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 the Transylvanian orthodox culture, in the 17th century. The Göreme monastic Complex of Caesarea of Cappadocia has a considerable list of churches with a 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 a 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, 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.