EN
This essay discusses two meanings of the light’s nature which were questioned and interpret-ed in Pavel Florensky’s work Iconostasis – one of his most significant essays for philosophy of art. Florensky refers to iconography, to a light which is interpreted as a symbol and a ground for holy images. It is a ground without which icons could not be valued as a part of liturgy. Florensky also refers to Rembrandt’s works of art and light called and understood in this manner as a phosphorescence. This paper attempts to show in a short way only the part of a much bigger picture of the multi-layered Florensky’s thought about problem of light related to the pieces of fine art.