(...) I would like to approach the world of colours offered generously in the icon as one would approach a “diapason”, as a reference to a Quality which, I believe, is pictorially definite. /.../ For a painter the icon can, I believe, offer a ‘measure’ of harmony, in which the veiled and luminous transparent colours unite in a symbolic composition, where the proportions, unusual for the rational eye, offer a union of the static and the dynamic. In the research of this iconographic path, the techniques are essentially linked to a religious truth, expressed artistically in a symbolic language. Iconography thus becomes a “theology” in images.»
(from Tjaarke Maas's graduation thesis at the Academia, on Russian-Bisantine iconography)