The Byzantine icon is the translation of the language of perspective into the language of surface.
The roots of the Byzantine icon are in the antique, pre-classic Greek vases, in frescoes and bas-reliefs of ancient Egypt, as well as in the bas-reliefs of Babylonia, and of Assyria, the native land of Abraham.
For me, the roots of the surface tension of the painting reside in the fact that no colour (spots, tones, lines, rhythms) is brought out from the surface; this creates a smooth tension on which the eyes can glide without obstacle. 
Descartes' saying "I think, therefore I am" is translated for painters as "I exist through lines, spots, colours, rhythms", which act as data of the world beyond me and not as the total truth.  This thought has been accepted also by the "School of Paris". 
 

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"Lines, tones, spots, colours, rhythms" ended the interest in the grimace of anatomy as subject of the painting.  By its discovery, the "School of Paris" furthered the birth of the painting "constraint" and eliminated its genitor. After the death of anatomy and the death of "lines, tones, spots, colours, rhythms - which exist only in themselves - it was possible to give life to complementary colours (as in the palette of Delacroix), in which colours appear only in rapport with one another.
For the artists of "Jerusalmix" it is most important to create the tension of the surface as the dividing line between the outside world of the subject and the inner, spiritual world of the artist. 

Anatoly Basin