The article considers the problem of Pavel Florensky's reception of the Byzantine concept of image (icon). That is why not only the works of Florensky, but also the Byzantine philosophical texts of the iconoclastic period are used in the study. The author establishes that Florensky uses components of the Byzantine theory of image; nevertheless, his own iconology differs significantly from the philosophical conception of Byzantine iconodules. Florensky' iconology is based on the concept of time, which never was the matter of discussion in the Byzantine theory of image, rather than on the problem of connection between image and prototype (as it was in iconoclastic controversy in Byzantium). Florensky uses this innovation because of his spatiality ideas that he discusses in his Analysis of Spatiality. The author compares this and other works by Florensky with texts by Byzantine philosophers of the iconoclastic period (Three Treatises on the Divine Images by John of Damascus and Antirrheticus by Theodore the Stud