Of course the 16th - and 17th - century Chinese artists making these homage albums are light years away from the accelerated dialectics of Post-Enlightenment Western art, with an ethos apparently more congruent with that of
Russian icon painters or Medieval and Gothic artists, many of whom remained anonymous, repudiating their individuality in the service of God.
(Flavin — who had trained as a priest before going into the air force and then turning to art — had a well - documented obsession with
Russian art and later dedicated a group of fluorescent light «monuments» to the Constructivist Vladimir Tatlin, who had trained as an
icon painter.)