The article presents results of the research undertaken within the framework of the project #PHD-21-403 financed by Shota Rustaveli National Science Foundation of Georgia (SRNSFG). Revival of the modern Georgian icon painting started from the seventh decade of the 20th c. From the very beginning, national artistic form was a priority both in visual and musical ecclesiastic art; however, on the turn of the 20th to the 21st cc., general attitude towards national form proved to be quite critical. The problem emerged – which chanting and what icon painting is canonical for the Orthodox Church. Holy Synod of the Church of Georgia sanctioned Georgian polyphonic chanting. From the 17th c. onwards, canonical norms of the Georgian icon painting were influenced by the Church of Russia. Norms established there were obligatory for Georgian icon painting, as well as the norms of Russian church service. At present, widespread practice links norms of the canonical icon painting with the particular Russian and Byzantine style. Such an approach hinders development of the icon painting and, in its own turn, does not correspond to the world church law. As decreed by the Seventh Ecumenical Council, the main purpose of the icon painting is visualisation of the Gospel truth in such a way that the represented is perceptible, can serve as a model and should be venerated. Viewpoint of various famous icon painters concerning this issue coincides with that expressed in Georgia – development of modern icon painting requires establishment of the true criteria of the canonical norms; they should be linked with the theological purpose and not with any particular artistic style. This is the attitude of the Orthodox Church and the goal of the icon painting is striving for the modern ecclesiastical artistic language.