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others do. They offer hope in the face of adversity. Yiannis Tsarouhis’ exploration of Palaiologan neo-classicism raises questions: Were they the last to possess knowledge and yearning for antiquity, or pioneers in a yet-to-be-revealed world, albeit on different terms? It would be unfortunate if every time humanity approached the realm of the impossi- ble, unforeseen obstacles blocked its realization.
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In the world of art, think of the way humans partici- pate in the Eucharist, wherein creation undergoes a profound transformation into the corporeal form of the Risen Christ. This process is seen as a model for how art works. Just as in the Eucharist, art similarly emancipates nature and substance from the shack- les of mortality, endowing them with “eternal life” through the artist’s unique touch.
In this context, art assumes an ontological di- mension, transcending mere aesthetic beauty, plea- sure, or emotional evocation, and even surpassing the imitation of nature, whether guided by ideal standards or not. It transcends the artist’s personal moods, emotions, and reactions. Art, in this light, becomes the catalyst for a profound metamorphosis, akin to the transformative power of eros. In the words of Paul Valery, particularly in reference to music, it serves as “the beginning of a world,” a nov- el creation, although not arising from nothing, laden with all the poignant implications that this endeavor entails.
Now, when we talk about the culture that comes from this artistic spirit, it’s very different from our technology-driven world where we often put our-
selves above everything else. It’s not about satisfying our individual desires or “selves.” Instead, it serves as the birthing of a novel identity, one that beckons the impersonal elements of nature into a personal relationship with the creator, with the noble aim of emancipating nature from its inescapable mortality.
In the world of creating icons, there’s a big chal- lenge: how do you represent people and things in a way that makes them seem not tied to their, mortal existence, without any signs of decay or death? This transformation is important, and what makes Byz- antine icons truly amazing is their ability to pull it off. The secret weapon here is light, but not just any light—it’s a special kind of light that’s different from the natural light we see around us, the kind that cre- ates shadows. Shadows are connected to the idea of things falling apart and dying.
So, in icons, they use a special kind of light that doesn’t create shadows like normal light does. In our everyday life, if I want to look different from my friend Basil, natural light makes shadows that sepa- rate us. But these shadows are tied to the reality of death, so they have to go. Now, how do you make sure I still look like myself without shadows or natural light? You bring in a different kind of light, called the Uncreated Light. It’s a divine light that comes from God and doesn’t have anything to do with death or shadows.
This is where Fr. Stamatis Skliris’ art really shines. He figured out how to use this special light in icons to protect the individuals and things depicted from the clutches of death and decay, allowing them to exist beyond the limits of mortality.
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