This article is an attempt to outline a model of spiritual iconography. The main purpose of the article is to justify the thesis that this model appears to be formulated in the statements of a Moscow icon painter: A. Sokolov (died 2015). Initially, we assume that an icon has four main aspects: ecclesiastical (related to worship), theological, spiritual, and artistic, which closely relate to each other and determine its essence – iconicity. According to them, we can distinguish four models of iconography: each contains the whole iconicity, but each of them is dominated by a different dimension of it. On this basis, we assume the existence of a model built on the dominance of the spiritual element – a model that interprets iconography as spirituality. In order to show that this model is implemented by iconography as interpreted by Sokolow, we show that it has the structural features of spirituality. To this end, we refer to contemporary interpretations of ancient philosophy, which see it as spirituality (P. Hadot, M. Foucault); from them we draw the structural features of spirituality and indicate them in Sokolov’s formulations on iconography.