Abstract: The artistic world of Fyodor Dostoevsky is permeated with the tradition of Christian culture. At the core of his artistic vision stands the Christ-figure of the Incarnation—a figure that is both aesthetic and transfigured. Dostoevsky regards human beings as works of art created by God; he shapes his protagonists in the same way that icons are crafted and contemplated, striving to reveal their spiritual worlds through their images and countenances, and to restore the inherent divine image within humanity.The author pursues an icon-like way of seeing, seeking to penetrate the visible material reality and perceive the invisible spiritual realm as well as the transfigured vision of the world. His novels are filled with iconographic scenes, each resembling a modern icon: for instance, The Grand Inquisitor takes the form of a multi-layered nested painting, while Cana in Galilee evokes a triptych icon. Imitation of Christ constitutes the most fundamental sacred pattern in Dostoevsky's novels, as his protagonists reclaim the image of divine beauty through their Christ-like actions.