Similarities in iconographic art between rural churches from Transylvania in the 17th century and Caesarea of Cappadocia

The idea of the speech, goes round the importance of byzantine art inside Transylvanian orthodox culture, in the 17th century. The Göreme monastic Complex of Caesarea of Cappadocia has a considerable list of churches with relevant importance in Byzantine iconography. The popular character of this type of art developed on the walls of these architectural jewels manifests itself in the left-handed, but expressive and with such great spontaneity drawing: also, with predilection for narration that lends many elements from the illustration of the Apocryphes, which were born from people’s inclination to very detailed stories. This byzantine style we have had for centuries and which is tight to our Christian roots, was cultivated in Wallachia and Moldova and Transylvania in the 14th and 15th centuries and the post-byzantine style in Wallachia in the 15th and 16th centuries. There are similarities between churches raised in the 17th century in Transylvania and the ones from Caesarea of Cappadocia. We refer mainly to the iconographic painting of the Hunedorian churches.
Lucrarea face referire la importanţa artei bizantine în cultura ortodoxă a secolului XVII în Transilvania. Complexul monahal de la Goreme deţine o listă considerabilă de biserici de o mare relevanţă pentru iconografia bizantină. Stilul popular, naiv dar deosebit de expresiv, spontaneitatea liniei şi aplecarea spre narațiune, s au născut din dorința oamenilor de a spune povestea cât mai în detaliu. Stilul bizantin e strâns legat de rădăcinile noastre creştine şi a apărut în Ţara Românească şi Moldova în secolele 14 şi 15 iar stilul post-bizantin în Țara Românească în sec 15 si 16. Sunt similitudini între bisericile de sec 17 în Transilvania şi cele din Caesarea Cappadociei. Ne referim în principal la pictura din bisericile hunedorene.