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Summary

Todor Mitrovit

Crossroads of Continuity:

Ecclesiastical Art of Painting and Dominance in

Culture

The research is attempting to find a line of continuity in

the relationship of ecclesiastical painting with the dominant cul-
tural flows through history. Through special interest in XX cen-
tury and the two of the most influential figures ofNeobyzantine
renewal of ecclesiastical painting - L. Uspenski and F. Kontoglu
- we reach a conclusjon that ecclesiastical art, even outside its
own theoretical concepts, shows a surprisingly intense interest
for culture which is officially "external" to it. More precisely, it
turns out that the Church, as a collective author of ecclesiastical
painting, is, surprisingly, actually attempting through history to
evade creation of a fully autonomous painting model, and by
this, also indirectly the cultural domination in this field. The
closing considerations offer interpretation of the examined his-
torical relation through an attempt to find a "positive" theologi-
cal motivation for this uncharted aspect of the relation of the
Church and its art of painting toward the dominant culture of the
historical period. The offered interpretation also opens new pos-
sibility of positioning of new ecclesiastical painting in relation
to the flows of modem art.
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