This lecture aims to reflect on the possibility of connecting religious mysticism, primarily of the Christian-Neoplatonic tradition, with a discourse that addresses certain aesthetic concerns, drawing mainly on the reflections of Plotinus and Pavel A. Florensky regarding the theme of beauty in art. Taking into account Plotinus' dictum that the work of art is more beautiful in the mind of the artist than in the material that makes it manifest, the goal is to explore the possibility of understanding aesthetics beyond what aesthetics should, by definition, deal with—namely, sensibility: the idea that art should reveal a content that cannot be reduced to the sensible dimension, opens upthe possibility of not reducing aesthetic judgment to a concrete critique of styles, modes of execution or materials, but rather of understanding the artwork as an attempt to serve as a reference to a non-sensible, inexpressible dimension that cannot be explained through any form of concrete artistic critique. In this regard, Florensky's reflections on the art of the Russian icon represent a theoretical bridge between the Orthodox Christian reflection on sacred art and the Neoplatonic foundation underlying the philosophical reasoning that Florensky himself proposes in works such as The Pillar and the Ground of Truth and The Royal Doors, in which an aesthetic theory is exposed that overturns any historical framework of the evolution of art history understood according to Western aesthetic canons, in light of a vision of beauty in art that refers to the ideal of ecstasy and elevation—the only goals that the icon, as sacred art, seeks to achieve. Based on the aforementioned ideas, the aim is to explore how mysticism and aesthetics might engage in a dialogue to propose an artistic vision that can relate to the current debate on art, particularly in an era where religious themes require a new confrontation with the problems facing contemporary humanity.