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Transcending History
The Eschatological Light in Byzantine Art
Byzantine art has achieved to elevate the object of classical Greek creativity—the classical pro- portion, rhythm, line, beauty of imitation—to
a mode of being which participate in the metaphysi- cal light . It was achieved by using the visual language which through the light liberates the beings from gravity and impenetrability, temporality and muta- bility, decay and inertia, and the necessity of struc- ture. In this perspective, a few elements—logos (prin- ciple), tropos (a hypostatic mode of existence), and rhythm—proved to be of decisive role in giving the priority of the telos (eschaton) over history. This (es- chatological) light establishes the relation between the graphic and chromatic elements of Byzantine art.
One of the key elements in Byzantine art and theology is the triple concept of logos-tropos-telos, which refers to the principle, mode, and end goal. These ideas are interconnected and can’t be viewed in isolation. The logos serves as a guide toward the ultimate destination, leading beings towards their eschatological future. On the other hand, the tropos, or mode, represents the free alteration of nature by an individual, where aspects like color, rhythm, and line are influenced according to personal expres- sion. The tropos showcases a unique way of exis- tence, where nature is freely hypostasized or given a distinct personality. Lastly, the telos, or end goal, represents the ultimate purpose of all beings, para- doxically present from the beginning, drawing cre-
ation towards itself. God created beings from noth- ing, and the icon embodies life not based on outlines but on light, which imparts life. The modeling of forms in Byzantine icon composition follows this same logic.
The possibility of modification is what allowed Byzantine art to innovate. The free and adaptable play of light on beings reflects a modified existence with its internal rhythm and refined form. In the per- spective of Christian art, the emphasis isn’t on lines but on light (phōtagōgic being more important than graphics). The display of light (phōtohysia) in the icon is remarkable. Following the Byzantine system of lighting, it diffuses freely, not necessarily in straight lines, effectively eliminating shadows and fully illu- minating objects, merging them with their visual representations. In simple terms, life in Christ doesn’t rely on outlines (lines and contours) but on light.
The plasticity of forms is another significant as- pect of Byzantine art. While the issue of lines (gramme) was addressed in classical Greek art, Byz- antine artists established a different approach to lines. Byzantine icons may appear to have “flaws” when compared to ancient sculptures, with charac- teristics like large eyes, pronounced long noses, strong expressions, and occasional hyperbole, but the overall approach prioritizes the heuristic over the psychological. Nevertheless, each line drawn in an icon distinguishes various forms, such as gar-
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