When the museum was founded in 1947, the Andrei Rublev Museum had no collection. By 21 September 1960, when the museum opened its doors to visitors, the holdings numbered only 317 works. The collection was assembled bit by bit thanks to staff who, during the Soviet years, rescued icons from crumbling churches. Today the collection of the only state museum of Russian ecclesiastical art numbers about 20,000 items.
The particular pride of the museum's collection includes:
1. A pre-Mongol icon "Christ Pantocrator" from the first half of the 13th century
CHRIST PANTOCRATOR. First half of the 13th century.
The image of Christ blessing is the oldest icon kept in the museum. It is one of the rarest surviving works from the pre-Mongol period of Rus'. Until 1975 it belonged to the painter and graphic artist Vasily Sitnikov, who discovered it with one of the illegal dealers in a deplorable condition: the icon was completely covered with numerous later inscriptions. When leaving Russia permanently, Sitnikov bequeathed the image of the Savior to the Andrei Rublev Museum, where the icon was revealed in a restoration workshop and a true masterpiece was uncovered.
2. Icon of Andrei Rublev's era "Saint John the Forerunner"
SAINT JOHN THE FORERUNNER (FROM THE DEESIS ROW OF THE ICONOSTASIS). 1420s. Moscow. A master from Andrei Rublev's circle.
This icon was among the main exhibits of the Andrei Rublev Museum on the day of its ceremonial opening to visitors — 21 September 1960. Scholars have not been able to establish the author of this icon, but they suggest it was one of the pupils or followers of Andrei Rublev himself.
3. A close copy of Andrei Rublev's "Trinity" by the master Paisiy of the Joseph-Volokolamsk Monastery
HOLY TRINITY. Master Paisiy. 1484–1485.
The author most likely drew inspiration from Andrei Rublev's "Trinity", which was a high standard for all Russian icon painters. It is believed that this icon was created with the personal involvement of the abbot of the Volokolamsk monastery, Saint Joseph of Volokolamsk, who commissioned the decoration of the monastery's main church, the Assumption Cathedral. The life of the Reverend Joseph records the dates of the church's consecration and the names of the artists who worked on it — including the master Paisiy, the author of the icon. Such mentions of authorship are a great rarity for medieval art.
4. Icon "Venerable Sergius of Radonezh" by master Feodosy, son of the renowned icon painter Dionisy
VENERABLE SERGIUS OF RADONEZH, WITH LIFE. Around 1510. Moscow. Feodosy's workshop.
Master Feodosy was one of the sons of the famous icon painter Dionisy, with whom he painted the Nativity of the Theotokos Cathedral of the Ferapontov Monastery. He likely created the icon of Venerable Sergius of Radonezh when he led the icon-painting workshop after his father's death. It was painted for the Assumption Cathedral in Dmitrov, where it was located in the local row of the iconostasis on the north wall. This is a unique monument of iconography, vividly illustrating the life of the most famous Russian saint in small scenes surrounding the full-length image.
5. "The Vladimir Mother of God of Volokolamsk", commissioned by Malyuta Skuratov
THE VLADIMIR MOTHER OF GOD OF VOLOKOLAMSK. Around 1572.
This image was painted in the royal icon-painting workshop in the 1570s, and Grigory Belsky, better known as Malyuta Skuratov, placed it in the Joseph-Volokolamsk Monastery. He was one of Ivan the Terrible's oprichniks, a decisive and ruthless man whom historians consider to be the murderer of Metropolitan Philip.
In size and iconography the icon repeats the ancient Byzantine prototype — the Vladimir Mother of God from the Dormition Cathedral of the Moscow Kremlin. Unlike the ancient original, on Mary's head an embroidered veil studded with pearls and gems is depicted over the maphorion, and above the halo there is a crown. These details reflect the precious covering of the ancient icon that existed in the 16th century.
When the Volokolamsk icon was discovered by the staff of the Andrei Rublev Museum, it was in an emergency condition, hidden beneath later inscriptions. Experts consolidated the paint layer of the image and carried out an expert restoration.
