Page 275 - Uros Todorovic Byzantine Painting Contemporary Eyes

Chapter V
created. More generally, as we have demonstrated in this chapter, while viewing simul- taneously Late Byzantine icons/frescoes and Malevich’s abstract paintings with contem- porary eyes, we are tempted to view the former through the prism of the latter, and we are also tempted to view the latter through the prism of the former. To say the least, through this kind of creative reception of Malevich’s artistic experience we attain an even deeper understanding of the diachronic significance of the aesthetics of Late Byz- antine painting.
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