Page 132 - Maxim_Painting_Monograph

A Wondrous Shift Takes Place
Ihave always been intrigued by the nuances of the Hebrew original of the expressions “good” or “very good.” In Bible, the concept of “good” sig- nifies functionality rather than a fixed quality; it em- phasizes that the world God created is suitable for fulfilling its intended purpose. On the other hand, the concept of “very good” suggests that God envi- sioned the world in its final and fulfilled state, rather than how it was at that moment. The implications for my art are immense. When I paint, I do not focus on the beauty of existence but rather on the purpose behind what exists. For that reason, I believe God’s artistic work should be seen from an eschatological perspective, considering the ultimate fulfillment and completion of creation. Thus, when God creates things in Genesis, I perceive that He has an aware- ness of how they will be in the end. This understand- ing adds depth to the significance of my artistic cre- ation and its ultimate purpose. The implications for art are immense.
In the life of the Church, we observe the follow- ing phenomenon: symbolism in the eucharistic as- sembly, as Saint Maximus analyzes in his Mystagogia, points to the future, the Kingdom of God and the es- chatological end; they are images of the end. The iconography of wall-paintings in Orthodox tradition carries profound significance, encompassing both subject matter and artistic style. These artworks ex- tend beyond historical accuracy and delve into the
truth of ultimate ends, transcending temporal lim- itations. In these sacred paintings, we often encoun- ter depictions of persons and events that existed outside the specific historical moment, emphasizing the timeless and eternal nature of the truths they convey. The iconographer’s intent is not to repro- duce a realistic portrayal of the past but to offer a glimpse into the divine reality and the glory of the Kingdom.
The technique employed in iconography further enhances this spiritual dimension. Figures of Christ and the saints are often set against a golden back- ground, symbolizing the radiance of the Kingdom of God. Shadows representing the impermanence of the present and the reality of death are deliberately avoided, guiding our attention towards the transfor- mative existence that the saints will experience in God’s Kingdom.
Furthermore, iconographers purposefully dis- tance themselves from realistic elements, emphasiz- ing the divine and transcendent nature of the sub- jects depicted. Through this deliberate artistic approach, they declare the saints’ participation in the uncreated light of God’s presence.
The architecture and decoration of Orthodox churches also convey eschatological symbolism. The orientation of the basilica towards the east, where Christ is expected to return according to the tradi- tion, symbolizes the Church’s journey towards the
132