For October’s Blind Spot post, I watched the Russian master Andrei Tarkovsky’s epic medieval story of art and faith, Andrei Rublev. The film is an episodic rumination on the connections between faith, art, and suffering as seen through the life of the the title character, who was one of the greatest painters of icons in the Orthodox church. There is more scripture recited in this film, through the mouths of characters and in voice-overs, than in any other film I can recall seeing. Faith is an integral part of Andrei Rublev’s world, but his faith is never a simple proposition to assent to, but rather a struggle with the reality of God’s encounter with a sinful world.
The early 1400s in Russia, as depicted in Andrei Rublev, is a time where political leaders are vicious and duplicitous, and the authority and influence of the Church is pervasive, until it comes up against violence that it cannot resist. Andrei is an artist and a monk, a man of deep faith and conflicted relationship to those around him. His singular devotion to his artistry leads him to wound others indirectly on multiple occasions. Early in the film he slights his artist companion Daniil with his presumption. In another episode he confronts a group of forest dwellers he encounters celebrating a pagan ritual, chastising them for their idolatrous behavior. Later, when he has been commissioned to paint a church with the Last Judgment, he delays for months, leaving his crew of workers to restlessly await his inspiration to return to work. His conflict with his society reaches a head when he kills a soldier during a raid who is attempting to carry off a woman to rape her. After this, he remains silent for years as penance for killing a man, and even gives up his painting to perform menial labor in the monastery where he lives.