15th century in Russia Who was Andrei Rublev About the film Analisys of some important scenes Why is so important «Andrei Rublev»? Tarkovski’s art

15th century in Russia From the 13th to the 16th century Russia suffered the “Mongol Yoke” ("Монгольское иго") Golden Horde : an enormous Mongol state, itself part of the greater Mongol Empire, stretching from the steppes west of the Black Sea and deep into Siberia. Economy in shambles : trade declined and life became increasengly agrarian and local. Peasants’ life was a nightmare : heavy taxes

Cultural centres Feudal disunity led to withering of small cultural centers: lands of Novgorod and Pskov became the centers of cultural revival. Unity of Russia  struggle against aggressors, central subject matter in the culture of that period. Rising of Moscow (from the 2nd half of the 14th century)  the most important centre of active fight against aggressors growth of painting activities  Russian icon-painting school took birth and gave rise to the great masters, including Theophanes the Greek and his genius student Andrei Rublev.

(c. 1410, currently in the Tretyakov Gallery, Moscow) Andrei Rublev (ca. 1370 – ca. 1430) monk at the Trinity St. Sergius Monastery, later at the Saint Andronik Monastery in Moscow. painted icons and frescoes for some of the most important and beautiful churches of his time  The only work authenticated as entirely is his icon of the Trinity (c. 1410, currently in the Tretyakov Gallery, Moscow)

highest asceticism classic harmony of Byzantine mannerism In Rublev's art two traditions are combined: highest asceticism classic harmony of Byzantine mannerism characters of his paintings are always peaceful and calm. After some time his art came to be perceived as the ideal of Eastern Church painting and of Orthodox iconography Canonized as a Saint in 1988: fest day on 29 of January (day of his death) and/or 4 July

Nativity of Jesus, 1405 (C. of the Annunciation, Moscow Kremlin) Christ the Redeemer ca. 1410 (Tretyakov Gallery, Moscow)

About the film 205 minutes long (in its fullest version) in black and white Few characters are clearly identified Its subject is Andrei Rublev BUT is not a biography of his life It is a film that needs to be only experienced and wondered at (VISUAL STUNNING, SOUNDS, MEDATIVE SCENES) Tarkovsky called this «film of the earth» he wanted to show the artist as a world-historic figure, as its story is about the essence of art and the importance of faith. 

Flight on hot air balloon (1st episode) Prologue: The film's opening shows the preparations for a hot air balloon ride. It takes off from the roof of a church, with a man named Yefim. At the very moment of arrival of an ignorant mob trying to thwart the flight. The man is highly delighted by the sight, entranced by the beautiful flight of being above the world, but can not prevent a crash landing. METAPHOR how governement control the artistic freedom After the crash, a horse (symbol of life) is seen rolling in slow motion — one of many horses in the movie. Yefim is the first of several creative characters, representing the daring escapist, whose hopes are easily crushed. https://youtu.be/HmkPdPjf5b8

The bell Boriska, a young artist, has to build a Church bell for the Grand Prince’s men from the secrets of his father. As the bell is ready to be rung Boriska and the work crew know that if the bell fails to ring the Grand Prince will have them all beheaded  quiet, agonizing tension Across the assembly we see Durochka, robed in white leading a horse (probably as a symbol of the Grace) . At the critical moment the bell rings perfectly, she smiles. After the ceremony Andrei finds Boriska collapsed on the ground, he admits that his father never told him the secret of casting a bell. Andrei comforts him, they together will go to Moscow  they have the same talent and passion for art https://youtu.be/RwCJoEJFW5g?list=PL3JfgzMgc5au52ccmc-BjKpvoY7HmkbTh (1:20:00)

Why is so important «Andrei Rublev»? Tarkovsky created a film about faith in a time when there were no films about religion, apart from satire or anti-religion propaganda Tarkovsky was a truly independent artists in the country Government censors edited and shelved Tarkovsky’s film once it was completed, and although it was shown in 1971, the film was not widely released in Russia until 1987, after perestroika was under way.

Stalker (1979), Solaris (1972), The Mirror Tarkovsky’s art "In cinema it is necessary not to explain, but to act upon the viewer's feelings, and the emotion which is awoken is what provokes thought" Stalker (1979), Solaris (1972), The Mirror