Hubbry Logo
Holy Trinity IconHoly Trinity IconMain
Open search
Holy Trinity Icon
Community hub
Holy Trinity Icon
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Holy Trinity Icon
Holy Trinity Icon
Holy Trinity Icon
View on Wikipedia
from Wikipedia
Russian icon of the Old Testament Trinity by Andrei Rublev, between 1408 and 1425

The Holy Trinity is an important subject of icons in Eastern Orthodox Christianity and is treated differently from depictions in Western Churches. There are two different types of Holy Trinity icons: the Old Testament Trinity and the New Testament Trinity (Троица Ветхозаветная and Троица Новозаветная in Russian).

Old Testament Trinity

[edit]

Although this is not its traditional title, this icon is sometimes called "Old Testament Trinity" because of its relationship to Genesis 18:1-15. In Genesis 18:1-15, three individuals appear to Abraham at the Oak of Mamre.[1] The interpretation that this appearance is related to the Trinity is a Christian interpretation of the Hebrew scriptures. Consequently, the title of "Old Testament Trinity" interprets the Genesis narrative as much as it names the icon. From certain Christian theological perspectives, calling this icon "Old Testament Trinity" is a form of Supersessionism.

New Testament Trinity

[edit]
Greek Orthodox fresco of the "New Testament Trinity"

The "New Testament Trinity" depicts the Father, the Son and the Holy Spirit distinctly, and although far more familiar from Western models, is actually of Greek origin. Christ may be shown either as an adult (in this case, he is sitting to the right of his Father) or as an infant sitting on his Father's knees, which is the norm in early Greek depictions. This type, also called the Paternity icon, was found from the 11th century onwards. However, it did not become widespread in Orthodox art until after the Fall of Constantinople, under Western influence, when an adult Christ is the norm.[2] The Father is painted as the Ancient of Days (as described in the Book of Daniel), a white-bearded man with a very special type of nimbus (it contains two rombic figures: one is red, another is blue, or is a triangle). The Holy Spirit is shown as a white dove with a halo of the same type as Father's. The dove may be placed between the Father and the Son (if they sit near each other at the same level), or the dove may be shown in a beam of light from the mouth of the Father, as if he sends the Holy Spirit.

Interestingly, depictions of God the Father are prohibited in Russian Orthodoxy. However, when the movement of antitrinitarians became strong in medieval Novgorod, a new type of iconography appeared: Spas Vethiy Denmi - The Savior Old with Days or Christ as the Ancient of Days. This icon type depicts Jesus Christ as an old, white-haired man. The basis of this iconography is consubstantiality - the doctrine that Jesus and the Father are one. This very image of God the Father is used in New Testament Trinity icons; until the Great Synod of Moscow in 1667, it was a matter of theological debate whether the Ancient of Days from the Book of Daniel was Christ or God the Father. In the Western churches, the Ancient of Days remains the basis and justification for depictions of God the Father, as made clear by, for example, a pronouncement by Pope Benedict XIV in 1745.[3]

The Second Council of Nicea in 787 confirmed that the depiction of Christ was allowed because he became man; the situation regarding the Father was less clear. The usual Orthodox representation of the Trinity was through the "Old Testament Trinity" of the three angels visiting Abraham, said in the text to be "the Lord" (Genesis:18.1-15). However, post-Byzantine representations similar to those in the West are not uncommon in the Greek world. The subject remained sensitive for a long time, and the Russian Orthodox Church at the Great Synod of Moscow in 1667 finally forbade depictions of the Father in human form, although other Orthodox churches sometimes do not follow this ruling. The canon is quoted in full here because it explains the Russian Orthodox theology on the subject:

Chapter 2, §44: It is most absurd and improper to depict in icons the Lord Sabaoth (that is to say, God the Father) with a grey beard and the Only-Begotten Son in His bosom with a dove between them, because no-one has seen the Father according to His Divinity, and the Father has no flesh, nor was the Son born in the flesh from the Father before the ages. And though David the prophet says, "From the womb before the morning star have I begotten Thee" (Ps.109:3), that birth was not fleshly, but unspeakable and incomprehensible. For Christ Himself says in the holy Gospel, "No man hath seen the Father, save the Son" (cf. John 6:46). And Isaiah the prophet says in his fortieth chapter: "To whom have ye likened the Lord? and with what likeness have ye made a similitude of Him? Has not the artificier of wood made an image, or the goldsmiths, having melted gold, gilt it over, and made it a similitude?"(40:18–19). In like manner, the Apostle Paul says in the Acts (17:29), "Forasmuch then as we are the offspring of God, we ought not to think that the Godhead is like unto gold or silver or stone, graven by art of man's imagination." And John Damascene says: "But furthermore, who can make a similitude of the invisible, incorporeal, uncircumscribed and undepictable God? It is, then, uttermost insanity and impiety to give a form to the Godhead" (Orthodox Faith, 4:16). In like manner, St. Gregory the Dialogist prohibits this. For this reason, we should only form an understanding in the mind of Sabaoth, which is the Godhead, and of that birth before the ages of the Only-Begotten-Son from the Father, but we should never, in any wise, depict these in icons, for this, indeed, is impossible. And the Holy Spirit is not in essence a dove, but in essence he is God, and "No man hath seen God", as John the Theologian and Evangelist bears witness (1:18) and this is so even though, at the Jordan at Christ's holy Baptism the Holy Spirit appeared in the likeness of a dove. For this reason, it is fitting on this occasion only to depict the Holy Spirit in the likeness of a dove. But in any other place, those with intelligence will not depict the Holy Spirit in the likeness of a dove. For on Mount Tabor, He appeared as a cloud and, at another time, in other ways. Furthermore, Sabaoth is the name not only of the Father, but of the Holy Trinity. According to Dionysios the Areopagite, Lord Sabaoth, translated from the Jewish tongue, means "Lord of Hosts." This Lord of Hosts is the Holy Trinity, Father, Son and Holy Spirit. And although Daniel the prophet says he beheld the Ancient of Days sitting on a throne, this should not be understood to refer to the Father, but to the Son, who at His second coming will judge every nation at the dreadful Judgment.[4]

Modern Romanian icon of the Old Testament Trinity closely follows Rublev's iconography

The New Testament Trinity subject may actually be introduced into any icon where Christ is shown: for this purpose, the painter needs only to add the Father and the dove at the upper side of the icon.

The New Testament Trinity is not popular in official Orthodoxy in Russia nowadays, though it was popular in Novgorod earlier. Among Popovtsy Old Believers, this type of icon is very widespread, since the New Testament Trinity is depicted above any crucifixion icon (without the Son, since he is on the Cross in this case). The New Testament Trinity also appears on the wonder-working icon of Our Lady of Kursk (also without the Son, since in this case Mary holds him on her knees).

See also

[edit]

Notes

[edit]

References

[edit]

Further reading

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Holy Trinity Icon

View on Grokipedia
from Grokipedia
Holy Trinity Icons are a significant subject in Eastern Orthodox Christian art, depicting the Holy Trinity—Father, Son, and —often through symbolic representations such as three angels, drawing from biblical narratives like the hospitality of Abraham in Genesis 18. The most renowned example is the icon on wood panel known as The or Troitsa, painted by the Russian Orthodox monk around 1411, measuring approximately 142 cm by 114 cm, and showing three angelic figures seated at a table. Commissioned for the iconostasis of the Trinity Cathedral at the Trinity-Sergius Lavra near to honor the monastery's founder, St. Sergius of Radonezh, the icon was created in the aftermath of a 1408 Tatar raid that damaged the monastery, reflecting a period of spiritual renewal in Russian Orthodoxy amid Mongol occupation. Rublev, born around 1360–1370 and active as a monastic iconographer primarily at the Trinity-Sergius and Andronikov monasteries, employed soft, harmonious colors such as sky-blue, pale green, and reddish-brown, along with elegant, flowing lines to convey themes of unity, peace, and divine mystery, omitting narrative figures like Abraham and to emphasize contemplative spirituality over storytelling. The central angel, interpreted as Christ, blesses a chalice containing a , symbolizing the and redemption, while the left and right figures represent and the , respectively, with architectural elements in the background evoking the , Abraham's house, and the future site of the . Theologically, it embodies the Orthodox understanding of the as per the Councils of (325 CE) and (381 CE), promoting mutual love, humility, and harmony, and was officially endorsed as the canonical model for icons by the Stoglav Council in 1551. As Rublev's only undisputed surviving work and the pinnacle of medieval Russian icon painting, it profoundly influenced the Moscow School of art and was canonized alongside Rublev by the , with his feast days observed on January 29 and July 4; the icon, first documented in monastery inventories in the , was rediscovered in a cleaned state in 1904, housed at the in from 1918 to 2024, and returned to the in June 2024.

Historical and Theological Context

Biblical Foundations

The foundational biblical narrative for Trinitarian iconography in Eastern Orthodoxy is drawn from Genesis 18:1-15, where the Lord appears to Abraham near the oaks of Mamre as three men, whom Abraham and Sarah receive with exceptional hospitality by preparing a meal of calf, curds, and milk. These visitors, described collectively as speaking with a single voice yet acting as distinct individuals, announce the miraculous birth of Isaac to the elderly Sarah, despite her initial disbelief and laughter. Early Christian exegesis interpreted this theophany as a prefiguration of the Holy Trinity, with the three figures symbolizing the unity of the divine persons in their shared essence and purpose. Patristic theologians further elaborated on this passage to articulate Trinitarian . Augustine, in his De Trinitate, references Genesis 18 as a scriptural image of the Triune God, using it alongside psychological analogies—such as memory, understanding, and will—to illustrate the inseparable equality of Father, Son, and within one divine nature. Similarly, emphasized the text's depiction of a single divine operation manifested through three persons, underscoring their coeternal unity without division or subordination in actions like creation and . In the , the in Matthew 3:16-17 provides a key revelation of the Trinity's distinct yet unified persons: as Christ emerges from the water, the descends upon him like a dove, while the Father's voice from declares, "This is my beloved , with whom I am well pleased." This event manifests the three persons in simultaneous action, affirming their relational distinctions within the one . The prologue of John's Gospel (John 1:1-14) further supports Trinitarian doctrine by describing the —the eternal Word—as existing with God and being God from the beginning, through whom all things were made, and who became flesh in the of Christ. Patristic interpreters, including Augustine, drew on this passage to affirm the Son's full divinity and with the Father, while the Spirit's role as the bond of love completes the triune revelation. These scriptural foundations, through their , underpin the emergence of traditions depicting the Trinity's mystery.

Development in Christian Doctrine

The doctrine of the , building upon biblical foundations such as the in Genesis 18, underwent significant consolidation in early Christian councils that shaped its expression in Eastern theology. The in 325 CE played a pivotal role by affirming the Son's (homoousios) with the Father, rejecting Arian and establishing the eternal divinity of the Son within the . This declaration in the emphasized the shared substance of Father and Son, laying the groundwork for a unified Trinitarian framework that integrated the at the in 381 CE, though Nicaea's focus remained on countering threats to Christ's equality with the Father. Subsequent developments addressed the veneration of sacred images, directly impacting representations. The Second Council of Nicaea in 787 CE restored the use of icons by distinguishing veneration () from (), permitting honorable reverence for images of Christ that affirmed his incarnate humanity without dividing his divine and human natures. This ruling indirectly supported depictions of the , as icons of Christ provided a theological basis for composed images evoking the divine persons, provided they avoided direct portrayals of the invisible to prevent . Eastern and Western approaches to the Trinity diverged notably, with the —Basil the Great, , and —emphasizing the three distinct hypostases in their relational unity, introducing (mutual indwelling) to describe the eternal interpenetration of the Father, Son, and without compromising their personal distinctions. In contrast, Augustine's Western model, articulated in De Trinitate, prioritized the singular divine essence as the starting point, using psychological analogies (e.g., memory, understanding, will) to illustrate intra-Trinitarian relations, which some Eastern theologians viewed as underemphasizing hypostatic distinctions. This Cappadocian emphasis on became central to Orthodox Trinitarian thought, fostering a relational that influenced later mystical traditions. In the Byzantine era, hesychasm—a contemplative practice of inner stillness and the Jesus Prayer—further deepened Orthodox engagement with the Trinity, as defended by Gregory Palamas in the 14th century against rationalist critiques. Palamas distinguished God's unknowable essence from his uncreated energies, allowing believers to experience divine communion through the Taboric light, thus promoting theosis (deification) as participation in Trinitarian life. The Philokalia, a 18th-century anthology of patristic texts compiled by Nikodimos the Hagiorite and Makarios of Corinth, preserved and disseminated hesychast teachings, including writings from Evagrius Ponticus and Symeon the New Theologian that guided contemplative ascent toward vision of the undivided Trinity. This tradition framed icons as "windows to heaven," serving as theological conduits for beholding divine energies and fostering mystical union with the Triune God in liturgical and personal prayer.

Types of Depictions

Old Testament Trinity

The Trinity iconographic type portrays the Holy through three identical angels seated around a table, evoking the biblical account of Abraham offering hospitality to three mysterious visitors beneath the oaks of . This composition centers on the shared meal, with the angels' serene gestures and harmonious arrangement emphasizing communal unity rather than individual distinction, thereby symbolizing the divine persons without assigning specific roles to avoid direct . The absence of Abraham, , or other narrative elements in mature examples further focuses attention on the theological mystery of the itself. This representational tradition emerged in during the 10th century, as post-Iconoclastic artists sought visually accessible ways to convey complex doctrines amid renewed emphasis on sacred imagery. Early instances appear in illuminated manuscripts and frescoes from the 10th and 11th centuries, illustrating theophanies with three angelic figures to prefigure Trinitarian . These works reflect the influence of earlier patristic interpretations that viewed the Genesis visitors as a veiled manifestation of the divine, adapting symbolic forms to liturgical and devotional contexts. Theologically, this icon type adheres to scriptural constraints against depicting in human form, drawing on Exodus 33:20's declaration that no one may see 's face and live, by employing angels as intermediaries who veil yet reveal the . The angels' uniformity in posture, attire, and expression underscores the and equality of the Father, Son, and , promoting of their eternal communion without presuming to capture the ineffable essence of . This approach aligns with Eastern Christian hesychastic , inviting viewers into participatory through the image's balanced, circular dynamics.

New Testament Trinity

The New Testament Trinity in Orthodox iconography refers to direct representations of the three divine persons—God the Father, God the Son (Jesus Christ), and the Holy Spirit—in human or symbolic forms, drawing from New Testament revelations such as the Baptism of Christ and Johannine theology. These depictions emerged in Byzantine manuscripts as early as the 11th century, with painted icons appearing by the late 12th century, symbolizing the unity of the Godhead as described in 1 John 5:7: "For there are three that bear record in heaven, the Father, the Word, and the Holy Ghost: and these three are one." The Second Council of Nicaea in 787 provided doctrinal support by affirming the legitimacy of icons depicting divine persons visible in the Incarnation. Common compositions feature portrayed as —an elderly figure with white hair and beard, inspired by :9—seated enthroned alongside Christ, who appears as an adult or child holding the Gospels or a , while the manifests as a dove hovering above or between them. Such arrangements often adopt a format, with the Father and Son on a shared evoking and divine harmony, as seen in a circa 1450 Constantinopolitan icon where the dove is enclosed in an eight-pointed star symbolizing the cosmos. These motifs also integrate into () scenes, where Christ stands in the , the dove descends, and the Father is represented as a voice from heaven or, in later variants, a full figure. Regional and temporal variations highlight differences between Greek and Slavic traditions. In post-Byzantine , particularly from the onward in and other centers, direct depictions of the Father as persisted without widespread prohibition, reflecting a continuity with Byzantine manuscript traditions and allowing for explicit Trinitarian imagery in church decorations. Conversely, in Slavic Orthodox contexts, especially Russian , such images proliferated from the under Western influences but faced restrictions; the Moscow Sobor of 1666–1667 explicitly banned portrayals of as an old man to avoid anthropomorphic misconceptions, though enforcement was inconsistent and many icons survived. This led to a preference in Russian art for more symbolic or indirect references, contrasting the relative openness in Greek post-Byzantine production.

Iconographic Features and Symbolism

Compositional Arrangements

In Holy Trinity icons, compositional arrangements often employ triangular or circular layouts to symbolize the , or mutual indwelling, of the three divine persons, creating a sense of eternal unity and harmonious interrelation. Andrei Rublev's iconic depiction from around 1411 exemplifies this through a balanced, symmetrical of three angels seated in a semi-circular formation around a central table, with their inclined heads and gestures forming a subtle that evokes a divine dance without hierarchy. This cyclical structure, novel for its square format in Eastern Orthodox iconography, draws from patristic to represent the unending relational love within the . A hallmark of these compositions is the use of inverse perspective, where lines and forms converge toward the viewer rather than a distant , inviting the beholder into participatory communion with the divine mystery. In Rublev's , the angels' inward-facing postures and the table's positioning employ this technique, positioning the observer as if within the , fostering a mystical encounter that transcends mere observation. This approach, rooted in Orthodox artistic tradition, contrasts with Western linear perspective by emphasizing spiritual depth over spatial realism. Variations in compositional arrangements distinguish Trinity icons from ones, reflecting differing emphases in theological representation. depictions, such as Rublev's, typically feature horizontal table scenes symbolizing hospitality and equality among the three angels, often under the oaks of , with minimal background to focus on relational symmetry. In contrast, Trinity icons adopt vertical hierarchies, portraying the Father and Son enthroned side by side or with the Son on the Father's lap, accompanied by the as a dove, to underscore divine authority and procession.

Symbolic Elements

In Orthodox iconography of the Holy Trinity, colors serve as profound symbols to convey theological truths about the divine persons. represents the divine nature and heavenly realm, often adorning the garments of the figures to signify their transcendent, eternal essence. Red, conversely, symbolizes sacrifice and the life-giving , frequently appearing in the attire of the central figure to evoke the redemptive passion and unity in divine love. backgrounds illuminate the icons, denoting , , and the unapproachable glory of the heavenly kingdom. Objects within these icons further articulate Trinitarian mysteries. The chalice, typically positioned at the center of the composition, embodies the Eucharist, representing the unity of the faithful in Christ's sacrificial blood and the sacrament of communion with the divine. The tree of life, often depicted rising behind the figures, alludes to both the paradisiacal promise of resurrection and the cross as the instrument of salvation, intertwining themes of creation, fall, and redemption. Background elements, such as the architectural structure behind the left angel symbolizing Abraham's house or the Church, and the mountain behind the right angel representing spiritual ascent and deification, reinforce the themes of shelter, community, and theosis. Gestures and attributes subtly distinguish the persons while affirming their equality. Inclined heads among the figures express mutual deference and harmonious communion, inviting contemplation of the relational dynamics within the Trinity. Halos encircle all three, underscoring their shared divinity, though the one representing Christ bears a cruciform design to denote his incarnate role without disrupting the icon's equilibrium.

Famous Icons and Artists

Andrei Rublev's Icon

Andrei Rublev's Holy Trinity icon, a masterpiece of 15th-century Russian iconography, was painted circa 1411 for the Trinity-Sergius Lavra (also known as the Trinity Lavra of St. Sergius) near Moscow, using egg tempera on a wooden panel measuring 142 × 114 cm. Commissioned in honor of St. Sergius of Radonezh, the founder of the lavra, the work served as a central element in the iconostasis of the monastery’s Trinity Cathedral, embodying the spiritual legacy of the saint and influencing Russian Orthodox devotion to the Trinity. The composition centers on three near-identical angels seated at a table, interpreted as manifestations of the , , and , drawing from the account of Abraham's hospitality to three visitors in Genesis 18. Clad in soft, flowing robes of azure blue and warm tones that evoke divine harmony and light, the figures convey serenity and unity through their gentle postures and symmetrical arrangement. The central angel, symbolizing Christ, holds a slender staff in his left hand—representing authority and the cross—while his right hand points toward a containing a on the table, alluding to the . The left angel, representing the , extends his right hand in a of over the chalice, and the right angel, embodying the , sits in tranquil repose with inclined head and folded hands, enhancing the icon's meditative quality. The icon underwent significant restoration beginning in 1918, when cleaning efforts removed layers of overpainting and grime accumulated over centuries, revealing Rublev's original vibrant colors and subtle modeling by 1926. Originally housed at the Trinity-Sergius Lavra until the early , it was transferred to the State in following the 1917 Revolution but returned to the lavra in 2024 under an agreement signed in 2023 between the gallery and the , where it now resides in the Trinity Cathedral as a focal point for and . The transfer sparked controversy among art conservators, who raised concerns about the icon's protection from environmental factors and reduced public access. This relocation underscores its enduring role in shaping Russian spirituality, particularly through its association with St. Sergius, whose life of contemplation and hospitality it visually extols.

Other Notable Examples

In the Greek tradition, a prominent example is the mid-15th-century Icon of the Trinity from , now housed in the , which portrays and Christ enthroned side by side with the appearing as a dove within an eight-pointed star symbolizing eternity. This composition emphasizes the relational harmony of the divine persons, flanked by hymnographers Saints Kosmas and bearing scrolls with liturgical texts. Another significant Greek variant is the 18th-century Holy by Spyridon Romas, a Corfiot of the Heptanese , which integrates traditional Orthodox with dramatic lighting and spatial depth influenced by Venetian art under which Corfu fell. Romas' work, preserved in collections like the Museo Civico in , exemplifies the cultural synthesis in Ionian island painting during the late Ottoman and Venetian periods. Russian depictions beyond Rublev's influential precursor reveal regional diversity. The Novgorod school produced numerous 16th-century Holy Trinity icons, such as those from the mid-century, characterized by folk elements including bold color palettes, simplified forms, and motifs drawn from local life that infused the angelic figures with a more accessible, narrative quality while adhering to canonical types like the Hospitality. Following the 1667 Great Moscow Council, which prohibited certain anthropomorphic representations of the Trinity, Old Believer communities continued to create and venerate icons preserving these "paternity" forms—depicting enthroned with the youthful Christ Emmanuel on his lap and the as a dove—often in secluded workshops to maintain pre-reform traditions amid persecution. These icons, produced into the 18th and 19th centuries, underscore the schism's impact on iconographic continuity. For contrast, Western European art offers Masaccio's 1427 fresco The Holy Trinity in Florence's Santa Maria Novella, which innovatively uses linear perspective to frame Christ crucified beneath God the Father and a descending dove for the Holy Spirit, creating an immersive architectural illusion that prioritizes realism over the symbolic abstraction of Eastern icons.

Controversies and Canonical Status

Early Church Debates

The Iconoclastic Controversy, spanning from 726 to 843, arose amid Byzantine imperial decrees against religious images, with iconoclasts arguing that depictions of the divine violated scriptural prohibitions against imaging the invisible God, as no one has seen God (John 1:18). Iconoclasts contended that such images risked idolatry and anthropomorphism, particularly for the uncircumscribed and impassible divine nature, extending Old Testament aniconism into Christian practice. St. John of Damascus emerged as a primary defender of icons during this period, authoring Three Treatises on the Divine Images (also known as On the Divine Images) around 730. He maintained that while it is impossible and impious to create a direct image of the invisible due to His incorporeal essence, the of Christ as the "living, substantial, unchangeable of the invisible " fundamentally altered this prohibition, permitting icons of Christ and, by extension, symbolic representations that faintly evoke the , such as comparisons to the sun, , or a fountain. John's theology emphasized that veneration of images honors the prototype (e.g., Christ or saints) rather than the material form, countering iconoclastic charges by rooting icon use in the mystery of the . The Second Council of Nicaea in 787 addressed these debates, affirming the of icons as a legitimate practice for recalling the and the lives of saints. The council's definition focused on Christ's humanity as the basis for , distinguishing of images from of the divine essence. This resolution marked a pivotal affirmation of , though later Orthodox tradition maintained restraint on direct anthropomorphic depictions of the Father to preserve theological precision. Earlier patristic thought, as seen in the works of (c. 306–373), laid groundwork for symbolic approaches to the predating the iconoclastic era. In his hymns, Ephrem employed poetic imagery—such as , , and —to articulate the relational unity of the Father, Son, and without literal visualization, viewing these symbols as divinely inspired means to convey mysteries beyond human sight. This symbolic method in paralleled emerging artistic traditions, allowing indirect representations that honored the 's transcendence while fostering , influencing later defenses against iconoclastic literalism.

Russian Orthodox Prohibitions

In the Russian Orthodox tradition, depictions of the Holy Trinity have been subject to strict regulations, particularly following the Great Council of 1666–1667, which sought to align Russian with broader Eastern Orthodox standards amid Patriarch Nikon's liturgical reforms. The council explicitly prohibited the "paternity " icon type, a Western-influenced representation showing as an elderly figure with a white beard in patriarchal robes, Christ as a youthful man, and the as a dove perched on the Father's hand or arm. This ban was articulated in the council's decrees, which declared such images "absurd and improper," contrary to Holy Scripture and the teachings of the , as they attempted to anthropomorphize the invisible divine essence in ways not grounded in biblical theophanies. The theological rationale for the prohibition stemmed from the Second Commandment's interdiction against graven images of (Exodus 20:4) and the Orthodox understanding that only Christ, as the incarnate , can be directly depicted as the "image of the invisible " (Colossians 1:15). Depictions of the or Spirit in human or symbolic forms risked promoting heretical interpretations, such as modalism or , by imposing distinct, hierarchical roles on the co-equal Persons of the . In contrast, the council affirmed the canonical validity of the " " or "Hospitality of Abraham" motif, based on Genesis 18:1–15, where three identical angels visit Abraham and , serving as a symbolic, non-hypostatic representation of the 's unity and mystery without specifying individual Persons. Enforcement of the 1667 prohibitions was inconsistent, particularly during the with the , who preserved and even emphasized banned paternity images as symbols of resistance to perceived innovations in Church practice. Such icons proliferated in the late 17th and 18th centuries, appearing in and some ecclesiastical settings, despite official condemnations. By the , while Rublev's angelic became the paradigmatic model—elevated for its emphasis on equality through symmetrical composition and subtle gestures—prohibited variants occasionally resurfaced, as seen in the mosaics of Moscow's (consecrated 1883). The maintains these restrictions today, prioritizing symbolic over literal depictions to safeguard Trinitarian doctrine, though modern iconographers adhere more closely to the approved angelic form.

References

  1. https://www.theartstory.org/artist/rublev-andrei/
  2. https://publicorthodoxy.org/2023/08/18/rublevs-trinity/
  3. https://www.trinityiconographers.org/five-specific-icons/the-holy-trinity-icon-the-troitsa/
  4. https://christianhistoryinstitute.org/dailystory/permalink/andrei-rublev-is-revered-as-russias-greatest-icon-painter
  5. https://orthochristian.com/160830.html
  6. https://www.acrod.org/orthodox-christianity/youthreadingroom/iconography/hospitality
  7. https://plato.stanford.edu/entries/trinity/trinity-history.html
  8. https://www.ccel.org/ccel/schaff/npnf103.html
  9. https://stpaulabbey.org/the-orthodox-faith/
  10. https://www.saet.ac.uk/Christianity/TheTheologyoftheCouncilofNicaea
  11. https://www.newadvent.org/fathers/3819.htm
  12. https://www.sciencepublishinggroup.com/article/10.11648/j.ijes.20170101.14
  13. http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S2074-77052022000100071
  14. https://library.oapen.org/bitstream/20.500.12657/33345/1/502556.pdf
  15. https://academic.oup.com/book/46799/chapter/413429889
  16. https://cnewa.org/magazine/old-testament-trinity-30160/
  17. https://www.academia.edu/84190464/The_Early_Christian_Reception_of_Genesis_18_From_Theophany_to_Trinitarian_Symbolism
  18. https://www.britishmuseum.org/collection/object/H_1920-1118-1
  19. https://orthodoxartsjournal.org/letter-to-an-iconographer-on-the-ancient-of-days/
  20. https://www.clevelandart.org/art/2016.32
  21. https://orthodoxwiki.org/Moscow_Sobor_of_1666%25E2%2580%25931667
  22. https://catalog.obitel-minsk.com/blog/2018/08/may-or-may-not-god-father-be-depicted
  23. https://scielo.org.za/pdf/at/v28s11/09.pdf
  24. https://hts.org.za/index.php/hts/article/view/5348/12813
  25. https://www.tretyakovgallerymagazine.com/node/7196
  26. https://russianicon.com/holy-trinity-icons/
  27. https://www.artway.eu/posts/andrei-rublev-the-holy-trinity
  28. https://artsandculture.google.com/asset/the-holy-trinity-icon-andrei-rublev/dwF-zpb9JXF6Kg?hl=en
  29. https://www.stthomasderry.org/rublevs-trinity-explained
  30. https://www.pillarcatholic.com/p/trinity-icon-venerated-in-moscow
  31. https://mospat.ru/en/news/91906/
  32. https://www.themoscowtimes.com/2023/07/12/revered-russian-icon-handed-over-to-church-despite-protests-from-art-experts-a81819
  33. https://resources.saylor.org/wwwresources/archived/site/wp-content/uploads/2011/05/The-Holy-Trinity.pdf
  34. https://www.academia.edu/40248118/The_puzzle_of_the_paternity_Trinity_image_in_Russia
  35. https://smarthistory.org/masaccio-holy-trinity/
  36. https://www.dbu.edu/mitchell/ancient-christian-resources/iconoclasticcontroversy.html
  37. https://sourcebooks.web.fordham.edu/source/johndam-icons.asp
  38. https://www.svots.edu/blog/st-john-damascus-divine-images
  39. https://epublications.marquette.edu/cgi/viewcontent.cgi?article=1926&context=dissertations_mu
  40. https://www.academia.edu/106398977/THE_CANONICAL_REPRESENTATION_OF_THE_HOLY_TRINITY_IN_ORTHODOX_ICONOGRAPHY
  41. https://orthochristian.com/93554.html
Add your contribution
Related Hubs
User Avatar
No comments yet.