The work of Andrei Rublev, an icon painter, a master of monumental painting and book miniatures, who lived and worked at the turn of the XIV-XV centuries, can be called a phenomenon not only of Russian, but also of world painting. His sublime painting embodied the spiritual beauty of man and his moral strength, as it was understood in Russia at that time.

Descent into Hell

The court in the interpretation of A. Rublyov has hope for justice and mercy, and therefore the fresco radiates vigor, joy and optimism. The figures of the apostles, saints and others are light and weightless, for they believe in the mercy of God and their salvation. Skillfully using the color distribution, smooth lines and shapes, the artist literally revives the ancient biblical legend.

And she lives and serves people to this day. Indeed, in the works of this great master, wisdom, spiritual purity, goodness and love sound. It is not a strict God-judge that looks from the icons, but the kind Heavenly Father (“Savior”), ready to forgive and comfort everything. By the icons, one can judge the spiritual ideal and morality of a person of the fourteenth century. In our time, this is becoming more and more relevant.

His work was of great importance for the further flourishing of the Russian school of painting. Rublevskaya tradition significantly departed from the Byzantine, gave a start to the introduction of the new and original (namely, Russian) in art. Even during the life of the great icon painter, his works were highly valued and were recognized as miraculous.

Epiphany

They were considered a model for many painters, especially since this was decided in 1551 by an ecclesiastical council with the participation of Tsar Ivan the Terrible himself. After Rublev, the Trinity was already depicted exclusively in his style, which became a kind and recognized "canon".

In Russian and world culture, icon painting has become an unsurpassed example of the embodiment of enormous artistic talent and no less impressive strength of the human spirit.

A. Kuraev defined the innovation of Rublev's creativity in his laconic-deeply, once said that if before this icon painter the main thing in the icon was - "Lord, have mercy", then from Rublev the main thing in the icon becomes - "Glory to you, Lord"

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The exclusivity of his works was appreciated by his contemporaries, and since the 16th century the famous Trinity began to serve as an official model for Russian icon painters. We recall the 7 main masterpieces of the artistic genius of Medieval Russia.

"The Last Judgment". Face of Christ

Thousands of people from all over the world come to Vladimir to visit the Assumption Cathedral and see the unforgettable frescoes created in 1408 by Daniil Cherny and Andrei Rublev. This painting is today the only monument of Rublev art confirmed in the chronicle sources. Made in the Byzantine tradition, the painting of the Second Coming of Christ has been rethought. The central figure of the composition is undoubtedly Christ, who seems to descend from heaven to the audience waiting for Him.

He seems surprisingly close, his face is bright and gentle. He brings peace and salvation to people.

The presence of each participant in the picture is justified and symbolic: the Angel, rolling the heavens, like a scroll, announces the approach of the Judgment; the prepared Throne with the instruments of the Passion reminds of the atoning sacrifice of the Savior; the figures of the ancestors symbolize the bonds of original sin.

Under the figure of Christ is the Mother of God and the Forerunner, which remind the viewer of the incessant prayer of the patron saints of the human race. Their prayer seems to be continued by the faces of the apostles, who are benevolently and at the same time sternly looking at the viewer. This is almost the first time in Russian art that the idea of ​​a righteous and merciful Court was embodied in this picture in such a perfect artistic form.

"Trinity". Faces of Angels

By the time Rublev wrote the icon of the Old Testament Trinity (1411 or 1425-1427 (?)), There was a tradition of depicting this biblical episode, which is based on the legend of the hospitality of the forefather Abraham, who received and treated three pilgrims. The Rublevskaya icon has become a new look at a well-known plot. There are no traditional Abraham and Sarah on it, in the background their dwelling and the Mamre oak, under which the meal was served, remain almost invisible.

Three Wanderer Angels appear before the viewer. They sit in calm silence around the table with refreshments. Everything here is aimed at creating unsurpassed drama and reflective contemplation.

The Central Angel is identified with Christ, whose figure sets the circular rhythm of the entire composition: the silhouettes echo each other with sliding and falling lines of clothing, bowed heads, and directed gazes. Equivalent figures of Angels are in unity with each other and absolute harmony. The living specifics are replaced here by the sublime image of the pre-eternal counsel and predestination of Christ's sacrifice. You can see Rublev's Trinity in the Tretyakov Gallery.

"Zvenigorod rank". Savior's face

In 1918, three Deesis icons were discovered in a wood shed near the Zvenigorod Assumption Cathedral “on Gorodok”, which were attributed by I. Grabar on the basis of a stylistic analysis of Rublev's brush. Later, researchers almost unanimously recognized Grabar's attribution, despite the fact that Rublev's authorship was never documented.

The "Zvenigorod rank" includes three icons: "Savior", "Archangel Michael" and "Apostle Paul". The most perfect, undoubtedly, is the image of the Savior, whose calm, thoughtful and surprisingly benevolent gaze is directed at the viewer.

Hope, the promise of closeness and heartfelt sympathy, along with a sublime, ideal beauty that is infinitely remote from the world of ordinary people - all this was perfectly embodied by the Russian icon painter.

"Zvenigorod rank". Face of Archangel Michael

The second icon of the "Zvenigorod rank" was the image of the Archangel Michael. His face, turned to the Savior, seems to echo him with pensive meekness and serenity of gaze. This image refers us to the Angels of the Holy Trinity, and not only by its humility, but also by its visual similarity - a long, flexible, slightly elongated neck, a hat of thick curls, a bowed head. The third icon - "The Apostle Paul" - is made in a manner different from the Rublev one, therefore, a number of researchers believe that this face would have been created by another master, for example, a long-term associate of Rublev - Daniel Cherny. You can see the icons of the Zvenigorod rank in the Tretyakov Gallery.

List of the icon of Our Lady of Vladimir. The face of the Virgin

Despite the obvious discovery of the features of the Rublevsky letter, the author of the icon could not have been Rublev himself, but someone from his closest circle. Grabar, on the other hand, unambiguously declares that the work was made by a great master: “Everything here is from Rublev - a cold bluish general tone, the nature of the picture, facial features, with a slight hump of the nose typical for Rublev, graceful hands, a beautiful silhouette of the entire composition, the rhythm of lines and harmony paints ". The traditional Byzantine prototype - the Mother of God, holding her Son on her right hand and gently bowing to Him - was implemented with some, most likely, intentional deviations. This is especially true of the figure of the Mother, since the Infant is reproduced exactly according to the Byzantine model.

In the figure of the Mother of God, the anatomical correctness of the forms is violated, first of all, the bend of the neck, which allows the face of the Mother to be as close as possible to the face of Jesus.

Their gazes meet. The hands of the Mother of God are amazingly painted, which are wide open in a prayer gesture. The Mother's face is covered with a maforium cloth, which, like a dome, extends over the Baby, protecting and soothing him. And, of course, Rublev's serenity, purity, absence of sorrow and suffering, fullness of silence, peace and a feeling of love in the face of the Mother of God are striking. You can see the icon in the exposition of the Vladimir-Suzdal Museum-Reserve.

Trinity iconostasis. The face of Dmitry Solunsky

The creation of the iconostasis of the Trinity Cathedral of the Trinity-Sergius Lavra is associated with the name of Rublev. The icon painter's brush is supposedly visible in the icons of the Archangel Gabriel, Dmitry Thessaloniki and the apostles Peter and Paul. The Trinity iconostasis is unique. It is the only architectural and picturesque temple ensemble that has been completely preserved to this day, created during the heyday of ancient Russian art. Who painted these icons - Andrei Rublev or Daniil Cherny - is still a mystery. In the course of the last restoration work, a firm belief was expressed only that among the icons there are undoubtedly those that belong to Rublev. When you look, for example, at the image of Dmitry Solunsky, I really want to believe that it was written by Rublev: the same head bowed in meek contemplation, the same graceful hands raised in prayer, the same hat of thick curly hair, the same wide-open and childishly naive eyes, the same meekness and serenity.

Gospel Khitrovo. The face of the evangelist Matthew

Another hypothetical monument of Rublevsky writing - miniatures of the altar Gospel of Khitrovo - stand out in the legacy of the icon painter. This unique example of a manuscript, which is now in the collection of the Russian State Library, was supposedly made in one of the best workshops of grand-ducal Moscow at the turn of the 14th-15th centuries. The text of the manuscript is accompanied by eight facial miniature illustrations depicting the evangelists and their symbols

The stylistics of the miniatures allows us to say that they were written by Theophanes the Greek, Daniil Cherny and Andrei Rublev, while the names of the last two icon painters are most often mentioned.

There is no consensus among scientists: so, G. Vzdornov believes that they all belong to Cherny's brush, and O. Popova convincingly proves the opposite - they were all created by Rublev. The symbolic image of the Evangelist Matthew is most often attributed to Rublev. The slope of the neck, the outline of the head of fluffy hair, the type of face are very close to the Rublev images created by the master on the Vladimir frescoes. However, Angel's gaze is sharper. In clothes developing through the air with the Gospel in his hand, he swiftly moves towards the viewer, wanting to quickly convey the Word of God to him.

Despite the fact that it is often not possible to establish the exact authorship of the holy icon painter, our country has a grandiose heritage, including unsurpassed examples of ancient Russian culture.

The brilliant icon painter and great thinker of ancient Russia lived in a difficult, but significant period of Russian history. Bleed and humiliated by a foreign yoke, Russia gradually recovered and began to prepare for liberation from the yoke of the Golden Horde. It was a time of joy and at the same time bitter, a time of brilliant victories and cruel defeats. The latter include the sad events of 1408, when Khan Edigi invaded Russian land. The devastating invasion of the Mongol-Tatars once again showed that the Russian princes need to stop internecine enmity, live in peace and harmony, only by uniting, they can finally get rid of the yoke of the Horde.

The details of the life of the Monk Andrei Rublev are almost unknown. Like any medieval master, he did not sign his works. His name was rarely mentioned in the annals. Most likely he was a hereditary, indigenous artisan.
Everything that we now know about his personal and creative fate testifies that Rublev is a native of central Russia, those places that we now call the Moscow region. Only here were preserved his works, both that have come down to us, and known from ancient inventories. And, finally, in his painting Rublev continued the deep and long-standing traditions of this particular region of Rostov-Suzdal Rus.

The whole life of the monk is connected with two monasteries: the Trinity-Sergius Lavra and the Spaso-Andronikov Monastery. The saint took monastic vows at the Andronicus monastery.
The icon painter still found the Monk Sergius of Radonezh alive, whose favorite disciple, the Monk Nikon, later commissioned him for the Trinity. Rublev's perception of the world was formed in an environment brought up on the Sergius testaments. In the life of the Monk Sergius of Radonezh it is said:

"Andrei is an icon painter of excellence and is superior in wisdom to the green, having honest gray hair."
In such an atmosphere, the monk Andrew was brought up not only on historical examples of holiness, but also on what he himself saw - on the examples of living ascetics who surrounded him. And he himself, for almost twenty years, until his death, together with his friend and companion in creativity, Daniel Cherny, led the life of a monk-icon painter.

Biography of Andrei Rublev

As mentioned above, due to the peculiarities of that time and the monastic modesty of the icon painter, we know little about him, and the dates of his life are very conditional. However, some of them can be named at least approximately.
Around 1360 - was born in central Russia.
1370-1390s studied and worked in the squad of Moscow artists.
Until 1405 he took monastic vows with the name Andrei, lived in the Spaso-Andronikov monastery near Moscow.
1405 - together with the artists Theophanes the Greek and Prokhor from Gorodets, he painted the Annunciation Cathedral of the Moscow Kremlin.
1408 - together with the artist Daniil Cherny painted frescoes and icons in the Assumption Cathedral in Vladimir. Around 1408 - painted icons, which later received the name "Zvenigorod rank".
Then (until 1427), together with Daniil Cherny, he supervised the painting and creation of the iconostasis of the Trinity Cathedral of the Trinity-Sergius Monastery. Then he painted the icon "Trinity".
1427-1430 - created the murals of the Spassky Cathedral of the Andronikov Spaso-Monastery.
January 29, 1430 - died and was buried in the Spaso-Andronikov Monastery. (According to another version, the date of death is October 17, 1428).

On the announcement of the Spaso-Andronikov Monastery. Place of death and burial of the Monk Andrei Rublev. A sourcePhoto

ICONS OF ANDREY RUBLEV

Biography and work of Andrei Rublev

Andrei Rublev (+ c. 1430), icon painter, disciple of Theophanes the Greek, reverend.

At first he was a novice at the Monk Nikon of Radonezh, and then a monk at the Spaso-Andronikov Monastery in Moscow, where he died and was buried.

Old Testament Trinity
Andrey Rublev
Moscow school
1422 - 1427
142 x 114 cm
linden board. Matte pavoloka, gesso, tempera
icon. Temple image from the iconostasis of the Trinity Cathedral of the Trinity-Sergius Monastery

In the end of the XIV - n. XV century. Rublev created his masterpiece - the icon "Trinity" (located in the State Tretyakov Gallery, on the plot "Abraham's hospitality." , and its outlines were repeated in the contours of the lateral angels. The central (symbolizing Christ) angel took the place of the sacrifice and was highlighted by an expressive contrast of spots of dark cherry and blue colors, orchestrated by an exquisite combination of golden ocher with delicate "cabbage rolls" and greenery. circular rhythms that dominate all the contour lines, the coherence of which produces an almost musical effect.

“Trinity” is designed for far and near points of view, each of which in different ways reveals the richness of shades, the virtuoso work of the brush. The harmony of all elements of the form is an artistic expression of the main idea of ​​the "Trinity" - self-sacrifice as the highest state of the spirit, creating harmony of peace and life. In 1405, together with Theophanes the Greek and Prokhor from Gorodets, he painted the Annunciation Cathedral of the Moscow Kremlin (the frescoes have not survived), and in 1408, together with Daniel Cherny and other masters, the Assumption Cathedral in Vladimir (the painting was partially preserved) and created icons for its monumental three-tiered iconostasis. which became an important stage in the formation of the system of high Russian iconostasis.

Annunciation
Andrey Rublev
1405 BC
81 x 61 cm
icon. Festive rank

In the ancient life of St. Sergius of Radonezh, compiled by his disciple Epiphanius, decorated with numerous miniatures (16th century list), Andrei Rublev is depicted in three forms: sitting on a stage and writing on the wall of the temple the image of the Savior Not Made by Hands; coming to the newly built stone church in the Lavra and buried by the Lavra brethren.

The largest works by Andrei Rublev are icons, as well as frescoes in the Cathedral of the Assumption in Vladimir (1408). The deisis of the work of Theophanes the Greek and Andrei Rublev, as well as the entire golden-domed Church of the Annunciation in the royal court, near the royal treasury, burned down during a great fire in Moscow in 1547.

Epiphany
Andrey Rublev (?)
first half of the 15th century
81 x 62 cm

icon. Festive rank
Cathedral of the Annunciation of the Moscow Kremlin

The greatest masters of Old Russian painting, including Dionysius, were deeply influenced by his work. At the Stoglava Cathedral (1551), Rublev's iconography was proclaimed a role model: it was directly instructed "to paint icons from ancient images, as Greek painters wrote, and as Andrei Rublev and other notorious painters wrote."

The great work on the restoration of his works and clarification of his artistic biography, done in the XX century, led to the formation of a romantic "Rublev legend", extracting the heroic figure of the artist from the anonymous, ascetic, supra-individual environment of medieval creativity.

Locally revered as a saint since the 16th century, Andrei Rublev in our time has become one of the all-Russian saints: canonized by the Russian Orthodox Church in 1988; the church commemorates him on July 4 (July 17 n.c.).

Savior the Almighty
Andrey Rublev
1410 - 1420s
158 x 106 cm
(the icon "Spas" has a right pine board, added at a later restoration
icon. The central part of the icon-painting Deesis from Zvenigorod
Moscow, State Tretyakov Gallery

Creativity of Andrei Rublev

The works of Andrei Rublev belong to the highest achievements of Russian and world spiritual art, which embodied a sublime understanding of the spiritual beauty and moral strength of man in Holy Russia. These qualities are inherent in the icons of the Zvenigorod tier ("Savior", "Apostle Paul" (located in the Russian Museum), "Archangel Michael", all - the turn of the XIV-XV centuries), where laconic smooth contours, a broad manner of writing are close to the techniques of monumental painting.

Transfiguration
Andrey Rublev
Moscow school
1405 BC
80.5 x 61 cm
linden board, ark, shallow husk. Pavoloka, gesso, tempera
icon. Festive rank
Cathedral of the Annunciation of the Moscow Kremlin

Of the Rublev's frescoes in the Assumption Cathedral, the most significant is the Last Judgment, where the traditionally formidable scene turned into a bright holiday of the triumph of Divine justice. The works of Andrei Rublev in Vladimir indicate that by that time he was a mature master, who stood at the head of the school of painting he created.

In 1425 - 1427 Rublev, together with Daniil Cherny and other masters, painted the Trinity Cathedral of the Trinity-Sergius Monastery and created icons of its iconostasis. The time when new internecine wars were brewing in Russia and the harmonious ideal of man, which had developed in the previous period, did not find support in reality, also affected the work of Rublev. The coloring of the later icons is darker; in some icons, the decorative principle is intensified, in others archaic tendencies are manifested. Some sources call the painting of the Savior Cathedral of the Andronikov Monastery (c. 1427) the last work of Rublev. He is also credited with a number of works, the belonging of which to Rublyov's brush has not been precisely proven: frescoes of the Assumption Cathedral on Gorodok in Zvenigorod (late 14th - early 15th centuries), icons - Our Lady of Vladimir (c. 1409, Assumption Cathedral, Vladimir ), “Savior in Strength” (1408), part of the icons of the festive rite (“Annunciation”, “Nativity of Christ”, “Meeting”, “Baptism”, “Resurrection of Lazarus”, “Transfiguration”, “Entrance to Jerusalem” - all ok 1399) of the Annunciation Cathedral of the Moscow Kremlin, part of the miniatures of the Gospel of Khitrovo.

Spas in strength
Andrey Rublev
Moscow school
10s of the 15th century
18 x 16 cm
icon
Moscow, State Tretyakov Gallery

Archangel Gabriel

Moscow school
1425 - 1427
189.5 x 89.5 cm
icon. Deesis rank

Dmitry Solunsky
Andrey Rublev and his follower
Moscow school
1425 - 1427
189 x 80 cm
icon. Deesis rank
Trinity Cathedral in the Trinity-Sergius Lavra. Sergiev Posad

Nativity
Andrey Rublev
1405 BC
81 x 62 cm
icon. Festive rank
Cathedral of the Annunciation of the Moscow Kremlin

Presentation of the Lord
Andrey Rublev
1405 BC
81 x 61.5 cm
icon. Festive rank
Cathedral of the Annunciation of the Moscow Kremlin

Entry of the Lord into Jerusalem
Andrey Rublev
1405 BC
80 x 62.5 cm
linden board, ark, shallow husk. Pavoloka, gesso, tempera
icon. Festive rank
Cathedral of the Annunciation of the Moscow Kremlin

Ascension of the Lord
Andrey Rublev
1408 g.
125 x 92 cm
linden board, pavoloka, gesso, tempera
icon
Moscow, State Tretyakov Gallery

Saint John the Baptist
Andrey Rublev with assistants
Tver school
1408 g.
313 x 105 cm
linden board, pavoloka, gesso, tempera
icon. Deesis rank

archangel Michael

Moscow school
1408 g.
314 x 128 cm
linden board, pavoloka, gesso, tempera
icon

Saint Gregory the Theologian
Andrey Rublev, Daniil Cherny and the workshop
Moscow school
1408 g.
314 x 106 cm
linden board, pavoloka, gesso, tempera
icon. From the deesis rank ("Vasilievsky rank") of the Assumption Cathedral in Vladimir

Saint John Chrysostom
Andrey Rublev, Daniil Cherny and the workshop
1408 g.
313 x 105 cm
linden board, pavoloka, gesso, tempera
icon

Annunciation
Andrey Rublev, Daniil Cherny and the workshop
1408 g.
125 x 94 cm
linden board, pavoloka, gesso, tempera
icon. Festive rank

Descent into Hell
Andrey Rublev, Daniil Cherny and the workshop
1408 g.
124 x 94 cm
linden board, pavoloka, gesso, tempera
State Tretyakov Gallery

Apostle Andrew the First-Called
Andrey Rublev, Daniil Cherny and the workshop
Moscow school
1408 g.
313 x 105 cm
linden board, pavoloka, gesso, tempera

Archangel Gabriel
Andrey Rublev, Daniil Cherny and the workshop
Moscow school
1408 g.
317 x 128 cm
linden board, pavoloka, gesso, tempera

Art critic M.V. Alpatov wrote: “The art of Rublev is, first of all, the art of big thoughts, deep feelings, compressed by the framework of laconic images-symbols, the art of great spiritual content”, “Andrei Rublev revived the ancient principles of composition, rhythm, proportions, harmony, relying mainly on his artistic intuition ".

Details Category: Art of Ancient Rus Published on 16.01.2018 14:36 ​​Hits: 3164

The name of Andrei Rublev became the personification of ancient Russian art.

Andrey Rublev- perhaps the most famous artist of medieval Russia. His name is still widely known today, but we know very little about his life.
Where and when he was born is unknown. Moscow is called the place of his birth (1360?), And his place of residence is the Trinity Monastery.
The first chronicle mention of the "monk Andrei Rublev" refers to 1405: at this time, he, together with Theophanes the Greek and Prokhor from Gorodets, decorates the Annunciation Cathedral of the Moscow Kremlin with icons and frescoes. These frescoes have not survived.

Icon "Venerable Andrei Rublev"
Some information about him can be gleaned from the annals. For example, the chronicle indicates that in 1408 he, together with Daniel Cherny, painted the Assumption Cathedral in Vladimir, the Church of the Holy Trinity in the Trinity Monastery. The frescoes have not survived. According to the testimony of Epiphanius the Wise, Andrei Rublev painted this temple in the 1420s. After the death of Daniil Cherny, Andrei Rublev worked in the Moscow Andronikov Monastery, where he painted the Church of the Savior (his last work). But only small fragments of the ornament have survived to this day.
Most of the documented works of Rublev have not survived to us, except for two icons from the Deesis and seven icons from the festive row in the iconostasis of the Kremlin Cathedral of the Annunciation; part of the frescoes of the Vladimir Assumption Cathedral; the famous icon "Trinity" from the Trinity Church of the monastery of the same name.
Rublev is also credited with miniatures and initials of the Khitrovo Gospel (early 15th century, Russian State Library, Moscow); Our Lady of Tenderness from the Assumption Cathedral of Vladimir (c. 1408-1409); Zvenigorod tier, of which three icons have survived: with Christ the Savior, the Archangel Michael and the Apostle Paul (c. 1410-1420); fragments of frescoes on the altar pillars of the Assumption Cathedral in Gorodok (Zvenigorod) and on the altar barrier of the Nativity Cathedral in the Savvino-Storozhevsky Monastery near Zvenigorod.
But many more icons are attributed to the "Rublev's circle", although there is no way to confirm their authorship.
Andrei Rublev died in the Andronikov Monastery on January 29, 1428 (?). The Andrei Rublev Museum has been operating here since 1959, where you can get acquainted with the art of his era.
At the Stoglav Cathedral in 1551, Rublev's iconography was recognized as a model. In the XX century. much attention was paid to this painter, his works were studied and restored, the minimal information about his life that was already known was clarified, his name was covered with a haze of romanticism. And after the famous film by A. Tarkovsky "Andrei Rublev", the image of this artist was riveted by the close attention of even those people who were far from both faith and icon painting. In 1988 he was canonized by the Russian Orthodox Church as a venerable saint.

Creativity of Andrei Rublev

Andrei Rublev Hall in the Tretyakov Gallery

Second half of the 14th - early 15th centuries were marked in Russia by an interest in moral and spiritual problems. Andrei Rublev embodied in his painting a new, sublime understanding of the spiritual beauty and moral strength of man. Therefore, his work is one of the pinnacles of Russian and world culture. The greatest masters of Old Russian painting, including Dionysius, were deeply influenced by his work.

Assumption Cathedral in Vladimir

The Assumption Cathedral in Vladimir is an outstanding monument of the white-stone architecture of pre-Mongol Rus (1158).
At the beginning of the 15th century. Andrei Rublev and Daniil Cherny were invited to decorate the temple. Separate images of the large composition of the Last Judgment, which occupied the entire western part of the temple, and fragmentary images in the altar of the cathedral, have survived from their murals. Most of the frescoes that have come down to our time were made in the 19th century.

This is the only surviving fresco by Andrei Rublev. It is mentioned in the Trinity Chronicle; it is also the only documented, accurately dated and preserved monument in the artist's creative heritage.

Icon of Our Lady of Vladimir "Tenderness" from the Assumption Cathedral in Vladimir (c. 1408)

The authorship of the icon is attributed to Andrei Rublev. I. E. Grabar, V. N. Lazarev, G. I. Vzdornov, O. S. Popova agree with this opinion.
M. V. Alpatov and E. S. Smirnova reject its authorship.
The icon "Tenderness" is one of the most ancient copies of "Our Lady of Vladimir".

Our Lady of Vladimir

Icon "Trinity" (1411-1425 / 27)

This icon is the standard of Rublev's creativity, his authorship is undoubtedly. One of the most famous Russian icons.

Andrey Rublev "Trinity". Tempera on wood. 142 x 114 cm.The State Tretyakov Gallery (Moscow)
The icon depicts three angels. They are sitting at a table on which stands a bowl with a calf's head. The figures of the angels are arranged so that the lines of their figures form a kind of vicious circle. The compositional center of the icon is the bowl. The hands of the middle and left angels bless the chalice. Angels are motionless, they are in a state of contemplation, their gazes are directed to eternity.
In the background - the house (the chambers of Abraham), the tree (the oak of Mamre) and the mountain (Mount Moriah).

Mamvri oak (Abraham's oak)- the tree under which, according to the Bible, Abraham received God.

Mount Moriah (Temple Mount)- a rectangular square surrounded by high walls, towering over the rest of the Old City of Jerusalem, 774 meters above sea level.
The appearance of three angels to Abraham is a symbol of the consubstantial and three-hypostatic God (Holy Trinity). It was the Rublev icon that corresponded to these ideas. In an effort to reveal the dogmatic doctrine of the Holy Trinity, Rublev minimized the details that precede the meal. Angels talk, not eat, and in the icon all attention is focused on the silent communication of three angels.
Rublev placed the chambers of Abraham over the angel symbolizing God the Father. The Mamvri oak symbolizes the tree of life and recalls the death of the Savior on the cross and His resurrection (center). The mountain is a symbol of spiritual ascent, which is carried out through the action of the third hypostasis of the Trinity - the Holy Spirit.

Gospel Khitrovo

This is a handwritten Gospel of the late XIV century. It is called so by the name of its owner, boyar Bogdan Khitrovo. The manuscript was decorated with a precious setting and donated by him to the Trinity-Sergius Lavra, where it was kept in the altar until 1920. At present, the Gospel is in the collection of the Russian State Library.

The gospel is richly decorated (headpieces, initials, miniatures and symbols of the evangelists). The origin of the manuscript is attributed to the Moscow school of Theophanes the Greek, and the authorship of a number of miniatures is attributed to his student, Andrei Rublev.

"Angel of Rublev"

Icons from the iconostasis of the Trinity Cathedral of the Trinity Monastery (c. 1428)

All researchers are unanimous in the opinion that the iconostasis belongs to the Rublev era and that, to one degree or another, Rublev and Daniil Cherny participated in its creation. The iconostasis is still poorly understood and has not been fully published.
This is the only one of the first high iconostases of the early 15th century that has survived almost completely (only some of the icons have been lost).

Zvenigorod rank (c. 1396-1399)

"Zvenigorod rank" - three icons depicting the Savior, the Archangel Michael and the Apostle Paul (from the collection of the State Tretyakov Gallery).
Presumably from the iconostasis of the Assumption Cathedral on Gorodok. For a long time it was attributed to the brush of Andrei Rublev, but in 2017 the attribution was set aside on the basis of high-tech comparisons with Trinity.

Nativity Cathedral in the Savvino-Storozhevsky Monastery (frescoes)

Savvino-Storozhevsky Monastery (Zvenigorod)
Founded at the end of the XIV century.

Images of the hermits Paul of Thebes and Anthony the Great. Some scholars attribute the authorship of the frescoes to Andrei Rublev.

Icon "John the Baptist" (mid-15th century)

The icon comes from the Nikolsky Pesnosh monastery near the town of Dmitrov. Belonged to the Deesis semi-figured rank of the Zvenigorodsky type. Attributed to Andrei Rublev.

Icon "Savior in Strength" (early 15th century)

Attributed to Andrei Rublev or "Rublyov's circle".

Andronikov's Gospel (Moscow, first quarter of the 15th century).

The miniature "Savior in Glory" was made by the artist "Rublev's circle". The manuscript does not contain direct dating, but its design is similar to such well-known manuscripts as the Khitrovo Gospel.

Conclusion

Rublev's work is distinguished by two traditions: Byzantine harmony, sublime asceticism and softness of style, characteristic of Moscow painting of the XIV century. It is this gentleness, as well as concentrated contemplation, that distinguish his works from other paintings of that time. Rublev's characters are most often depicted in a state of serenity or a state of prayer. This distinguishes his work from the expressive Theophanes the Greek. An atmosphere of quiet contemplation and goodness flows from the icons of Andrei Rublev. This silence is also present in the color - dim, calm; and in the roundness of the figures; and in the harmony of lines, similar to a quiet melody. All creativity of Andrei Rublev is permeated with light. Therefore, it is not at all surprising that Rublev's art is perceived as the ideal of church painting.