Page 181 - Uros Todorovic Byzantine Painting Contemporary Eyes

Chapter III
thetic affinities observed between their work and frescoes at Mistra are quite striking and they seem to be vividly implying that Modernism could in fact be understood as a centuries-long phenomenon which is historically both discontinuing and continuing, under different circumstances.
In this sense, purely from the point of view of aesthetics, we may look at the phenom- enon of Modernism as something that we humans have broken into various historical timeframes and academic categories, which in themselves deceptively project a picture of a discontinued, fragmented experience. This seeming fragmentation of the notion of Modernism throughout history can effectively be surpassed by appreciating a fragment of a fresco at Mistra as part of an aesthetic experience which became replanted and remerged anew as transubstantiated in the ateliers of some of the major 20th century abstract painters.
The Byzantine reality of seeing versus the notion of seeing reality
In order to begin understanding the relationship of frescoes at Mistra to 20th century abstract painting, we must firstly clarify the multifaceted relationship of the so called ‘inverse perspective’ (also known as ‘reverse perspective’) in Byzantine painting to the question of realism.4 In this task, while there will inevitably be overlapping aspects with the classic explanation of reverse perspective offered by Pavel Florensky in his essay Reverse Perspective,5 our topic at hand entails a novel approach, which presupposes that the phenomenon of the inverse perspective in Late Byzantine painting pertains to a very specific kind of reality of seeing, as distinct from, to use Florensky’s words, “a special system for the representation and perception of reality as it is represented in icons.”6 This has hitherto not been sufficiently explained, especially in relation to the most represent- ative examples of Late Byzantine painting.
The non-realistic perspective is of course an early phenomenon in Byzantine art but the overtly rendered inverse perspective is a phenomenon which became a common place in Late Byzantine painting. Of course, these and other similar terms, such as rela-
4 We have elaborated on inverse perspective in the first chapter of this book and our reference to it in this chapter has a different scope.
5 Although this essay was written in 1919 it was first published (in Russian) in 1967. For the English translation of Reverse Perspective see: Pavel Florensky, “Reverse Perspective” in Beyond Vision: Essays on the Perception of Art, ed. Nico- letta Misler (London: Reaktion, 2002).
6 Pavel Florensky, “Reverse Perspective” in Beyond Vision: Essays on the Perception of Art, ed. Nicoletta Misler (Lon- don: Reaktion, 2002), 202.
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