Page 368 - Uros Todorovic Byzantine Painting Contemporary Eyes

Byzantine Painting through Contemporary Eyes
ical nature, whereas in the second half we have elaborated on the influence the aesthet- ics of Late Byzantine painting exercised on the work of the 20th century abstract painters mentioned above. Also, in the first half, certain emphasis has been placed on the period of Byzantine painting between the mid 14th and early 15th century (1350–c.1430). Accord- ingly, in the second chapter of the present work, which deals with the influence of Hes- ychasm in Late Byzantine painting, we have attempted to visually demonstrate how the transcendental experience of the uncreated light became tangibly expressed in some of the preserved frescoes which date to that period.
Moreover, the hermeneutics concerning the creative experience of both Late Byzan- tine artists and the 20th century artists mentioned above, has frequently led to an ac- knowledgement of what could be termed as the spiritual artist. We have observed that from the perspective of such an artist realism can only be a Theological Realism, one which in its visual expression has no limitations and therefore can even amount to abso- lute abstraction. To our understanding, Kazimir Malevich and Mark Rothko are prime examples of this phenomenon.
In view of such explorations, it is clear that due to its limitless capacity such a Theo- logical Realism has the potential to delineate relationships among phenomena, mean- ings and facts, which among them commonly appear to be utterly antithetic or even ir- relevant. Consistent with our analyses we have also attempted to convey that once de- tected in particular artworks, such relationships can open up an infinite range of possi- bilities for further developments in painting, as well as for further explorations regarding the significance of art in general.
For example, if one were to be asked about how we can practically benefit from the Byzantine experience of the 20th century painters mentioned above, one might answer in the following manner: We could show contemporary Orthodox iconographers, painters and interpreters of Byzantine art what they have yet to learn about the mystagogical and transcendental nature of Byzantine painting through the experience of the 20th century abstract painters. As can be more or less gathered from the last three chapters of this work, our view on this particular matter is that through their work and due to their Byz- antine influences, Kandinsky, Malevich, and Rothko, in many respects theologise more than what innovative Neo-Byzantine iconographers of our time do. Accordingly, we sug- gest that the prospects of further revival of the Byzantine painting-experience, far from being exhausted, have so far only been touched upon. If embraced, these very encourag- ing prospects could lead to a historic rebirth of that which exists as a lastingly spiritual element within art and which found its depiction in the idea of the spiritual in art as propagated by Kandinsky, Malevich and Rothko and other artists of the 20th century.
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