Andrey Rublyov Art and Style

Andrey Rublyov Art and Style

Russian art goes hand in hand with the art of the Byzantine empire. Artistic traditions regarding church architecture and icon painting originated in Byzantine. Andrey Rublyov is considered the best-known painter of frescoes and Russian icons. Rublyov art has arguably different influences such as Greek Christian art and Byzantine influence. Theophanes, the Greek also through the legacy of senior Russian icon painter, has considerably made Rublyov art shine. Andrey Rublyov through his best-known icon, the Old Testament Trinity that expresses the core ideas of the church and Orthodox Christianity is an excellent example borrowed from Byzantium.

            Characteristics of Andrey Rublyov Art

Rublyov art and style corresponded not only on the Byzantium influences but also on the religious philosophy portrayed during the XVth century. Rublyov work transpires a luxurious feeling, luminosity, poetry, and purity that attracts to contemplation. His work has a quality of transparency. Rubylov art, for instance, Christ in the Dormition brings evidently his character traits such as kind and compassion.

Andrey art and style relate to the naturalism and idealization of the ancient Greeks with individualized portraits which balance both divine and human. Andrey was a pupil of The Greek Theophane whose icons were tragic and tense though Rubylov differed significantly as his images had a harmonious light which incarnated the epoch of liberation (Lindsay,2006).

The austerity characteristic and discipline of Byzantine art is seen in Rubylov art especially the stylistic abstraction, tranquility, delineated contours and clarity observed on the saint’s faces. Also, Rubylov was not only an icon painter influenced by Byzantine iconography but also a monk. Rubylov is a great artist whose work expressed faith, hope, and love.


Lindsay, H. (2006) “Art and Liturgy in Russia: Rublev and his successors,” in The Cambridge History of Christianity, vol. 5, Eastern Christianity (Cambridge: Cambridge University Press), 287.

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