The article presents an analytical review of the problem of understanding the theological content of Russian iconography and its interpretation based on visibly perceived symbolism, plot, attributes and color in the icon. This approach was largely the beginning of the development of the "Theology of icons" as a separate direction in the Russian thought of the 20th century, which received a special development with the advent of technical capabilities for the full restoration of ancient Russian icons. The article shows that the discovery of the icon "Trinity" by Andrey Rublev gave a lot of food for thought to many theologians, art historians and philosophers on the topics of its theological content. This topic remains relevant today, since the discussions have not ended. The authors come to the conclusion that there may not be any final interpretation at all, that is connected not only with the problem of the multiple perception of the icon. The "Trinity" by Andrei Rublev is increasingly being revealed not only as a great work of art in Russian iconography, but also as a presentation of the doctrinal Truth of Orthodoxy, an expression of the spiritual and sacred beginning of Russian identity.