THE SACRED NATURE OF LIGHT IN THE VISUAL CULTURE OF THE BAROQUE

Abstract

The article examines the sacred nature of light as a key semantic and aesthetic component of Baroque visual culture. The purpose of the study is to determine the role of light as a carrier of spiritual meaning in seventeenth-century painting and to clarify its connection with Christian theological tradition. The relevance of the topic lies in the need for a comprehensive understanding of light not only as a stylistic or technical device but as a phenomenon that integrates religious symbolism, philosophical thought, and artistic practice. The research analyzes the transformation of the theological concept of divine (Tabor) light, interpreted as uncreated divine energy, into the artistic system of the Baroque period. Particular attention is paid to the functioning of light within the compositional structure of paintings by European masters of the seventeenth century. It is demonstrated that light forms a spiritual hierarchy of images, emphasizes the sacred center of the composition, and creates a mystical emotional impact on the viewer. Based on the works of Michelangelo Merisi da Caravaggio, Rembrandt van Rijn, Peter Paul Rubens and Georges de la Tour, the study proves that light in Baroque painting operates not merely as a means of spatial organization but as a metaphor for divine revelation. The findings confirm that the sacred nature of light in Baroque culture represents a synthetic model of artistic thinking that unites theological concepts with visual expression.