Green: “the Spirit”-the divine photosynthesis that grows everything from within by transforming light into itself (Hildegard of Bingen called this viriditas, or the greening of all things.)
The blue of creation is brilliantly undergirded with the necessary red of suffering.) Gold: “the Father”-perfection, fullness, wholeness, the ultimate Sourceīlue: “the Incarnate Christ”-both sea and sky mirroring one another (In the icon, Christ wears blue and holds up two fingers, telling us he has put spirit and matter, divinity and humanity, together within himself. There are three primary colors in Rublev’s icon, each illustrating a facet of the Holy One: As icons do, this painting attempts to point beyond itself, inviting a sense of both the beyond and the communion that exists in our midst. This story inspired a piece of devotional religious art by iconographer Andrei Rublev in the fifteenth century: The Hospitality of Abraham, or simply The Trinity. “Surely, we ourselves are not invited to this divine table,” the hosts presume. Here we have humanity feeding God it will take a long time to turn that around in the human imagination.
Their first instinct is one of invitation and hospitality-to create a space of food and drink for their guests. “The Lord” appears to Abraham as “three men.” Abraham and Sarah seem to see the Holy One in the presence of these three, and they bow before them and call them “my lord” (18:2-3 Jerusalem Bible). In Genesis we see the divine dance in an early enigmatic story (18:1-8).
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