Silvia Pedone
University of Salento, Italy
Through a re-reading of the positions of the major figures of the art historical and theoretical debate about the problem of the pictorial representation of space, including the particular case of the sacred space, the present paper aims at examining the strategic “perspectival” implications of the radical interpretation of the Renaissance alleged “discovery” of pictorial perspective offered by Pavel Florenskij. In particular, I will focus on the somehow hidden ambiguity of Florenskij’s project, especially crucial within the operative concept of “reversed perspective”, aiming at defending the substantial difference of Byzantine and Eastern conception of pictorial space, but also drawing on a methodic approach that is typical of the point of view of Western art history and criticism.