A Study of the Film ‘‘Andrei Rublyov’’: from the Perspective of Neoplatonism and Ideology of Dionysius the Areopagite

Abstract

The purpose of this study is to reveal elements of Neoplatonism
and the ideology of Dionysius the Areopagite in the structure of the film
“Andrei Rublyov” by Andrei Tarkovsky. Dionysius the Areopagite is known as
a Syrian Christianity spokesman, an ascetic who authored literary works in the
Neoplatonic atmosphere at the end of the 5th century. The metaphysical principles
of Neoplatonic philosophy postulate the ideas of the “One,” “Intellect,” and “Soul”
that are based on the ideology of Plotinus. The “One” in Neoplatonic philosophy
is a transcendental and limitless being, the source of all creation and the first
principle. “Intellect” is the divine mind first emanated from the “One,” and the
“Soul” is emanated from the “Intellect.” And lastly, the lowest substance of the
being is produced.
The first evidence that is presented in the film in the introductory scene,
when a farmer flying across the sky in a hot-air balloon crashes down to earth
along with the balloon. By recreating an era when the hot-air balloon wasn’t even
invented and through the image of the crash, the director introduces an image
that corresponds to the “emanation” in the ideology of Dionysius the Areopagite,
who said “In the creationism of Neoplatonism, all creation is emanated from the
One, and this emanation is a type of corruption and imperfection.” The opening
scene of crashing and collapse down to earth symbolizes the escape from the
monastery to the world and from the world of ideas to the world of reality.
The wandering of Andrei Rublyov shown in the latter parts of the film can
be viewed as an analogy to the period of “purification” that is presented in
the philosophy of Dionysius the Areopagite. In the film the three phases of
advancing toward divinity begin with “self-purification” then “illumination” and
finally the “union” of becoming one with the ultimate existence. The director
shows Rublyov achieving top artistic heights through suffering, pain, and
artistic skepticism. In particular, the representative episode that demonstrates
the divine equivalence is the one where Rublyov is gazing at the boy Boris who
is making a bell on behalf of his dead father. Here, Andrei Tarkovsky uses the
boy who inspires national spirit through casting a bell to foreshadow Andrei’s
victory over his own fears and ignorance based on faith and strength.