The author has previously proposed that there are at least six different definitions of “reverse” or “inverse” perspective, i.e. the principle of organizing pictorial space in the icon. Reverse perspective is still a largely unresolved art historical problem. The author focuses on one of the six defi nitions, the one least familiar to Western scholars—namely, the view, common in Russian art-historical writing at the beginning of the twentieth century, that space in the icon is a visual analogue of non-Euclidean geometry. Russian mathematician-turned-theologian and priest Pavel Florensky claimed that the space of the icon is that of non-Euclidean geometry and truer to the way human vision functions. The author considers the scientifi c validity of Florensky's claim.

中文翻译：

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俄罗斯艺术史上的非欧几何：论科学理论的鲜为人知的应用

笔者此前曾提出“逆向”或“逆向”透视至少有六种不同的定义，即图标中组织图画空间的原则。逆向透视仍然是一个很大程度上未解决的艺术史问题。作者关注六个定义中的一个，西方学者最不熟悉的一个——即，在 20 世纪初俄罗斯艺术史著作中常见的观点，即图标中的空间是非的视觉类比。 - 欧几里得几何。由俄罗斯数学家转为神学家和牧师帕维尔·弗洛伦斯基 (Pavel Florensky) 声称，图标的空间是非欧几何的空间，更符合人类视觉的运作方式。作者考虑了弗洛伦斯基的主张的科学有效性。