A fascinating synthesis of academic rigor and iconographic tradition. Your 'color note' method creates a remarkable resonance with the Byzantine concept of asist and the building of divine light, though achieved through a modern, almost sculptural impasto rather than traditional washes. It is impressive how you maintain the structural integrity of the 'faces' (lichba) while employing such a bold, tactile technique. It’s a profound testament to how the Canon can evolve without losing its spiritual essence. Does the longer open time of oil paint change the contemplative rhythm of your process compared to the fast-drying nature of egg tempera?