The article is devoted to the study of two type’s fine art interaction – cinema and icon painting. Based on the comparative work analysis of ancient Russian iconography «The Almighty Saved», created by Andrei Rublev at the beginning of the XV century, and the cinematography work «Andrei Rublev», directed by Andrei Tarkovsky in the second half of the XX century. Article authors explore the openness and dialogic system nature of artistic culture, the works relationship of different eras, prove the belonging of cinema to the ancient language tradition, development of fine arts and determine the religious specifics of the world picture and Russian cinema. Iconography is characterized in the study as the object-language of Andrei Tarkovsky's cinematography.