Reflection of Constantinople Art in Three Peripheries of the Byzantine World in the First Half of the 12th Century: the Balkans, Rus’ and Georgia

Monumental painting and icon painting from three peripheries of the Byzantine world (Macedonia and Serbia, pre-Mongol Rus’ and Georgia) of the first half of the 12th century reveal a clear parallelism. This can be explained by the fact that all the three countries had close contacts with Constantinople. The teams of artists working in Ohrid, Ras, Novgorod and Gelati used the same or similar Byzantine models as their colleagues throughout the Byzantine Commonwealth. The patterns of iconography, style and painting technique were common to all peripheries due to the established norms of Constantinople art during the reign of the early Comneni.