icons of the 17th century is quite consistent with the lowering of the level of theological thought and weakening of holiness noted at that time. The noted evolution thus turns out to be not an accidental phenomenon, but a completely natural consequence of the ongoing secularization of all life in the country. If we return to the discussion of dogmatic completeness in the icons of the Trinity of that time, what is striking is the increase in the number of icons of the New Testament Trinity, which in previous centuries were a rare exception.

Many theologians rightly noted the danger of rationalizing the Trinity dogma, which often led to heretical constructions. The basis of the tendency towards rationalization is, as a rule, the desire to make this dogma “understandable”, to reconcile it with familiar ideas. The icons of the New Testament Trinity can be interpreted as a kind of rationalization performed by artistic means. Indeed, instead of the symbolic representation of the three Persons in the form of angels, a more “intelligible” form is used. The Second Person of the Trinity is depicted as is customary on all icons of the Savior, the third Person - in the form of a dove (which, strictly speaking, is only appropriate on the “Baptism” icons). This choice of symbol for depicting the Holy Spirit is quite natural: if it is depicted in the form of a tongue of flame (as on the icons of the “Descent of the Holy Spirit”) or in the form of a cloud (as on Mount Tabor), then the problem of composition of the icon would become practically insoluble. As for the First Person - the Father, here he is shown as the “ancient of days”, based on dubious interpretations of the visions of the prophets Isaiah and Daniel. As can be seen, in this case, too, the attempt at rationalization and the desire for clarity led, in fact, to a kind of “heresy”, to a departure from the resolutions of the VII Ecumenical Council. This was understood by many, and by the decrees of the Great Moscow Cathedral (1553-1554), icons of this type were actually prohibited. The ban, however, was not enforced, since the number of such icons was already large, and they seemed to be legitimized by church practice. Related issues are discussed in detail in the monograph by L.A. Uspensky.

In all icons of this type, one notices a departure from the dogmatic doctrine of the consubstantiality of Persons (or at least its unacceptable weakening). If we can talk about the consubstantiality of the Father and the Son depicted on the icon, since both are represented in the form of people, then there can be no talk about the consubstantiality of man and dove. Here again, next to the icon, it is necessary to place a commentator explaining that the Holy Spirit, nevertheless, is consubstantial with the Father and the Son. Compared to the icons of the Old Testament Trinity, in which there is consubstantiality visible this is not the case here: the icon painter seems to be demonstrating his inability to convey through pictorial means the most important position of the dogmatic doctrine of the Trinity.

Icons of the New Testament Trinity are usually painted in two types, which are known as “Co-throne” and “Fatherland”. In the icons of the first type, the Father and Son are depicted sitting side by side on a co-throne, and the Holy Spirit is depicted as a dove hovering in the air between them, just above their heads. Since the New Testament Trinity is radically different from those discussed earlier, let us repeat its analysis for compliance with the need for complete expression of the dogmatic teaching about the Trinity formulated above, bearing in mind the “Co-throne” option.

Trinity shown here, as before, in the form of a joint image of three Persons on one icon. As for the ban on the inscriptions of halos, now it is meaningless, because Persons are depicted in different ways, and besides, as a rule, they have different halos: Christ is baptized, the Father is eight-pointed, the Holy Spirit is ordinary. But the trinity, albeit not as perfectly as before, is shown.

Transmission of the most important position of the Trinity dogma - consubstantiality- it turns out to be impossible to implement, as was already mentioned above. The same can be said about inseparability . Rublev used the unifying symbolism of the Eucharist to make this quality clear, but here nothing (except, of course, a conventional commentator) prevents the Persons from “dispersing” in different directions, each according to their own affairs. Coexistence is a quality associated with time, with eternity. It was shown above how subtly and skillfully Rublev managed to convey this eternity, using various indirect methods. There is nothing like it here. Moreover, the icons of the New Testament Trinity provide grounds for denying it. By showing the Father as an old man and the Son as a younger man, the icon gives the right to assume that there was a time when the Father already existed and the Son did not yet exist, which contradicts the Creed. Here again a conditional commentator is needed to deny the absence of co-essence of Persons in the icon. For the icons of the Old Testament Trinity, such a comment is not required - the angels are always depicted as “of the same age.” Specificity The faces are very strongly expressed - they all have a completely different appearance. It can even be argued that this specificity is shown too emphatically, to the detriment of consubstantiality. The icon painter is not able to do what Rublev managed - to show both at the same time. Interaction The faces are depicted, as in Rublev, but weakened - in the form of a conversation between the Father and the Son, in which the Holy Spirit (dove), of course, cannot take part. The holiness of faces is expressed through halos, vitality - has not been identified at all.

If we turn to another version of the New Testament Trinity - “Fatherland”, then almost everything said remains valid here. In icons of this type, the Father seems to be holding on his knees (or in his bosom?) the Son, who is now presented as Christ the Youth (Savior Emannuil). This further enhances the undesirable appearance of the difference in their “ages”, which was mentioned above. Such iconography also tries to convey the indescribable - the birth of the Son from the Father. Perhaps this is just what the interaction of the first two Persons shown here comes down to. The Holy Spirit no longer hovers above, but is visible on a large medallion held in the hands of the Son, and, of course, again in the form of a dove.

As follows from what has been said, the completeness of expression of the Trinity dogma in the icons of the New Testament Trinity is very small, even if we compare them with the “Trinity” not of Rublev, but with the entire totality of icons of the Old Testament Trinity. As for the “Fatherland” icons, here one can see not only an insufficiently complete transmission of dogmatic teaching, but even a distortion of it. As already noted, the composition of the icon speaks of the desire to show the indescribable - the birth of the Son from the Father; but this is not enough; the icon also attempts to show the procession of the Holy Spirit. The medallion with the Holy Spirit - a dove - is held in the hands of the Son, and he himself is held by the Father, and this indicates that the icon is closer to the Creed distorted by Catholics, according to which the Holy Spirit comes from the Father and the Son, than to the Orthodox Niceno-Constantinopolitan Symbol according to which the Holy Spirit proceeds only from the Father.

Summing up the analysis of various icons of the Trinity from the point of view of the transmission of the Trinity dogma in them, we can state that in different periods the completeness of this transmission was also different. Initially, it intensified; over time, icon painters strove for an ever more complete expression of the dogma, reaching its greatest completeness in Rublev. Then interest in dogmatic teaching begins to wane, icons become closer and closer to illustrations of the texts of Holy Scripture, and their theological depth decreases accordingly. Even icons of the New Testament Trinity appear, in which the dogmatic side is of little interest to the icon painter. He now strives to make the icon “more intelligible”, allowing himself what clerk Viskovaty called “self-thinking” and “Latin wisdom.” All this speaks of the decline of church consciousness in the 17th century, however, this is another topic.

The icon of the Holy Trinity is of particular importance for Christians, since it shows what heights of union with God can be achieved if you sincerely serve God. This image exists only in the Orthodox faith. The icon depicts three angels, who personify the three wanderers who appeared to Abraham.

The “Holy Trinity” was created for the purpose that every person could imagine the three-sun light of Orthodoxy. The believer who looks at the image is able to realize the power and works of the Lord God.

What does the meaning of the Holy Trinity icon help with?

Prayer requests offered in front of the image will help you cope with various trials, find the right path, etc. Regular appeals to Higher powers help to get rid of the most powerful dramatic experiences. The icon helps to see the necessary and desired ray of hope. For believers, the “Holy Trinity” icon is important because it helps solve all the problems that haunt them. You can read confessional prayers in front of the icon, which will allow you to cleanse yourself of existing negativity and sinfulness. It is believed that by talking about his sins before the image of the Holy Trinity, the believer speaks almost directly with God.

Where to hang and the meaning of the Holy Trinity icon?

It is believed that icons should be in a certain place in the house. You can have one image, or you can have a whole iconostasis. In Christianity, it is customary to pray while facing the east, so the eastern wall is best suited for the “Holy Trinity” icon. There should be enough free space in front of the image so that a person can easily approach the icon and immerse himself in prayer without experiencing discomfort. Understanding where to hang the icon of the Holy Trinity so that it has special meaning for the family, It’s worth mentioning another popular place – the head of the bed. Thus, the face will play the role of a protector. It is customary to hang an icon opposite the front door, since it will protect the house from various negativity. However, it doesn’t matter at all in which room to place the image, because the main thing is sincere and regular appeals.

You can simply hang the icon on the wall, or you can equip it with a shelf or a special cabinet. If you use several images in the iconostasis, then the “Holy Trinity” may be located above all other icons, even the face of the Savior and the Virgin Mary. It is believed that correctly positioned icons allow a person to open a window to a brighter and more spiritual life.

Holy Trinity Icon: meaning for the Orthodox

It is impossible to fully understand the depth of true faith without joining the Holy Trinity of the Lord. The Trinity icon was created so that every person praying could figuratively imagine the trisolar light of Orthodoxy. Contemplating the great creation, believers absorb the omnipresence of the Lord, realizing the full depth of His works.

Icon "Trinity"

Its meaning and symbolism lies in the demonstration of the Trinitarian unity of the Lord. The icon complements written sources, which are verbal expressions of the true faith. This image is a reflection of the events described in Scripture. On the fiftieth day after Easter, the Holy Spirit came into the souls of the apostles, which helped them realize their own abilities. The main task - to bring His teaching to people in order to save them from sin - was understood by the faithful disciples of Jesus. The Trinity icon contains a plot described in the pages of the book of Genesis, known as “Abraham’s Hospitality.” But it is not only the connection with the Word of God that this painted message brings to the world. It glorifies the trinity of the Holy Union, the continuity of its existence.

Icon "Trinity" by Andrei Rublev

This purest work revealed to the world the wisdom and depth of understanding by the author of the essence of the Faith. His Angels, saturated with light sadness, show the viewer the wisdom of the purest influence of the Divine. The Trinity icon is both complex and understandable for many generations of connoisseurs. You can admire it endlessly, absorbing the lightness of the Angels, the wisdom of their perception, the soaring of their existence. Like the starry sky above the southern sea coast, it gives birth to ever new thoughts and feelings in its devoted contemplator.

Meaning for a true believer

The Trinity icon can be found in the home of any Orthodox Christian. It brings peace and confidence into the soul in the indispensable presence of the Lord on any road. Just as a child needs to feel the presence of his mother, so a believer needs Divine guidance and support. He submits any of his decisions to the court of the Holy Trinity, silently accepting the advice of the calm Faces. In this image, for a person truly devoted to the faith, the purpose of his presence in this world, hopes for justice and the constant support of the Lord are woven together. What is so lacking in life can be gleaned from the Icon by praying or simply contemplating its wisdom. It’s not for nothing that it is customary to hang it opposite the front door. This ancient tradition helps to realize that in a cruel world, for the wanderer that every person is, there will always be shelter and refuge. In the physical version, this is the home, and in the spiritual version, it is faith. That is why it is customary to confess before the Icon, admitting sins, and asking the Lord for forgiveness. Her sacrificial image gives hope to anyone who takes the trouble to think about the depth of its content. The circle that the Angels form symbolizes the eternal nature of the Divine. The viewer absorbs the true nature of this symbol, becoming familiar with the deep values ​​depicted in the Icon. A special spiritual joy descends on a person praying in front of the Trinity, as if the image radiates all the kindness and power of the Lord.

Holy Trinity - who is included in the Holy Trinity and what prayers should be read before the icon?

Many people believe in God, but not everyone has extensive knowledge regarding religion. Christianity is based on the belief in one Lord, but the term “trinity” is often used and few know what it actually means.

What is the Holy Trinity in Orthodoxy?

Many religious movements are based on polytheism, but Christianity is not included in this group. The Holy Trinity is usually called the three hypostases of the one God, but these are not three different beings, but only faces merging into one. Many are interested in who is included in the Holy Trinity, and so the unity of the Lord is described by the Holy Spirit, Father and Son. There is no distance between these three hypostases, since they are indivisible.

When figuring out what the Holy Trinity means, it should be pointed out that these three beings have different origins. The spirit has no beginning because it comes out and is not born. The Son represents birth, and the Father represents eternal existence. The three branches of Christianity perceive each of the hypostases differently. There is a symbol of the Holy Trinity - a triquetra woven into a circle. There is another ancient sign - an equilateral triangle inscribed in a circle, which means not only the trinity, but also the eternity of the Lord.

What does the Holy Trinity icon help with?

Christian faith indicates that there cannot be an exact image of the Trinity, since it is incomprehensible and great, and, judging by the biblical statement, no one has seen the Lord. The Holy Trinity can be depicted symbolically: in the guise of angels, the festive icon of the Epiphany and the Transfiguration of the Lord. Believers believe that all this is the Trinity.

The most famous is the icon of the Holy Trinity, which was created by Rublev. It is also called “The Hospitality of Abraham,” and this is due to the fact that the canvas depicts a specific Old Testament plot. The main characters are presented at the table in silent communication. Behind the appearance of angels, three personalities of the Lord are hidden:

1. The father is the central figure who blesses the cup.
2. The son is an angel who is on the right and dressed in a green cape. He bowed his head, representing his agreement to be the Savior.
3. The Holy Spirit is the angel depicted on the left side. He raises his hand, thereby blessing the Son for his exploits.

There is another name for the icon - “Eternal Council”, which personifies the communication of the Trinity regarding the salvation of the people. No less important is the presented composition, in which the circle is of great importance, indicating the unity and equality of the three hypostases. The cup in the center of the table is a symbol of Jesus’ sacrifice for the salvation of the people. Each angel holds a scepter in his hands, denoting a symbol of power.

A huge number of people pray in front of the icon of the Holy Trinity, which is miraculous. They are best suited for reading confessional prayers, since they will immediately reach the Almighty. You can contact the face with different problems:

1. Sincere prayer requests help a person return to the righteous path, cope with various trials and come to God.
2. They pray in front of the icon to fulfill their cherished desire, for example, to attract love or achieve what they want. The main thing is that the request does not have malicious intent, since you can incur the wrath of God.
3. In difficult life circumstances, the Trinity helps not to lose faith and gives strength for further struggle.
4. Before the face you can be cleansed of sins and possible negativity, but here unshakable faith in the Lord is of great importance.

When and to whom did the Holy Trinity first appear?

One of the most important holidays for Christians is the Epiphany and it is believed that during this event the first appearance of the Trinity took place. According to legend, John the Baptist in the Jordan River baptized people who repented and decided to come to the Lord. Among all those who wished to do so was Jesus Christ, who believed that the Son of God must fulfill human law. At the moment when John the Baptist baptized Christ, the Holy Trinity appeared: the voice of the Lord from heaven, Jesus himself and the Holy Spirit, who descended in the form of a dove to the river.

Significant is the appearance of the Holy Trinity to Abraham, to whom the Lord promised that his descendants would become a great nation, but he was already old, and he never had children. One day, he and his wife, while in the oak grove of Mamvre, pitched a tent, where three travelers came to him. In one of them, Abraham recognized the Lord, who said that he would have a son next year, and so it happened. It is believed that these travelers were the Trinity.

Holy Trinity in the Bible

Many will be surprised that the Bible does not use the term “Trinity” or “trinity,” but it is not the words that are important, but the meaning. The Holy Trinity in the Old Testament is visible in a few words, for example, in the first verse the word “Eloh"im is used, which is literally translated as Gods. A clear manifestation of the trinity is the appearance of three husbands in Abraham. In the New Testament, the testimony of Christ, who indicates his sonship with God.

Orthodox prayers to the Holy Trinity

There are several prayer texts that can be used to address the Holy Trinity. They must be pronounced in front of an icon, which can be found in churches or bought in a church shop and prayed at home. It is worth noting that you can read not only special texts, but also turn separately to the Lord, the Holy Spirit and Jesus Christ. Prayer to the Holy Trinity helps in solving various problems, fulfilling desires and healing. You need to read it every day, in front of the icon, holding a lit candle in your hands.

Prayer to the Holy Trinity for the fulfillment of desires

You can turn to Higher powers to fulfill your cherished desire, but it is important to take into account that these should not be trivial things, for example, a new phone or other benefits. Prayer to the “Holy Trinity” icon helps only if the fulfillment of spiritual desires is required, for example, you need help in achieving your goals, providing support to a loved one, and so on. You can pray both in the morning and in the evening.

Prayer for children to the Holy Trinity

Parental love for their children is the strongest, because it is selfless and comes from a pure heart, which is why the prayers said by parents have enormous powers. Worshiping the Holy Trinity and saying a prayer will help protect a child from bad company, wrong decisions in life, heal from diseases and cope with various problems.

Prayer to the Holy Trinity for mother

There is no special prayer text intended for children to pray for their mother, but you can read a universal simple prayer that helps convey your sincere requests to the Higher Powers. When figuring out what prayer to read to the Holy Trinity, it is worth noting that the text presented below must be repeated three times, be sure to cross yourself after each and make a bow from the waist. After reading the prayer, you need to turn to the Holy Trinity in your own words, asking for your mother, for example, for protection and healing.

Prayers to the Holy Trinity for the healing of diseases

Many people come to God at a time when they or someone close to them is seriously ill. There is a huge amount of evidence that the Holy Trinity in Orthodoxy helped people cope with various diseases, and even when medicine did not give a chance for recovery. It is necessary to read the prayer in front of the image, which should be placed near the patient’s bed and a candle should be lit next to it. You should contact the Higher Powers daily. You can say a prayer over holy water, and then give it to the patient.

Which Holy Trinity icon is correct?

Orthodoxy is perhaps the only Christian denomination in which icon veneration is very developed. Moreover, if Catholics respect sacred images, then numerous Protestant churches unanimously accuse the Orthodox of almost idolatry.

In fact, for a believer, an icon is not an idol at all, but a reminder of another world, of saints and God. The phrase “to venerate an icon” carries a slightly different meaning than “to venerate God.” An icon can be compared to a photograph of a loved one, which is carefully kept in a family album or hung on the wall. No one considers a photo to be an idol or a replacement for the original, even if it receives a lot of attention.

In many religions there are no icons, and any images are prohibited for a completely reasonable reason: no one has ever seen God, so how can one depict the indescribable?

Orthodox icon painters also do not invent anything, and, according to the rules, only what was material is depicted on icons.

But what about the “Holy Trinity” icon, because no one has ever seen God! This is not entirely true. We saw our God in human form. Jesus Christ is God and man. So at least the second Person of the Holy Trinity can be depicted. The Holy Spirit also had some incarnation. He appeared several times in the form of a white dove. It wasn't a real dove, of course, but it could be written that way.

So, the two Persons of the Trinity are depicted, but for completeness, God the Father is not enough. The “Holy Trinity” icon cannot exist without the Father.

Icon painters found several ways out of this situation - more or less successful. For example, there is an icon of the Holy Trinity, a photo or reproduction of which is located in every prayer corner. On it, God the Son sits on a throne, above Him is God the Holy Spirit, and God the Father is indicated by a certain icon of outpouring grace. There is another option, which is usually called Catholic, where God the Father is arbitrarily depicted as an old man, and God the Holy Spirit as a dove. Everyone recognizes that the icon is non-canonical, that is, it does not comply with Orthodox rules of icon painting, but it came into widespread use back in the 19th century.

The most famous icon “Holy Trinity” was painted by Rublev. This depicts a moment in Old Testament history when three angels came to Abraham. According to the interpretation of the holy fathers, this was God, or maybe Andrei Rublev used only an image. In any case, the icon is a unique work not only of icon painting, but also of theological thought. Rublev’s “Holy Trinity” icon is not only that moment at the tent of Abraham, but also the eternal council. This idea is suggested by the contents of the bowl on the table. It (according to many interpreters) contains the sacrament, that is, the Blood of Jesus Christ. This is the moment of a certain prophecy about the future, about the incarnation of the Son of God and about His suffering. It is this mysterious meeting that is called the eternal council.

The “Holy Trinity” icon is mysterious; it has a huge number of symbolic details, by which one can determine that Andrei Rublev designated a certain Person of the Holy Trinity with each Angel. Discussions about it are still ongoing. This image is now kept in the temple at the Tretyakov Gallery. Here it is under guard, but you can venerate it, pray to God and light a candle.

Icon of the Holy Trinity: meaning, what does it help with?

Icon of the Holy Trinity. Only in the Orthodox Christian religion does this Divine face exist—“ Abraham's Hospitality" This divine image of the Trinity, painted in the 15th century, has a special spiritual meaning for all Orthodox Christians Andrey Rublev.

Why? This icon shows all Orthodox People that if you believe and honestly serve the Lord with all your pure heart, a strong connection with the Almighty remains forever.

What did the artist depict in this image? Three angels are depicted on this priceless shrine. It was unusual wanderers-angels who came to Abraham. The trinity of the Lord with Abraham is personified by this Trinity.

The Holy Trinity icon is considered a confessional icon. They usually pray before her for forgiveness of sins.

You can come to the Holy Trinity with problems that have come into your life, and these really must be serious mistakes and obstacles that change your destiny! Before turning to the Holy Trinity and praying to it, you need to clearly formulate your request.

The symbolism of this icon: This is God the Father, God the Son, God the Holy Spirit (Wisdom, Reason, Love).

Icons: the meaning of the names, what to use.

"THE HOLY TRINITY"

The symbol of the “Trinity” is God the Father, God the Son, God the Holy Spirit, or wisdom, reason, love. One of the three main icons that should be in every home. In front of the icon they pray for forgiveness of sins. It is considered confessional.

The miraculous icon of the Holy Life-Giving Trinity was painted in the 15th century by the Venerable Andrei (Rublev). This is the most revered shrine of the Trinity-Sergius Lavra and one of the miraculous icons of Russia.

People come to her with problems that decide your fate. A person turns to this icon for help when he is completely driven into a corner and cannot find a way out.

The Lord is fair, but can also be harsh with those who want too much for themselves and do not think at all about others. If your request pursues some selfish goals or infringes on the interests of other people, you can only worsen your situation. Before praying, the Trinity needs to understand itself, clearly and specifically formulate the request.

"Iverskaya MOTHER OF GOD"

Homemaker. She is considered the patroness of all women, their helper and intercessor before the Lord. An icon used to remove the “crown of celibacy” from both men and women. In front of the icon they also pray for the healing of physical and mental illnesses, for consolation in illness.

The Iveron Icon, revered in Russia, is a copy of an ancient image that is kept in Greece on Mount Athos, in the Iveron Monastery.

The history of the Athos icon dates back to the 9th century. The Byzantine Emperor Theophilus sent his soldiers to destroy the holy icons. In one of the houses where the icon was kept, a warrior hit the Virgin Mary’s cheek with a sword. To his horror, blood began to flow from the wound. Struck by the miracle, the warrior fell to his knees with repentance.

Believers resort to the help of this icon during illness and misfortune.

"MOTHER OF GOD OF KAZAN"

The main icon of Russia, the intercessor of the entire Russian people, especially in difficult, troubled times. All the main events in life take place with her, starting with baptism. The icon gives a blessing for marriage, and it is also an assistant in work.

An icon that stops fire and helps those with vision problems. When turning to the icon of the Kazan Mother of God, they pray for healing of the disease of blindness, for deliverance from enemy invasions.

Before the icon they pray for help in various everyday needs.

The Kazan Mother of God is an intercessor in difficult times; they bless young people getting married with her; they ask the icon for family well-being and happiness; in addition, the icon is hung near children's cribs.

The icon of the Kazan Mother of God is present in almost every church, and the image of the Kazan Mother of God is present in every believing family. During the reign of the Romanov dynasty, the icon was one of the most important and revered shrines and was considered the patroness of the dynasty.

The celebration of the icon of the Kazan Mother of God is July 21 (July 8, old style) and November 4 (October 22, old style).

"MOTHER OF GOD OF VLADIMIR"

Written by the evangelist Luke. The icon is considered one of the most revered images of the Blessed Virgin Mary in Rus'. Tsars were crowned and high priests were elected in front of this icon.

Before her they pray for the humility of those at war, for the softening of evil hearts, for the healing of bodily and mental weaknesses, as well as for the healing of the possessed.

When turning to the icon of the Vladimir Mother of God, they pray for the strengthening of faith, for deliverance from enemy invasions, for the reconciliation of those at war, for the preservation of the integrity of the Russian state.

The history of the icon of Our Lady of Vladimir goes back to the distant past.

The icon of the Vladimir Mother of God is a great shrine of the Russian land, testifying to the special patronage of the Mother of God over Russia in the 14th, 15th, and 16th centuries during the raids of Tatar hordes on Holy Rus'.

There is a legend that the icon was painted during the life of the Mother of God. Each of the days of the threefold celebration of the icon of the Vladimir Mother of God by the Orthodox Church is associated with the deliverance of the Russian people from enslavement, thanks to prayers addressed to the icon of the Vladimir Mother of God.

"TIKHVIN MOTHER OF GOD"

Written by the evangelist Luke.

The icon is considered a child’s icon; it is also called a “guidebook”. She helps children in illness, calms the restless and disobedient, helps them choose friends, and protects them from the bad influence of the street.

It is believed that it strengthens the bond between parents and children, that is, children do not abandon their parents in old age.

Helps women during childbirth and pregnancy.

"SEMISHTRELNAYA"

This is the strongest icon in protecting the house and any premises, as well as the person on whom it is located, from evil, envious people, from the evil eye, damage and curses. She reconciles warring parties, brings peace and harmony, and is also hired for important matters.

At home, she should be in front of the front door so that she can see the eyes of the person entering.

On the icon of the Mother of God “Softening Evil Hearts,” the Mother of God is depicted alone, pierced by seven swords. The seven swords symbolize the fullness of sorrow and heart disease that was endured on Earth by the Blessed Virgin Mary.

In front of the icon they pray for a softening of the heart and for believers their mental suffering is alleviated, hostile relationships are softened, giving way to a feeling of mercy.

"QUICK TO HEAR"

The image was painted in the 10th century.

They pray in front of the icon when quick and urgent help is needed, for the healing of mental and physical ailments, including paralysis, blindness, cancer, and also ask for the birth of healthy children and the release of prisoners.

"HEALER"

The icon is one of the most ancient and revered.

In front of the icon they pray for healing of the soul and body; it protects from various misfortunes, troubles, sorrow, eternal condemnation, and takes care of liberation from imprisonment. Childbirth assistant.

"INEXHAIBLE CHALICE"

The Mother of God prays for all sinners and calls for an inexhaustible source of spiritual joy and consolation, proclaiming that an inexhaustible cup of heavenly help and mercy is prepared for those who ask with faith.

It brings prosperity to the home, and also helps to heal from bad habits, drunkenness, drug addiction, and gambling.

"UNBREAKABLE WALL"

Located in the main altar of the Kiev St. Sophia Cathedral.

For more than ten centuries, this miraculous icon remained intact. That's probably why it's named like that.

In front of the icon for every need: healing for the sick, consolation for the grieving, admonition for the lost, protect babies, educate and teach the young, encourage and instruct husbands and wives, support and warm the old, deliver from all misfortunes.

"THREE-HANDED"

H The pleasing image of the Mother of God was painted in the eighth century in honor of the Monk John of Damascus, a church hymn writer who was innocently slandered.

In front of the icon they pray for healing from hand pain or injury, from fire, as well as from illness, grief and sadness.

"UNEXPECTED JOY"

Icon about forgiveness of sins and grateful healing.

Before the icon they pray for the conversion of the lost, for the health and well-being of children, for the healing of deafness and ear diseases, for the preservation of marriage in love and harmony.

"YAROSLAV VIRGIN"

The most ancient and revered icon in Rus' is the Yaroslavl Icon of the Mother of God, brought by the holy princes, brothers Vasily and Constantine in the mid-13th century - during the difficult time for Rus' of the Tatar-Mongol invasion.

Orthodox Christians from generation to generation continue to turn their prayers to the Yaroslavl Icon of the Mother of God for love, harmony and peace in the family.

The tradition of newlyweds receiving blessings for marriage in front of the image of the Great Intercessor is being renewed.

"Our Lady of Tenderness"

When turning to the Mother of God “Tenderness,” they pray for healing from ailments.

The icon was in the cell of St. Seraphim of Sarov. With oil from the lamp that burned in front of the cell icon, the Monk Seraphim anointed the sick, and they received healing. In front of this icon, the monk departed to the Lord.

Another name for the icon is “The Joy of All Joys.” This is what St. Seraphim himself often called this icon.

"Our Lady of Tenderness"

“The Sign” is one of the most revered icons among our people.

Many signs of miraculous power are performed from this blessed shrine.

The Merciful Lady reveals through this shrine the signs of Her protection and intercession both in national disasters and in the lives of ordinary people.

Christian mothers who come to the realization of their powerlessness to give happiness to their children, to protect them from the always close and inevitable danger, turn their gaze to this image and find support and help.

“Our Lady, quench my sorrows”

When turning to the icon of the Mother of God “Quiet my sorrows,” they pray for deliverance from various illnesses, both physical and mental.

The miraculous power of the icon first appeared at the end of the 17th century in Moscow, in the Church of St. Nicholas in Zamoskvorechye, when a noble lady was cured with the help of prayers addressed to the miraculous icon.

Celebration of the icon of the Mother of God “Quiet my sorrows” on February 7 (January 25, old style).

"THE VIRGIN OF OSTRABRAM"

The Icon of the Mother of God “Ostrabramskaya” is an ancient Orthodox shrine. She is one of the most beautiful images of the Mother of God. The time of appearance of this icon is not known.

They pray to her for the happiness of the married couple and protection from the interference of evil forces in the family.

"VIGORY OF SMOLENSK"

The miraculous icon of the Most Holy Theotokos called “Hodegetria-Smolensk” has been known in Rus' since ancient times. "Hodegetria" translated from Greek means "Guide".

There are several versions of the origin of this name, but the fact that the Most Holy Theotokos is a guide to eternal salvation for all Orthodox Christians is an undeniable truth.

The Mother of God of Smolensk helps everyone who turns to her with prayers for healing from incurable diseases, in search of family peace and in other difficult and insoluble situations, as the first intercessor for us before God.

"VIORY OF JERUSALEM"

The Jerusalem Icon of the Mother of God, according to legend, was painted by the holy evangelist Luke in the 15th year after the Ascension of the Lord in Gethsemane. In 463 the image was transferred to Constantinople.

Through the intercession of the Jerusalem Icon of the Blessed Virgin Mary, Byzantine troops repelled the attack of the Scythians.

In 988, the icon was brought to Korsun and presented to the holy Equal-to-the-Apostles Prince Vladimir. When the Novgorodians adopted Christianity, Saint Vladimir sent them this image.

Before the icon of the Most Holy Theotokos of Jerusalem they pray in grief, sadness and despondency, for healing from blindness, eye diseases and paralysis, during a cholera epidemic, for deliverance from the death of livestock, from fire, during relaxation, as well as during an attack by enemies.

"Our Lady of Joy and Consolation"

When turning to the “Consolation and Consolation” icon of the Mother of God, they pray for healing, healing from illnesses and ailments.

The history of this image is connected with the events that occurred in the Church of the Annunciation of the Blessed Virgin Mary in the Vatopedi Monastery in 807, when the abbot of the monastery was warned about the danger of an attack by robbers by a female voice emanating from the icon of the Mother of God.

The face of the Mother of God “Consolation and Consolation” expresses meekness, mercy and compassion.

Celebration of the icon of the Mother of God “Consolation and Consolation” on February 3 (January 21, old style).

"MORD OF MERCY"

Before the icon of the Most Holy Theotokos “Merciful”, or “It is Worthy to Eat”, they pray during mental and physical illnesses, at the end of any business, during epidemics, for happiness in marriage, during accidents.

"Our Lady, Helper of Sinners"

Before the icon of the Most Holy Theotokos “Helper of Sinners” they pray during sinful darkness, in all despondency, despair and spiritual sorrow, for deliverance from epidemics and plague, for relaxation of the body with insomnia, loss of appetite and deprivation of any members, for the healing of various ailments, seizures, about the salvation of sinners.

"THE VIRGIN OF POCHAYEV"

When turning to the Mother of God "Pochaevskaya" they pray for protection from internecine hostility, from enemy invasion, for healing from blindness, both physical and spiritual, for liberation from captivity.

The Pochaev Icon of the Mother of God is one of the most revered shrines of the Russian Church.

The miraculous icon was kept for 300 years in a monastery on Pochaevskaya Mountain.

The celebration in honor of the Pochaev Icon of the Mother of God on July 23 was established in memory of the deliverance of the Assumption Pochaev Lavra from the Turkish siege in 1675.

"VIORY OF THE UNFADING COLOR"

When turning to the icon of the Mother of God “Unfading Color,” they pray for the preservation of a righteous life and the resolution of family troubles. Prayers to this icon help not to make a mistake in choosing a spouse.

The flower in the hands of the Mother of God affirms the purity of the Mother of God and symbolizes the unfading of virginity.

"THE VIRGIN OF ALL QUEEN"

In front of the icon of the Mother of God “All-Tsarina” they pray for the healing of cancer.

"VIOR OF THE COVER"

Before the icon of the Most Holy Theotokos of the Intercession they pray for deliverance from troubles and for the protection of the country from enemies.

"KSENIYA PETERSBURG"

They pray to the saint in marital infertility and childlessness, for a happy marriage, in everyday and family needs, in illness, sorrow and disorder.

« BLESSED MATRONA"

A very powerful saint of our time. People turn to her for any difficult issue. She is our “first helper” and intercessor, intercessor for us before the Lord.

The relics are located in the Intercession Monastery on Taganka, where every day countless people come and turn to her for help.

"NICHOLAS THE WONDERWORKER"

Favorite saint of the Russian people.

He protects from poverty and need: when his icon is in the house, he makes sure that there is prosperity in the house, and protects from the need for anything.

In addition, he is the patron saint of all travelers, drivers, sailors, pilots and just people who are on the road and worship St. Nicholas the Wonderworker. The relics of St. Nicholas the Pleasant are located in Italy.

This is the most revered saint in the world.

Nicholas the Wonderworker became famous as the intercessor of the unjustly offended and the patron of all who are on the road - fishermen, pilots, sailors, travelers.

He also patronizes women, children, beggars, innocent prisoners and animals.

The Wonderworker is especially revered in the Russian North.

"HOLY GREAT MARTYR PANTELEMON"

Great healer, patron of doctors.

During his lifetime he brought healing to many people from serious illnesses. And now people receive a charge for miraculous healing from the icon with the face of St. Panteleimon.

The Great Martyr Panteleimon is revered in the Orthodox Church as a formidable saint, the patron saint of warriors. This side of veneration reveals his first name Pantoleon, which means “lion in everything.”

The second name given at Baptism, Panteleimon, that is, “all-merciful,” is revealed from the veneration of the great martyr as a healer.

The connection between these two patronages of the saint is clearly visible from the fact that warriors, who receive wounds more often than others, need a doctor-healer the most.

Since ancient times, St. Panteleimon is considered the patron saint of doctors.

The prayers of the sick, addressed to him with faith, bring relief and heal from physical and spiritual ailments.

"GEORGE THE VICTORIOUS"

Patron of Moscow, as well as an assistant to those people whose work involves weapons, risking their lives - military, police, firefighters, rescuers. In addition, these include athletes and people starting a new business.

Great Martyr George is the patron saint of the Christ-loving army.

The image of St. George the Victorious on a horse symbolizes the victory over the devil - the “ancient serpent”.

They also pray to him for the return of lost children.

"SERGIUS OF RADONEZH"

Founder of the Sergievo-Trinity Lavra in the 14th century.

He is the patron saint of all students.

They take the icon with them when taking exams and tests. It is very good for the icon to always be in the pocket of your purse or briefcase every day when the child goes to school.

"SERAPHIM OF SAROV"

One of the beloved and revered saints of Russia.

He devoted his entire life to serving our Lord and founded the Diveyevo convent in the Nizhny Novgorod province. Prayer to Holy Father Seraphim of Sarov helps very well with diseases of the musculoskeletal system, spine, and joints.

They pray to the Wonderworker Seraphim of Sarov in sorrow, with diseases of the internal organs, and with diseases of the legs.

"GUARDIAN ANGEL"

They pray to him: for help with headaches; about your protection, from insomnia, in grief, about happiness in marriage, about driving away evil spirits, about getting rid of harm from wizards and sorcerers.

About the intercession of widows and orphans in despair, about deliverance from sudden or sudden death, about the expulsion of demons. Those going to bed pray to him for deliverance from prodigal dreams.

According to Orthodox and Catholic beliefs, a guardian angel is invisibly with a person throughout his entire life, if the person retains love for God and fear of him. The task of the guardian angel is to contribute to the salvation of the ward.

In particular, guardian angels spiritually instruct Christians in faith and piety, protect their souls and bodies, intercede for them during their earthly life, pray to God for them, do not leave them, finally, after death and take the souls of those who have ended earthly life into eternity .

"SPAS PANTOCRANT"

“Savior Almighty” often simply “Savior” or “Savior” is the central image in the iconography of Christ, representing Him as the Heavenly King.

“I am Alpha and Omega, the beginning and the end,” says the Lord, “Who is and who was and who is to come, the Almighty.” The Chief Physician of souls and bodies, who knows about everything, and to whom our prayer appeal should first of all be directed.

According to the rules, this icon is placed at the head of the iconostasis.

"SAVIOR NOT MADE BY HANDS"

According to church tradition, the first icon was the image of the Savior - the Savior Not Made by Hands. They say that this happened during the Savior’s earthly life. The ruler of the city of Edessa, Prince Avgar, was seriously ill. Having heard about the countless healings that Jesus Christ performed, Abgar wanted to look at the Savior. He sent a painter to paint the face of Christ.

However, the artist was unable to complete the assignment. Such radiance emanated from the Lord’s face that the master’s brush could not convey His Light. Then the Lord, having washed His face, wiped His most pure face with a towel, and His Image was miraculously displayed on it. Having received the Image, Avgar was healed of his illness.

They turn to the image of the savior with prayers for guidance on the true path, for the salvation of the soul, deliverance from bad thoughts and healing.

Icon of the Holy Trinity

In Orthodoxy, the day of the Holy Trinity is celebrated on the fiftieth day after Easter - the Resurrection of Christ. On this day, the descent of the Holy Spirit took place on the apostles in the Upper Room of Zion, which gave the disciples of Christ many abilities, including the ability to understand and speak all the languages ​​of the world.

Icon of the Holy Trinity literally retells the plot taken from the Old Testament, it is not for nothing that the second name of this image is "Abraham's Hospitality" or "Abraham's Hospitality". As described in the book of Genesis, one hot day, not far from his home near the oak grove of Mamre near Hebron, Abraham saw three travelers standing on a dusty road. Hospitable Abraham ran out of his tent and ran up to the travelers. Recognizing the Lord God in the three travelers, Abraham bowed to the ground and exclaimed: “Lord! If I have found favor in Your sight, do not pass by Your servant...And they will bring you water and wash your feet...rest under this tree, and I will bring bread to strengthen your hearts!” Having seated the Trinity under the shade of the Mamre oak, Abraham hurried to his wife Sarah so that she could prepare unleavened bread, and he himself ordered the servants to slaughter and prepare the calf. A table with bread, butter, milk and calf meat was placed in front of the three travelers. After dinner, the travelers called Abraham to them and asked him: "Abraham, where is Sarah your wife!?" Having learned that she was in the tent, one of the travelers said: “I will be with you in a year, and in a year your wife Sarah will have a son.” To Sarah's grin and disbelief, one of the Trinity replied: "Is there anything difficult for God?"(Many centuries later, with this same phrase, Archangel Gabriel will sweep away all the doubts of the Virgin Mary regarding her question about the possibility of conceiving from the Holy Spirit without knowing her husband - this case is mentioned in the description of the icon of the Annunciation.)

Two of the travelers got up and went to Sodom and Gomorrah to carry out God’s judgment there on the sinful wicked, the third of them stayed to negotiate with Abraham. He told the elder about what would happen from Abraham "a great and strong nation, and in it all the nations of the earth will be blessed" but for this both Abraham and all his descendants will have to "to walk in the way of the Lord, doing righteousness and justice." As is known from the Old Testament, Abraham had a son, Isaac, from Sarah, and one of the descendants was the legendary biblical king David, whose descendant was the Mother of God herself and John the Baptist, the baptizer of Jesus Christ.

As in other especially revered icons, the literal retelling of the plot of the Bible is intertwined with the deep symbolism of the image of the Holy Trinity. On the icon of the Holy Trinity, it is customary to depict the Oak of Mamre (this tree is still alive, it is about 5000 years old, it is located in Hebron), the Temple Mount - Mount Moriah (the place where Abraham, many years later, had to sacrifice his adult son Isaac at the behest of the Lord God, who decided to test the humility and faith of the biblical elder) and the house of Abraham itself. Travelers - the Holy Trinity are represented in the form of three angels (as they are named in the nineteenth chapter of the first book of Genesis), holding royal staffs in their hands as symbols of their omnipotence:

• The Left Angel is God the Father. Above His head is the house of Abraham. Just as Abraham built his house, so God the Father built the world in six days. This technique emphasizes the creative essence of this hypostasis of God, His merit as the founder of the world, the world organizer and the owner of the world. His clothes are red - truly a royal color.
• The Central Angel is God the Son. Above His head is the Mamre Oak as a symbol of the heavenly Tree of Life. Having tasted a piece of the fruit of this Tree, a person gained immortality. A person who believed in Christ saved his soul and gave it heavenly immortality. The movement of the hand with the cup of God the Father towards God the Son also seems full of symbolism. "Let this cup pass from Me", - the Savior prayed, knowing about his impending torment in the Garden of Gethsemane after the Last Supper, - “However, let it be as You said.” And he drank this cup to the dregs. God the Son is dressed in a red tunic with a sewn clave - the earthly robe of Jesus Christ.
• The Right Angel is God the Holy Spirit. Above His head is Mount Moriah as a symbol of the aspiration of the righteous human soul, saved by Christ, to heavenly heights. The mountain as a symbol of close proximity to God is mentioned many times in the Bible: on Mount Sinai the prophet Moses receives the Ten Commandments from God, on Mount Tabor the closest disciples and apostles of Christ Simon Peter, James and John see the Transfiguration of the Lord - the revelation of all persons of the Holy Trinity, from the top of the mountain The Ascension of Christ took place on the Olivet. The life-giving Holy Spirit is dressed in green robes - a symbol of renewal, the unification of man and God.

On the icon of the Holy Trinity, the figures of angels form a circle - an endless and most beautiful harmonious figure, having neither beginning nor end. The reverse perspective of the image of three angels captures the imagination of a person looking at the icon of the Holy Trinity, inviting him to join as a spectator to the Old Testament plot and join the Divine.

Believers look with gratitude at the image of the Holy Trinity: even from a distance, it once again reminds of the saving sacrifice of Christ: the figures of God the Father and God the Holy Spirit form the silhouette of a sacrificial bowl in which God the Son is placed, who gave his earthly life for the salvation of humanity from the firstborn sin of the first parents Adam and Eve, and who gave us hope for salvation.

Before the icon of the Holy Trinity they pray for forgiveness of sins, they pray about the most important events in our lives, before the image of the Holy Trinity they confess, before it they give praise to the Lord.

God, revered in the Father and the Son and the Holy Spirit, the Holy Trinity, clothes the Church in the trisolar light. The trisolar light of Orthodoxy. And we enter into this triune light and unite with it only through the untrue confession of the Holy Trinity. A darkened confession devoid of purity obscures the divine trisolar glory from us and becomes an impenetrable mediastinum, preventing us from joining this light and being filled with it, just as the Savior was filled with it at the Transfiguration. We can say that an incomplete, more distorted confession of the Holy Trinity lies as an insurmountable obstacle on our path to Mount Tabor, to the source of the three-luminous glory of the Transfiguration, to holiness, which alone can be the completion of the path. The confession of the Holy Trinity, expressed in the Creed, in prayers, in the sayings of the fathers, in all the liturgical wealth of the Holy Church, must be expressed in the icon. The icon of the Holy Trinity should be the royal seal that gives this confession final power.

The Icon of the Trinity is a confession of the Trinitarian unity of God, no less complete than that which is expressed in words and is the source of the dogmatic confession of the Holy Trinity. The verbal expression of the truth of faith is not given ready-made, but is stored and lives in the Church, contained in the Holy Scriptures, and requires a special verbal expression, as if a perfect confession by the Church of this truth, which lays down a cover or, as it were, armor, protects the truth from distortion or its complete perversion who seek to darken the Church by penetrating into it from the outside. And just as in the Church, through the action of God and a conciliar, united effort, an ecclesiastical definition is created and finally born, devoid of all blemishes and professing the truth, so in the creation of an icon the thought is not always expressed in a final and completely unchangeable way, but is elevated by the action of grace and achievement to a height clothed in unfading whiteness .

Such elevation and purification of the image can also be traced in the creation of the icon of the Holy Trinity, which has an infinitely important dogmatic meaning, testifying to the Trinitarian unity of God, depicting, to the extent that this can be accessible, God in three Persons. It seems that the image of the Holy Trinity is that icon, without which there is no completeness and no completion. And it cannot be expressed in its entirety except in the appearance of three Angels, for in this deeply symbolic icon, all three Persons of the Holy Trinity are depicted. And that image of the First Person, which does not find completeness in the image of the Old Denmi, becomes, freed from the weight of a purely human image, a worthy image, to the extent that it is conceivable.

The image of the Trinity, the seal of all things, of every order of life, does not remain alone. But just as the Prototype gives rise to an infinite number of similarities, drawn, in their meaning, to the source, so the icon of the Holy Trinity gives rise to many holy images, akin to itself, as if reflecting the three-sunlight and constituting the Trinity unity. For example, icons of the three Archangels, three Saints, three youths in the cave and the icon of the martyrs who make up the triad, the Three Kings who came to worship Christ, as well as all the icons where the number three is not preserved, but which were born from the same triune source of glory, the trisolar by the light of the Trinity, which, pouring out this light, gives birth everywhere to something similar to itself and attracts to arrange everything in its likeness.

This organizing power of the Holy Trinity, embedded in the very foundation of the universe, as Basil the Great says about it in the Sixth Day, extends to everything and seeks to make everything part of its life. In this sense, the icon of the Holy Trinity must find its fullest, most perfect expression in the Church in order to become the source of all agreement. It seems that the icon of the Trinity in the image of three Angels is the most perfect expression of the Holy Trinity within the limits that can be accessible.

The image of the Holy Trinity cannot in any way be understood in a direct or crudely material way. The basis for the veneration of icons that was given to us by the Seventh Ecumenical Council, the basis that is expressed in the words: “The veneration of the image passes to the Prototype,” applies in full and even in a special way to the icon of the Holy Trinity. This image is written in such a way as to raise consciousness to intelligibility and contemplation of the light of the Trinity, and the very development of the icon leads us from a completely tangible Old Testament event to a completely purified, heavenly purity devoid of earthly details, elevates the mind to our heavenly homeland, to the Kingdom of the Father and the Son and Holy Spirit. And the angelic character of the three Persons of the Trinity is this leading force for us, helping us to ascend to this height, to penetrate to the heights of heaven. The angelic character of the images gives everything a lightness that would not be conceivable if the images were only human in nature. And indeed, the image of the Holy Trinity in the image of three men, which existed in ancient times, for example, in the mosaics of the temple in Ravenna, is no longer repeated in the future. All three messengers are given angelic wings in order to emphasize their unearthly nature and raise consciousness from the Old Testament event to the image of the Trinity, depicted not in any phenomenon, but in ever-being, freed from everything temporal and narrative. From the appearance of the three men to Abraham, consciousness leads to the contemplation of the Angels of the Great Council.

The Holy Trinity is indescribable in its essence, and if the Church has and honors an image of the Holy Trinity, then this image cannot in any way be venerated as an image of the being of God, and this image cannot be considered as an image of the nature of God, but we should, we think, treat this icon as to an image that is deeply symbolic, and only in this way can this image be perfect. Outside of the symbolic understanding of the icon of the Holy Trinity, there cannot be proper veneration of it, and, one might say, the image of the Holy Trinity itself cannot arise. The fullest understanding of the Holy Trinity was given and revealed in the Upper Room of Zion by the Descent of the Holy Spirit, enlightening everything, and only in the light of Pentecost could the icon of the Holy Trinity arise.

It can only be revered as a symbolic icon: “To make it easier to understand the symbolic nature of sacred images, I would like to quote a chapter from the book of St. John of Damascus “An exact exposition of the Orthodox faith”, bearing the title: “On what is said about God in a bodily manner.” The chapter begins with this definition: “Since we find that in the Divine Scripture very much is said symbolically about God in a very bodily way, we must know that it is impossible for us, as people clothed with this gross flesh, to think or talk about divine and high, immaterial actions Deities, if we had not made use of likenesses and images and symbols corresponding to our nature. Therefore, what is said about God in a very corporeal way is said symbolically and has a very sublime meaning, for the Divinity is simple and has no form.” Saint John of Damascus further gives examples of such symbolic and figurative definitions: “So, let us understand the eyes of God and the eyelids and sight as His contemplative power, on the one hand, and on the other, as His knowledge, from which nothing can be hidden. Let us understand that through this feeling we have both more perfect knowledge and more complete conviction. His ears and hearing are like His inclination towards mercy and like His disposition to accept our prayer. The lips and speech are like that which explains Himself, due to the fact that in us the thoughts contained in the heart are shown through the lips and speech. And simply to say, everything that is said in a bodily way about God has some hidden meaning, through what happened to us, teaching what is above us.”

The word of St. John of Damascus introduces the understanding of church symbolism, without which the understanding of neither the Orthodox liturgical celebration, nor Orthodox iconography, nor (to generalize) the most intimate mystical experience of the ascetics of the Orthodox Church is unthinkable. Only this symbolic language of the Church can be conceivable where human knowledge touches the incomprehensible.

A symbol, in its basic meaning, is a connection. How can we understand this symbolism in the life of the Church, especially in relation to sacred images - icons, revered by the Church? The very structure of the world, in its creation in the eternal council of God, carries within itself a symbolic nature, or rather, a symbolic structure. The world was created in such a way as to mysteriously testify to the Creator of it. Everything in the created world, and each individual creature in it, and the combination of these creations created by divine will, and the entire universe in its great and incomprehensible whole, bears within itself, as it were, a divine seal, a certain imprint of the Divine, as if a royal seal, testifying to that that peace is the royal property. And this, as it were, an allegory about God, contained in everything that is created, makes everything created, the entire universe, not closed in itself, not isolated in its being, but as if by an eternal divine plan, turning its face to the Creator of everything with wisdom, about which says the opening psalm: “With wisdom you have created all things” and “glory to your power, Lord.”

Saint Basil the Great in the Sixth Day says: “The world is a work of art, subject to contemplation by everyone, so that through it the wisdom of its Creator is known...” And further: “Let us glorify the best Artist, who generously and skillfully created the world, and from the beauty of the visible we will understand the One who surpasses all in beauty, from the greatness of these sensory and limited bodies we will tell about the Infinite above all greatness. And the whole world, consisting of heterogeneous parts, He (God) connected with some inextricable union of love into one communication and one harmony.”

The wisdom of the creation of the world lies in the fact that everything created is addressed to the Creator, everything is a mysterious testimony, an allegory, a parable about the Holy Life-Giving Trinity, which created the world. Everything that is created bears the fiery stamp of the eternal Divine plan. Everything created is endowed with a special God-given meaning that speaks of God, and this symbolic nature of creation embraces the whole world and all creatures, from the highest creations of the hypostatic ranks of Angels and the human race, and even to the most modest, most humble creatures, which may seem as if completely deprived sense. And this divine seal, resting on every creation, was imprinted with special fullness, with special glory on hypostatic creations, on the Angels, as on the firstborn of God, and on the last creation that completes the universe, on man. The book of Genesis indicates that man in his very creation is endowed with the image and likeness of God.

By His descent, the Holy Spirit fills the Church with the glory of the Most Holy Trinity, and this glory becomes for the Church its breath, its light, its glory. And in connection with this, the meaning of this image should not be only relative, approximate, without basic meaning.

The church has many images of the Holy Trinity, very different in their iconography. But the icon that defines the very feast of the Holy Trinity is invariably one - this is the image of the Holy Trinity in the image of three Angels. Its prototype was the appearance of the Holy Trinity in the form of three travelers to Abraham and Sarah near the oak grove of Mamre.

This image arose in ancient times. Thus, St. testifies about him. John of Damascus as an image that existed long before him.

The appearance of the Trinity was mysterious, not entirely explicable. The very appearance of the Messengers to Abraham is sometimes presented in a purely human image, in the image of three travelers, and this is how it is depicted in the Church, especially in pre-iconoclast times. We see such images of the Trinity in the mosaics of Ravenna, in Rome - in the Church of St. Mary Maggiore...

It seems that this particular image (the appearance of three Angels) is inextricably linked with the feast of the Holy Trinity. The Church chose this particular icon, and not any other, not by chance, but because it expresses with the most complete possible completeness the dogmatic confession of the Holy Trinity and, one might say, was born of this confession.

The iconography itself is dual in nature. Sometimes the three Angels are depicted in completely equal dignity, and sometimes the middle angel is larger and more majestic than the other two. The appearance of three Angels to Abraham was given different interpretations. Some suggested that the three Angels were the second Person of the Holy Trinity, accompanied by two Angels, as if figuratively signifying the first and third Hypostases. Others saw in the appearance of the three Angels the appearance of the Most Holy Life-Giving Trinity, complete and perfect. And this second understanding became more and more strengthened over the centuries in the Church and was established in the depiction of the holiday. But there was and is a desire to reconcile these seemingly irreconcilable principles in the depiction of the Trinity. This understanding was most fully and deeply expressed in the icon painted by the Monk Andrei Rublev for the Trinity Cathedral of the Trinity-Sergius Monastery. Therefore, the Stoglavy Council approved this icon as an example of how the icon of the Holy Trinity should be painted.

The hypostases of the Holy Trinity on this icon follow in the order in which they are confessed in the Creed. The first Angel is the first hypostasis of God the Father, the second, middle one is the Son, and the right one is the hypostasis of the Holy Spirit. All three Angels bless the cup in which the calf, slain and prepared for food, was brought. The slaughter of a calf marks the death of the Savior on the cross and is often depicted on the icon of the Trinity in its lower part, and the bringing of the calf as food is a prototype of the Sacrament of the Eucharist. All three Angels hold staffs in their hands to commemorate their divine authority.

The first Angel, depicted on the left side of the icon, is dressed in a blue lower robe, an image of his divine, heavenly nature, and a light purple outer robe, testifying to the divine incomprehensibility and royal dignity of this Angel. Behind him, above his head, rises a house, Abraham's dwelling, and an altar in front of the dwelling. In the interpretation of this icon, the image of the dwelling was given symbolic meaning. The house is, as it were, an image of the economy of Divine grace, and the fact that the image of the building is placed above the head of the first Angel indicates him as the head (in the sense of his paternal nature) of this economy. The same paternal authority is reflected in his entire appearance. His head is almost not inclined, His body is also not inclined, His gaze is turned to the other two Angels. Everything, the features, the expression of the face, the placement of the hands, and the way He sits, everything speaks of His paternal dignity. The other two Angels bow their heads and turn their gaze to the first one in deep attention, as if conducting a conversation.

The second Angel is placed in the middle part of the icon. Its middle position is determined by the significance of the second hypostasis in the depths of the Holy Trinity and in the work of house-building, in God’s providential care for the world. An oak tree spreads its branches over His head. The attire of the second Angel corresponds to that in which the Savior is usually depicted. The lower one has a dark crimson color, signifying the incarnation; the blue tunic, with loose folds, encircling the Angel’s body, signifies with its color His Divine dignity, the heavenly nature of His nature. The angel is bowed and turned with his head and the movement of his body towards the first angel in a secret conversation. The tree that overshadows Him is a reminder of the tree of life, which was in the middle of paradise, and of the tree of the cross.

The angel placed on the right side of the icon is the third Person of the Holy Trinity - the hypostasis of the Holy Spirit. His lower garment is a dark, transparent blue. The top - the lightest smoky green - green expresses the name of the Holy Spirit as life-giving, is an image of the inexhaustible, eternal life-giving of all things: “By the Holy Spirit, every soul is alive and exalted with purity, brightened by the Trinity unity of the sacred mystery.” This exaltation is expressed in purity by the mountain that overshadows the third Angel.

The arrangement of the three Persons on the icon is closely connected and corresponds to the order that permeates every liturgical exclamation, every appeal and confession of the Holy Trinity. This is the same sequence that determines the arrangement of the members of the Creed, the order that is contained in the words of the Lord's Prayer: “Hallowed be thy name, thy kingdom come, thy will be done.” The very location and basic outline of the images is connected in the deepest and most intimate way with the order of temple prayer and with the internal prayer movement. The very outlines of three seated Angels, carrying staffs and blessing the meal, are closely associated with all threefold images and with all liturgical addresses to the One God worshiped in the Trinity.

On the feast of Pentecost—the descent of the Holy Spirit—the fullness of the Incarnation of God is revealed. This holiday is the revelation of the three Persons of the Most Holy Trinity, and in this sense, the icon of the Trinity is the basis for the depiction of all three Persons. In the icon of the Most Holy Trinity, the idea of ​​the First Person as completely indescribable fades away. Just as the golden Cherubim in the tabernacle above the Ark of the Covenant were the end of the prohibition imposed on every sacred image, for this prohibition, given by Moses, was not a prohibition in essence, denying any possibility of image, but a measure of abstinence, a prohibition similar to fasting, abstinence from something that may not be entirely useful or, most likely, untimely. The Incarnation became a source of light, which, pouring out onto everything around, affirms everything in its visible existence, makes everything visible and even the indescribable to some extent depictable. In the light of the Incarnation, and only in it, the image of God the Father becomes possible. “See Me, see the Father” - this is the light that pours onto the image of the Father and makes Him, as it were, only partially visible. And all images of God the Father are only partially imbued with this appearance. We do not see in complete and final clarity the image of the first hypostasis in the wall paintings of churches and in images on crosses and icons, and not in self-sufficient power, but in relationship with other Persons of the Most Holy Trinity or, as it were, as an expression of His gracious presence in the Church and saving action in the world.

All three Persons have the fullness of human dignity, both in the depiction of their faces and in their attire, which have the character inherent in people. This is not the official attire of Angels, they are not dressed in surplices, their hands are not covered at the wrists, their waist is not girded with a belt, but they are dressed as befits people - a long lower robe, a tunic, and an upper robe lying in loose folds - a chiton . But the wings are completely dotted with golden rays, and the entire appearance of the wanderers and the decoration of their hair - everything bears the stamp of angelic glory, everything testifies to the unearthly nature of the three messengers, and they are all endowed with equal virtues, which is not found in any image of the Trinity. And this completeness determines the choice of this icon, because only a personal hypostatic image can be a full-fledged icon. A holy icon can rightfully only be an image that has a face-face, and a human face, transformed by divine change. This is the given fact that formed the basis of every icon, this is what was given to us by the Savior Himself in the imprint of His Face on the ubrus, as an icon of icons, as the source of every image.

And we cannot even think of or depict the faces of Angels except in human form. Images, for example, of thrones in the form of wheels of fire cannot be a self-sufficient icon. And the symbols of the evangelists are also not an independent icon: an eagle holding a gospel cannot appear as an icon of the Evangelist John, but only as a symbol of him. The same symbol, but not a full-powered icon, is the image of the Holy Spirit in the form of a dove. And perhaps the most unique, most precious feature of the icon of the Trinity in the image of three Angels is that the third Person of the Holy Trinity - the Holy Spirit - is depicted hypostatically equally with the first and second Persons of the Holy Trinity and has in His image the fullness of the angelic and human image. This completeness in the image of all three Persons determines the peculiarity that marks the image of the Trinity in the appearance of the three Angels. In all other images, God the Holy Spirit is not expressed personally and does not have the fullness of the image. The image of the dove, which deigned to receive the Holy Spirit, gives us some idea, as if given in an allegory, of the properties of the Holy Spirit, but cannot be for us completely His icon, just as His appearance in the form of light, a cloud, or tongues of fire. And this is one of the main reasons why all other icons of the Trinity cannot be fully realized and become a sign of the Holy Trinity.

The angels in the Trinity icon are given human features, but this humanity should not be understood as something relating to the very nature of the Divine. Such an understanding cannot find shelter in the Church and be sanctified by the Church’s blessing. The features of angelic and human dignity do not in any way indicate any kind of humanity hidden in the very being of God, in his incomprehensible essence. One must think that such an understanding, born outside the Church of Christ, will never flow into the purest stream of true paternal theology. The human image and the angelic image are taken to depict the Holy Trinity, not because there is something similar in the divine nature itself, but because such an image (from what is accessible to the imagination) is indicated to us in the very appearance of the three Angels to Abraham. And only in an extremely symbolic way can this image be understood, and only in this way can the image of all three Persons be conceivable. The entire structure of this icon testifies to the extreme restraint and extreme care with which the image was created. The image of the Holy Trinity is placed in the middle of the iconostasis, above the Royal Doors, in that part of the iconostasis called the canopy. The canopy is usually located not on the same level with the icons, but somewhat in depth, and according to custom it is especially delicately and richly decorated. This special place, which is given to the canopy in the general structure of the iconostasis, expresses its special sacredness, the special height of its purpose. The very word “canopy” speaks of its meaning. This is a blessing from above, extended over the shrine, sanctifying what it extends over, and at the same time protecting the shrine, being, as it were, its fence. Such a miraculous canopy, which can be a prototype of any overshadowing, was the appearance of glory that overshadowed the Tabernacle of the Covenant. Such a man-made canopy was the Cherubim of glory that overshadowed the altar. Two Cherubim, made of copper, touch each other with their wings, as if forming a canopy over the Ark of the Covenant with outstretched wings, protecting the sacred ark with them. Later, in the temple of Solomon, the throne, in front of which the priest performed the sacred act, had a certain canopy over it, supported on pillars and overshadowing the throne. This canopy, originating from the Old Testament temple, has retained its place in Christian churches, and is also stretched over the altars of Christian churches, forming, as it were, a vault of heaven. In the inner part of the canopy, the custom was established to depict the image of the Holy Trinity enclosed in a circle in the appearance of three Angels. But Abraham and Sarah are usually not depicted in the icon. With its simplicity and absence of details, the image seeks to express the Holy Trinity not in its appearance to Abraham, but, as it were, in its ever-present existence. The inner vault of the canopy, or ciborium, having an image of the Holy Trinity, forms, as it were, a heavenly vault stretched over the throne. Later, when the altar barrier was filled with icons and turned into an iconostasis, a special iconostasis part arose above the Royal Doors under the tibla - the transverse crossbar supporting the Deesis rite - which, like the altar overshadowing, was called the canopy. This canopy, located above the Royal Doors of the iconostasis, is deeply related to the canopy placed above the throne.

Image of the Trinity St. Andrei Rublev, marked by the Stoglavy Cathedral, has not died, has not been forgotten, but is increasingly becoming a common property, a common joy. Cleared of darkened linseed oil and later notes, freed from the beautiful vestments that weighed him down, he left the church fence and is now in the Tretyakov Gallery. It is not in the iconostasis of the Trinity Cathedral, but is addressed to people, most of whom are far removed from the Church. The image of the Trinity is close not only to people who have never left the Church, but also to those who have gone far from it, and even, oddly enough, to those who are hostile to it. And we must see in this the will of the Life-Giving Trinity itself. This is the gospel that draws everyone to the source of inexhaustible life...

Monk Gregory Krug

(Krug Georgy Ivanovich) (1906/1907 – 1969)

Born December 23, 1906 / January 5, 1907 in St. Petersburg. He was raised Lutheran. In 1926 he converted to Orthodoxy. In 1921, the family received Estonian citizenship. G. Krug enters the school of applied arts in Tallinn (1927), then studies in Tartu. In 1931 he emigrated to Paris, studied with Miliotti and Somov. Member of the Brotherhood of St. Photia in Paris. as well as the Icon Society in Paris (until 1950). His spiritual father, Archimandrite Sergius (Shevich), had a great influence on the spiritual development of G. Krug. In 1948, he took monastic vows at the monastery of the Holy Spirit in Le Mesnil-Saint-Denis and devoted himself to icon painting. The iconostasis of the church in Noisy-le-Grand (founded by Mother Maria (Skobtsova)) stands out especially. He died on June 12, 1969 at the monastery of the Holy Spirit in the city. Mesnil-Saint-Denis in France.