'Antonova's analysis of "reverse perspective" in icons goes far beyond the portrayal of space. It goes to the very heart of the matter of how icons have worked for their users over the centuries.' Martin Kemp, Trinity College, Oxford University, UK 'Dr Antonovas book devises a way of reading the temporal iconography of Eastern Orthodox images which is truer to their own cultural context than is generally provided for by western interpretations. This is an exciting and highly original book which builds enormously useful intellectual bridges. At a time when there is considerable interest in theories of pictorial representation , this is a major and potentially very influential cross-cultural work. It will certainly be a major contribution to understanding the relation between time and the pictorial image.' Paul Crowther, National University of Ireland, Galway, Ireland '... this book will delight the specialist and challenge the generalist but regardless will open up any entirely new way of thinking for any reader... Antonova has challenged the temptation to engage with Orthodox iconography with Western artistic eyes and reveals that depth of theological meaning also lies in the artistic method employed in the creation of the icon.' Transitions 'By demonstrating how pictorial space and pictorial time were interrelated through ritual, Antonova forces the reader to understand anew a critical and familiar category of representation, pictorial perspective. Through a critique of 'reverse perspective', explicated most vigorously by Pavel Florensky (1882-1937), Antonova expounds how observer and icon shared an intimate relationship in real time and space through what should be considered embodied viewing: the notion that our senses are tethered to our bodies... One of the many merits of Antonova's book is her meticulous introduction of important theories and theorists into English.' Oxford Art Journal 'Written with vigor and precision...' Speculum
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