Theophany of Beauty

The fulcrum or beating heart of the Eastern Christian and Islamic tradition is found here in the path that leads to the divine. Different modalities emerge between the two traditions, but both manifest themselves imbued with light and
wisdom. In every form of spiritual life there are rites that allow the human being to connect with God; these characterize the individual and highlight his need to relate to a mystery that transcends the body and matter itself. The video installation presents some doctrines related to ascetic practices such as hesychasm for orthodox Christian theology and dikr for the Islamic tradition.
The role of the "soul" , central in both doctrines, the "heart" which in Islam is understood as the surface on which the grace of God affects the laws of the Spirit and the prayers that are expressed by yearning for Christ are to be understood as the main elements of an internalization ́s process and as means to reach the divine light both meta-physically and physically.
Stylistic beauty, terminological research, art forms are manifestations of the inner beauty and purity of spirit. These themes are linked to the divine beauty
that permeates, pervades and manifests itself through Islamic calligraphy understood as the "aesthetics of Revelation" and indissolubly linked to the present Revelation in the Koran. All this in the icon is expressed as theophany, the light of a spiritual essence, the radiance of God's mercy which "adorns itself with magnificence and dresses itself with beauty"; both art forms represent the

respective expressions of the Islamic and Eastern Christian tradition. The pure-hearted iconographers, for this reason irradiated by the light of the Holy Spirit,realize works of extraordinary beauty, managing to portray the fullness of the divinity that inhabits the body of Christ. The calligrapher artist is also a man inspired and illuminated by Allah, a receptacle capable of welcoming the light that will guide him in the work he is about to complete.
Rashid Koraichi is a calligrapher and spiritual master, "who shows in his works a selection of Islamic mystical verses aimed at exhorting and deepening the meaning of human existence and the divine message".

The iconographers Vasilios Koutsouras, Efrem Augello and Stefania Stanojkovic represent the heirs of a Christian tradition anchored to the contemporary. The photographic exhibition La Cattolica di Stilo is an emblematic example in which Islamic and Christian elements coexist. With its size, being set among the rocks, the daily lighting of the red of the bricks, the harmony of its forms, it invites us to look towards the East, where the sun rises, and upwards, to look over the invisible with different eyes. An exhibition of ancient texts in Greek and Arabic enrich the section. The written page testifies to a further mixture that is revealed to us through the lexicon of the documents. Rossano preserves the famous
CODEX PURPUREUR ROSSANENSIS, a 6th century Byzantine handwritten and illuminated purple parchment of extraordinary interest from the point of view biblical and religious, artistic, paleographic, historical and documentary. Figures and words make this devotional text a unique work, both for the time it belongs, a time in which the sacred was transferred from holy men to objects and images,
both for the place where it was found, representative of the Byzantine cultural 
tradition of the entire region. For Islam, m al-Qur 'n (the Koran) is the text of revelation and linguistic perfection as "direct and literal transcription of the word of God"; in it the divine nature is expressed by the tanzil (descent), understood as the operative modality of the revelation of the Book itself. The Islamic collection includes some suras from the Koran, ritual formulas and specific prayers for ablutions. With the stalls of William II (1183), from the text
in Arabic and the "role" in Greek and Arabic, the king grants the church of Santa Maria la Nuova in Monreale (Palermo) the privilege of retaining serfs belonging to the state property, refugees in the land of the Church.

Floriana Scimé e Patrizia Spallino