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Pavel A. Florenskij was an authentic giant of both scientific and theological culture, explicitly recognized as one of the great masters of religious thought in the Encyclical Fides et ratio by Pope John Paul II in 1998, a thinker who has been able to cross all fields of the knowledge, authentically transdisciplinary, defined by many as the Leonardo da Vinci of Russia. An inte¬gral vision of knowledge pushes him to try to penetrate the “living fibers of science”, and to glimpse the possibility of an interrelation of knowledge and their different languages through the key of the symbol.

Pavel Florenskij, unlike many Russian reaserchers, who were convinced of the irreducibility between Faith and Reason, between Faith and Culture, was certainly a pioneer of a new epistemological orientation that was been able to develop a bold and vital link between logical and scientific reason on one side and Revelation on the other, between philosophy and theology, drawing inspiration from both the Orthodox spiritual tradition and from the profound changes in the contemporary scientific thought, in a synthetic vision of extraordinary theoretical intensity that is intertwined with his life tragically. The key topics that will be presented in this work, among the complexity and vast work of the theologian, philosopher, priest and martyr Russian, will be: the nature of opposites and in-systematic knowledge and its iconic dimension.

At the beginning of the 11th Century, in the variegated universe that characterized the monastic religious orders with hermit tendencies, or monastic brotherhoods, and religious organizations, the choice of the habit began to take on profound implications, because it allowed people to recognize between the different communities of the sole Ecclesial body. Because of its clearly and doctrinal purpose, the problem of the garb could not be left to chance; in fact, it ended up giving rise to acrimonious quarrels between the monks, such as the chromatic controversy (black vs. white) which opposed, during the 12th Century, two French abbeys, Cluny and Citeaux, on topics not only theological, but also aesthetic. Soon it became essential to establish clear rules and policy on the choice of colour and appropriate tone to the religious lifestyle. Obviously, countless were considerations about the cut, the length of the habit, the style of the hood and, of course, the colour