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    STUDIA THEOLOGIA ORTHODOXA - Issue no. 2 / 2012  
         
  Article:   THE INNER BEAUTY IN THE BYZANTIUM LIGHT – FROM ART TO DECADENT MANNERISM.

Authors:  MARIUS GHENESCU. 		 
       
         
  Abstract:  The premises of the apparition and of the configuration of the iconic face, until the moment when it was crystallised as ideal image of divinity, representing not a bodily beauty, but one outside the body which increases from the darkness of the substance, transformed into light, were owed to the communication between philosophy, religion and art, meditation through which the word became an image of the world. I will insist on the clarification of a problem of various styles which derived from an important centre, that of Constantinople, which delivered throughout the empire models of representing the archetype, but what stood as a victory from the artists side was the fact that they kept the essence of the canon readjusting it to the spirit of each people. We see the same Pantocrator in Daphni, Cefalù, Mon Reale, Saint Sofia, Pammakaristos, Sinai, Boiana (Jesus Christ the Everghet), Studenica, Novgorod (Teofan the Greek) we do not observe at all a stereotype, but on the contrary, a surprising variety of unique and very original interpretations, which we will not meet from the late Palaeological period, when the masters overshadowed their epigones, constantly copying a special expression without realising that they profane, through technicality, the creation of an anonymous master and more than that, distance themselves from the archetype.

Keywords: art, portrait, canon, face, beauty, light 		 
         
     
         
         
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