Abstract

Florenskij’s philosophy is atmospheric. I will argue that his aesthetics as a theory of icons is in fact a theory of atmospheres. Therefore, I will show that the late pagan Neoplatonism and the crepuscular phase of medieval Christianity, which merge within the Slavic Orthodoxy, come again explicitly in his theory of icons. Finally, I will try and show how Florenskij really reworks this tradition with atmospheric tools ante litteram.