As soon as the Christian Church from a closed, secret community turned into an official, influential organization, the holy of holies of the temple, the altar, immediately disappeared from the eyes of the uninitiated behind the iconostasis. And how much would be about. Pavel Florensky did not convince us that the altar barrier is not a veil, but a window into the spiritual world, his allegory can be developed in another way: the spiritual world does not enter through the window, but through the door; the immediate disciples of Christ hardly needed images. The meaning of the iconostasis is different: accepting its necessity, we accept the order of the inheritance of the Truth established by the Fathers, we shall be churching, approaching the altar gate – the contemplated God-Sonship.
You can enter the Infinite only in this way. Here is the deep reason why the strict graphy of the iconostasis often forms a background on the canvases of Valery Kharitonov breathing unrestrained, unremitting freedom. In the “Liturgy” the iconostasis is an iridescent matrix familiar to anyone included in the church life. It instantly manifests itself at the sensory-emotional level. Casting five magnificent tiers and merged with him a panic, first of all you perceive the “assistant” of the iconostasis, its golden glow. View: from bottom to top. The royal gates are closed, the candles are restored: this is the apotheosis of Hope, where its fragile forebodings are crowned
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