Sophia of Kyiv, interior 1959

Curator: What an image! It makes me think of ghosts dancing in the halls of faith. Editor: Interesting take. This is Yuriy Khymych's "Sophia of Kyiv, interior," created in 1959 using watercolor. I'm curious what you're picking up on. Curator: It's the colors mostly—muted, like a memory. The soft edges make everything feel a bit unreal, like a sacred space seen through a veil. Is this byzantine style? Editor: Indeed. Khymych uses watercolor here to really capture that play of light inherent in Byzantine art. It's not just representation; it's about the semiotics of light as divine presence. Notice how he captures light reflecting on every surface? Curator: Right! And there’s an underlying stillness to it. It's as if the image is resonating. Editor: Khymych masterfully employs perspective here, drawing our eye into the apse, suggesting the immanence but also the transcendence of God. Curator: Is that...gold leafing on the altar? It’s amazing! The gold sings so delicately despite everything. Editor: That effect comes from the specific use of color— strategic warm tones amidst a sea of cooler hues that tricks the eye. He uses visual cues and directs focus. I can sense this spiritual longing by using light. Curator: He has totally got that quiet awe in the picture here! It makes me realize what these historical structures and art offer society. It's an excellent study in faith meeting light. Editor: Definitely. This study transcends pure formalism. Curator: Exactly! Thanks, it's definitely provided new lenses through which to appreciate its spiritual qualities! Editor: Likewise, it allowed for a more rounded encounter with it through a historical period.