MEDIAEVAL TRADITION OF THE ICON PAINTING IN MACEDONIA

Milco Georgievski
Art Historian, Senior Curator of the Icon Gallery-Ohrid, Macedonia

Christianization and the beginnings of the Christian art in Macedonia Macedonia is the gate through which Christianity entered Europe. According to the New Testament sources (Acts 16:9-15), Saint Apostle Paul began spreading Christianity in Macedonia and the rest of the Balkans towards the middle of the first century AD. Here the term Macedonia refers to the broader geographical region in the Balkan Peninsula of which the Republic of Macedonia is also a part. At the time when St. Paul visited the region two times during his journeys through Europe and Asia, Macedonia, being a Roman province, often changed its borders and its ethnic composition. During the Diocletians persecutions of the Christians in the 3rd and 4th centuries, the Bishop Erasmus of Antioch came to Ohrid. There, he converted to Christianity thousands of people, after which he went to Formia in Italy and died there in 303. A monumental Early-Christian basilica at the approach to Ohrid and near the lake, as well as a tiny cave church on a nearby stony cliff, both dedicated to this saint, still stand as reminders of his fame. As a result of the Christianization in the first three centuries, the Christians in Macedonia at the beginning of the 4th century already had an organized Church with an established ecclesiastical hierarchy, whose bishops regularly participated at the ecumenical councils. In the 5th and 6th centuries the Church had several metropolises and dioceses, among which the most distinguished being those of Scupi, Bargala, Stobi, Tiberiopolis, Heraclea Lynkestis and Lychnidos. The early penetration of the Christianity in Macedonia, together with its cult and refined art is certified by the numerous remains of monumental Early Christian basilicas in these places, decorated with marble colonnades, extraordinary beautiful mosaic floors, fresco-paintings and other works of art. While the beginning of Christianization of Macedonia is more or less known, the very beginnings of its Christian art, despite the numerous remains from that period, are still insufficiently researched and revealed. The earliest artistic proves of the unstoppable penetration of the Christianity and its rooting in this area, long before the definitive Christianization of the Macedonian Slavs in the 9th century, are the floor mosaics in the mentioned basilicas, the terracotta relief tiles from Vinica (5th-6th century), some fresco fragments from the Episcopal basilica in Stobi (6th century) and the earliest fresco presentation of the Holy Fifteen Martyrs of Tiberiopolis, painted in 9th-10th century in the homonymous church in Strumica. This early period of Christianity on the Macedonian ground has left a
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variety of significant remains, from different artistic disciplines except from icon painting. This is partly a result of many robberies, but mostly of the burning and destroying of icons during the Iconoclastic controversy that lasted all over the Byzantine Empire for more than a hundred years, from 726 till 843, when the empress Theodora proclaimed the restoration of icons on May 11th. Since that time the first Sunday of Great Lent has been celebrated in the Orthodox Church as the feast of the "Triumph of Orthodoxy". About the icons and iconostasis in general The word "icon" (Greek e i n-an image, figure) does not mean just a portrait or an image but, first of all, symbolic image of Jesus Christ, Mother of God, St. John the Forerunner, apostles and other canonized saints of the Christian Church or some event from their lives. One of the basic functions of orthodox icon, which is primarily pedagogical, is depiction in lines and colors what the scriptures and other writings of the Church describe with words, so that the illiterate people could also understand it. Although at the mention of the word "icon" usually the first thought is of a painted wooden board in tempera, there is a variety of techniques and materials that were used to make icons. There were icons painted in an encaustic technique, bas-reliefs in ivory, steatite or wood, icons made in an enamel technique, mosaic, metal icons made of gold and silver, embroidered icons and so on. The icons were placed mainly on the iconostasis on the church, although they were also put on the proskynetaria, in the altar and some other places. The iconostasis is a built, made of stone or wooden screen that separates the nave of the church from the altar space, separating in that way the space for the sanctified from the space where the believers stand during the Service. As a screen between the altar and the nave, the iconostasis is a symbolical border between the material and spiritual, between the heavenly and earthly, between the visible and the invisible. Throughout the history, the altar screen has passed through many transformations. The former altar screen in the Early Christian churches was a construction with pillars, architrave beam and parapet panels, while the openings between the pillars were closed with curtains-catapetasma, that were pulled on and off during the Liturgy. By putting icons in the spaces between the pillars and on the architrave beam, the altar screen has got the present-day form of the iconostasis. The adornment of the iconostasis was settled as recently as the 11th and 12th century, and from the 14th century on, the wooden, carved and gilt iconostasis became taller and taller, reaching even 6-7 tiers (in Russia). In Macedonia the iconostases usually have 3, and very rarely 4 tiers and if so, the fourth tier contains icons of the prophets. The first, so called Sovereign tier, contains icons of Christ, Mother of God, St. John the Forerunner and icon of the saint or feast
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to whom the church is dedicated. In the second tier there are icons of the Great Feasts, usually 12 but sometimes more or less, depending of the size of the church and thus of the width of the iconostasis. The third tier contains icons of the Apostles and the Deisis in the middle, while on the top is the big Cross with the Crucifixion. In the middle, between the icon of the Mother of God on the left, and the icon of Christ on the right, there are the Royal Doors, while the north and south doors, the so called diaconic or angelic doors are adorned with depictions of the holy deacons and archangels. Fresco-icons Regarding the fact that in Macedonia there are not many preserved icons painted on wood from this early period, we have to judge about their style and quality according to the icons, painted in fresco technique on the pillars or walls on both sides of the stone iconostases. There are several such examples in the churches in Macedonia of which one of the earliest is in Ohrids cathedral St. Sophia. On the walls of the diaconicon and the prothesis, there are fresco-icons of significant church bishops. The unknown artist has painted them in separate frames so that these fresco-icons leave an impression as they are painted on wooden boards. Besides these fresco-icons on the walls, we find also such works, connected to the iconography of the iconostasis. In the same church in Ohrid there are two big fresco-icons of the Virgin with Christ on the western side of the pillars in front of the former marble iconostasis, painted and decorated with richly ornamented frames in the middle of 11th century. The most impressive of the fresco-icons are those that are painted on both sides of the marble iconostasis in the St. Panteleimons church in the village of Nerezi near Skopje. They are painted in meticulously made frames in stuccowork and the precision and refinement of the creation of the figures of the patron of the church and the Virgin with the little Christ point to the special treatment and importance of these fresco-icons. Fresco-icons were painted in 1191 in the small church of St. George in the Prespa village of Kurbinovo where, on both south and north walls, we find such pictures of the patron of the church and Jesus Christ. The holy warrior St. Nicetas in the homonymous church near Skopje (1307) is depicted in a specially decorated, painted frame, on the northern wall, next to the place were the former marble iconostasis touched the wall. This concept of fresco-icons is best shown in the church of St. George in the village of Staro Nagorichane near Kumanovo. Here the patron of the church and the Mother of God of the Pelagonitissa type are painted directly on the iconostasis, in the intercolumniations which are closed with bricks an plaster, while on the western side of the pillars there are framed fresco icons of the fulllength figures of the Mother of God Keharitomeni ("Full of Grace") and Christ Eleimon ("The Merciful"). All these fresco-icons, first of all, point to the fact that the fresco painting
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was very closely connected to the icon painting and that the icons on wooden boards were products of the same workshops, and very often of the same artists that worked on the fresco decoration in the numerous churches throughout Macedonia and the Balkans. The icon painting from the middle of 11th till the end of 13th century Icon painting takes very important place in the general history of Byzantine art and in Macedonian mediaeval art in particular. Besides the numerous robberies and destructions in the past, thousands of icons still exist in Macedonian churches, museums, galleries, private collections and homes. Most of them were painted in recent periods, but there are also many of them dating back from the middle of 11th century up to the end of 15th century. Some of the Macedonian icons, especially those from the Icon Gallery in Ohrid, besides the icons from Mt. Sinai, Mt. Athos and Russia, are considered as the greatest achievements of the Byzantine and Slavic icon painting and show the developed aesthetical sense of their creators and purchasers as well as the high cultural and artistic level of the milieu where they were created or imported to. With the arrival of St. Clement in Ohrid in 886 and his reach activity that lasted thirty years, this city became the most important religious, cultural and artistic center in the western Balkans. Although we can claim with a great certainty that in that period there have been lots of icons, unfortunately, till now there is no icon discovered in Macedonia that, according to an inscription or in accordance to the stylistic analysis, should be dated in the period of activity of SS. Clement and Naum of Ohrid i.e. from 9th-10th century. The following of the development of the medieval icon painting in Macedonia is possible as recently as the second half of the 11th century, because the oldest icons painted on wooden board date exactly from that time. There are two icons in Macedonia preserved from this period. The first one is chronologically dated around 1045/50 and the other one to the second half of the century. The first icon, where two bishops, SS. Basil and Nicholas are represented in full length, is distinguished by solid workmanship and an extraordinarily refined artistic expression, very close to the style of the frescoes in the church of St. Leontius at Vodocha (1037) and the cathedral church of St. Sophia at Ohrid (1056). The other icon depicts the Forty Martyrs of Sebaste. The subject of this icon is taken from the legend that was especially celebrated in Constantinople and is very rare in Byzantine art in general, so this icon is considered to be one of the oldest known icons with such a depiction. This scene occurs more frequently in the fresco painting then in icon painting, and in Macedonia we have it in several churches such as in the mentioned St. Leonthius in Vodocha and St. Sophia in Ohrid, as well as in the monastery Lesnovo from 1341 and some others. A small icon with a theme that was treated very rarely in Byzantine icon painting belongs to the most significant creations from the end of 11th or the beginning of the 12th century. The icon of the Communion of the Apostles is the oldest one with such a presentation found on
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Macedonian ground. Generally, it has not the features of the icon painting from the artistic workshops in Constantinople or Salonika, but it could be attributed most probably to some local painter. By the end of the 11th century, during the rule of the Comneni dynasty (1081-1204), the monumentality in the painting started to decline in favor of the conventionalized, graphical forms with an emotional, dramatic tendency. The principal examples of this style are the frescoes from the church of the Virgin Eleoussa in Velyusa, near Strumica (c. 1080), then in St. Panteleimon in Nerezi (1164), near Skopje and in St. Georges in Kurbinovo (1191), in Prespa. When we discuss about the icon painting of this early period in Macedonia, we have to mention two large icons that together make the scene of the Annunciation. The first icon shows the enthroned Virgin, and the Archangel Gabriel is the other one. This is considered an archaic solution that was implemented under the influence of wall painting and in some way chronologically determines the time of their origin, most probably the time of the archbishop Leo Mung (1108-1120). The style of these icons shows a refined elegance in design and composition, while in the treatment of the figures, we can feel the well known graphicness from the time of the Comneni dynasty that will become very typical for the painting of the second half of the 12th century. Almost one hundred and fifty years passed from the origin of the oldest icons in Macedonia without any significant accomplishment that is preserved so far. The second half of the 13th century brought a linear trend in the icon painting with tries of accentuation of the three-dimensionality of the forms. This phenomenon may be observed also in the wall paintings of several Macedonian churches, such as in the Holy Archangels (c. 1275) and St. Nicholas Church in Priliep (1298) and in St. Nicholas church in the village of Manastir in Mariovo (1271). The large icon with the presentation of Christ Pantokrator is the earliest icon found so far with the exact date of its origin. Namely, the inscription on the reverse of the icon mentions Constantine Cavasilas, the archbishop of Ohrid, as its donor as well as the year 1262/63. The attempts of its painter author to present the human body threedimensionally and his moving away from the pronounced linearity of the Comneni period are notable, but the ancient practice in his artistic treatment still can be felt. Such an old-fashioned treatment prevails in the icon of St. George from Struga. According to the long inscription in Greek on the back of this icon, it was painted by the deacon John, in 1266/67, the earliest known medieval icon painter in Macedonia. The figure of the saint is quite calm and stiff while his outfit, weapons and all the ornaments are carried out with much more care. One of the real masterpieces of Byzantine icon painting, which was most probably produced in Constantinople and then brought to Ohrid, belongs to the second half of the 13th century. This is the processional icon of the Mother of God Hodigitria with the Crucifixion of Christ on the reverse. The unknown author of this icon, who painted both sides, doubtlessly belonged to the rank of the most talented painters of his time.
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From the coming of Michael and Eutychios till the fall under Serbian rule 1295-1345 The new tendencies in the painting of the Constantinopolitan and Salonikan ateliers were arriving in Macedonia more directly and rapidly with the numerous talented painters from these artistic centers. They were invited by rich founders to decorate their newly erected churches as well as to paint icons for their iconostases. Two such painters, Michael Astrapas and Eutychios, arrived in Ohrid in the last decade of the 13th century by invitation of the great commander Progon Zgouros in order to decorate his newly built endowment, the church of the Mother of God Peribleptos (1295). Besides the decoration of this church, they also decorated the church of St. Nicethas near Skopje (c. 1320), the church of St. George in Staro Nagorichane (1318) as well as several churches in Serbia. By completing these works, they aided the process of developing and forming a very individual and particular style in painting. The paintings of Michael and Eutychios and their school that features a unique artistic expression is referred to in the history of art as a "renaissance of the Paleologues", after the name of the royal dynasty that has marked the whole epoch with its long reign (1261-1453). The most beautiful icon from this period which can be connected with the creative work of Michael and Eutychios from their earlier phase is the icon of the Evangelist and Apostle Matthew, one of the most representative Byzantine icons in general. By its look and plastic treatment, the magnificent figure of the evangelist who holds an open Gospel in the hands, has its doubles in the figures on the walls of the church. On the frescoes of Peribleptos we can find saints whose heads are very similar to the head of Matthew and with the same treatment in the realization of the drapes as can be seen on his vestment. The icon of the Mother of God Hodigitria (1318-1321) from the small church of St. George in the village of Banyani near Skopje, which originally was probably part of the iconostasis of St. Nicetas church, bears all the features of the Paleologan style. According to the overall impression, it could also be a work of Michael and Eutychios workshop, or some anonymous painter who was, doubtless, under strong influence of their painting. A larger group of feast-day icons from the Peribleptos church in Ohrid, consisting of the icons of Nativity of Christ, Baptism, Descent into Hades, Incredulity of Thomas, Preparation of the Cross, Presentation of the Virgin, Ascension of Christ and Dormition of the Mother of God, can also be attributed to their school, as well as the large icon with a magnificent revetment of silver-gilt, with depiction of the Mother of God Peribleptos that was the temple icon of the church. Several icons from the period between the construction of the Peribleptos church in Ohrid (1295) and the fall of Macedonia under the Serbian rule (1345), belong to the most significant works of the Byzantine icon painting in general. These are, first of all, the processional icons of the Mother of God Psychosostria with
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the Annunciation on the reverse and Jesus Christ Psychosostis with the Crucifixion. According to the high artistic value of their painting and, especially, their magnificent revetments made of silver-gilt and enamel, these icons have most probably been painted in the imperial workshops of Constantinople. The epithets of the saints as "saviors of the souls" connect them with the source monastery of this cult, the church of the Mother of God Psychosostria in Constantinople and thus explain their Constantinopolitan origin. Besides the numerous icons from the period before the total fall of Macedonia under the Serbian rule, there is one that deserves particular attention. That is the icon of the Mother of God Episkepsis, which, although discovered in the church of the Holy Physicians the Lesser in Ohrid, was not originally assigned for this church because it has been shortened to fit in the opening of its iconostasis. The icon of St. Nicholas with scenes from his life is very close to the style of the frescoes of the same church and some other churches in the Ohrid area The icon painting from the period of the Serbian rule 1345-1395 Even in the newly created conditions when the authority of the Serbian medieval state was established, activities in the field of the painting did not abate. Main characteristic of the art from the middle of the 14th century is the narrative way of presenting of the Christian history, the rich coloring and full forms with a particular attention to the scenery, full of details from every days life. The most typical examples of these tendencies in the art are the fresco ensembles in the churches of the Lesnovo monastery (1340-1349), Zrze monastery (c. 1370) and the church of the Markos monastery (1376/7). The artistic works from this period can be roughly systematized into three groups: icons that were purchased in Salonika or were created in most direct contact with the Salonikan painting, icons that were made under the influence of the Western art of Byzantine origin and icons painted by the local painters, regardless of their ethnic origin. The two oldest icons from this period, which are also the largest ones in Macedonia, were most probably painted for the iconostasis of the cathedral church of St. Sophia in Ohrid. These are the icons of Mother of God Psychosostria and Jesus Christ Pantokrator that originate from the same workshop, even by the hand of the same artist. The soft modeling of the faces, the balance of the poses and movements, as well as the skillful use of the colors, point to an artist from the Salonikan painting school. The second group of icons, where the spirit of the Western art of Byzantine origin pervades, is represented with the icons of the Virgin with Christ and St. Nicholas. Their identical size shows that they are pendants and the style of painting and, especially, the silver revetments, indicates that they were created in the same artistic workshop that was obviously under the strong influence of the West.
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There are no historical sources that would precisely answer the question where does the influence of Western stylistic elements on these icons come from. But, it is a fact that in the provinces of the Serbian state in the second quarter of the 14th century the so-called "pictores graeci" appeared. They were mostly Greeks who worked on the Adriatic coast and so, the stylistic concepts and comprehension of these painters have also reached Macedonia after its fall under the rule of the Serbian medieval state. The third group of icons, mainly from the second half of 14th century, that were painted in the local painters workshops, stands out as particular. The icon of the Virgin with Christ from St. Archangel Michaels church in the Lesnovo monastery was painted after 1349, when the wall painting was completed. Observed as a whole, this work gives an impression of a successfully realized image of the Mother of God, but the dry and lifeless line of the drawing and the unequal coloring reveal the hand of a local artist. The painters who painted frescoes in the churches also used to paint icons for their iconostases. It seems that this practice occurred very frequently. So, the author of the wall painting in the church of the Mother of God Bolnichka in Ohrid painted the Royal Doors for its iconostasis. On the preserved left wing, the figures of Prophet Solomon and Archangel Gabriel are depicted with an expressive plasticity and strong contrast of light and dark, identical with the treatment and the types of saints in the medallions on the northern wall of this church. Same is the case with the painter of the scene of the Presentation of the Virgin, painted on the reverse of the renowned Ohrid icon of the Mother of God Peribleptos. The unknown artist, who is considered to be an author of the wall painting of the north chapel of the Peribleptos church in Ohrid, has painted this icon around 1365. Being more skilled in fresco painting technique, he couldnt avoid the wide strokes of his brush on this icon and the thick black line that frames the painted figures. Among the very few painters from the second half of the14th century that are known by name is John Theorianos, whose stylistic features mark the painting in Ohrid from that time. Around 1346/50, this painter painted the frescoes on the second floor of the narthex of Ohrids cathedral St. Sophia. The processional icon from the last quarter of the 14th century with depictions of SS. Clement and Naum of Ohrid is also considered as his work. The two Slavic saints are presented in an iconographical shape that was fully customized already in the 14th century icon painting in Ohrid. Outside the Ohrid icon painting center, in the center around the monasteries Treskavec and Zrze, near Prilep, in the region of Pelagonia, in the decades before and after the fall of Macedonia under Ottoman rule, several very significant icons were created by Macedonian icon painters. The anthological icon of Christ as Savior and Life giver is depicted in 1393/94, by the renowned painter, author of the fresco-painting of the Church of St. Andreas on the Treska River, the metropolitan John from the village of Zrze near Prilep.
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In the creative work of the metropolitan John and his brother Macarios the Painter, who lived and worked in the last decades of the 14th and the first decades of the 15th centuries, the beginning of the Ottoman rule in Macedonia, we still find the essential elements of the ripe painting of the 14th century. The importance of the workshop of these two painters is even bigger because it was based upon the traditions that were created in the artistic centers in Macedonia. That is, in some way, the path for the next painters generations, who, in the time of the biggest temptations, have used the experiences of these masters. From the fall of Macedonia under Ottoman rule till the collapse of Byzantium 1395-1453 The fall of Macedonia under the Ottoman rule in 1395 and the break of communications with the trading and cultural centers have significantly reflected to the construction of churches and religious art in general. The fact that the Ottomans did not repeal Ohrid archbishopric is of remarkable importance for maintaining the continuity of the artistic creativity in Ohrid and Macedonia in general. But the production of painters works in this period was considerably reduced as well as the quality of the new creations. The contemporary tendencies that were coming from Constantinople by the end of the 14th and the beginning of 15th century can be followed in Macedonia on the example of the icons from the sovereign tier of the renewed iconostasis in the Markos monastery near Skopje, painted by an unknown painter around 1400-1405. The icon of the Mother of God Pelagonitissa, according to the inscription written in church Slavic language on its frame, was painted in 1421/22 by the monk Macarios, brother of the metropolitan John. This icon is an extraordinary significant work of art in the Macedonian medieval icon painting according to its technical treatment as well as after its inventive solution of the composition by which the inner, deep feelings, between the little Christ and his Mother are shown and stressed in a very simple way. The Mother of God is presented as a tender, but sorrowful mother, embracing her son on her chest, while the infant Christ is caressing his mother, touching her cheek with his lips. The attribute Pelagonitissa that was given to this icon is, doubtlessly, connected with the plain Pelagonia in the area of Bitola and Prilep and is not far from the monastery of the Holy Transfiguration in Zrze. Another significant work of art from the middle of the 15th century is the icon of the Mother of God Eleoussa from the church of St. Nicholas in Varosh, near Prilep, which is fully painted under strong influence of Macarios iconography. The Royal Doors, painted around the middle of the 15th century for the iconostasis of the small church of the Mother of God in the village of Botun near Ohrid, are a very good example how the newly created, difficult economic conditions reflected on the decrease of the artistic quality and especially splendor of icons, known from previous epochs. Finally, the end of the Byzantine era came with the fall of Constantinople
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to the Ottoman Turks on May 29th 1453. But by this time the Byzantine cultural and artistic traditions have been widely spread, accepted and cherished on the Balkans. Russia became the centre of the Orthodox world following the Ottoman conquest of the Balkans, but even under Ottoman rule, Byzantine traditions in icon painting and other small-scale arts survived in Macedonia, Bulgaria, Serbia, Romania, following their specific way of development in the newly created conditions under the Ottoman rule. The sudden impoverishment of the population facilitated the reduction of the demand for icons. This was the reason for dismissal of many painters groups. Those of them that survived had to adapt to this situation, working in a limited, local area for extremely low prices that the rare purchasers could pay. Even later, in the 16th and 17th centuries, the icon painting in Macedonia began its revival, but without any remarkable accomplishments and serious hopes to reach those high qualities that have been so usual in the previous epochs.

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Selected Bibliography: Babic G., Ikone, Zagreb, 1980. Balabanov K., Novootkrieni ikoni od XIII, XIV i XV vek, Razgledi I, Skopje, 1959. Balabanov K., Ikoni od Makedonija, Beograd-Skopje, 1969. Balabanov K., Kakvi podatoci dava ikonata sv. Gjorgi, rabotena vo 1267 godina od zografot Jovan za istoimenata crkva vo Struga, za tvorestvoto na zografot Jovan, za licnosta na ktitorot i vremeto na postanokot na gradot Struga, Muzejski glasnik 3, Skopje, 1974. Balabanov K., Ikonite vo Makedonija, Skopje, 1995. Barisic F., Dva grcka natpisa iz Manastira i Struge, Zbornik radova Vizantoloskog instituta VIII-2, Beograd, 1964. Blai Z., Konzervacija ikona u Makedoniji, Zbornik zatite spomenika kulture II, Beograd, 1952. Blazic Z., Konzervacija ohridskih ikona i nove konstatacije, Skoplje, 1957. Corovic-Ljubinkovic M., Les icones d'Ohrid, Beograd, 1953. Djuric J. V., Ikone iz Jugoslavije, Beograd, 1961. Djuric J. V., Crkva Sv. Sofije Ohridu, Beograd, 1963. Djuric J. V., Vizantijske freske Jugoslaviji, Beograd, 1974. Filov, Staroblgarsko izkustvo B., Sofija, 1931. Georgievski M., Icon Gallery-Ohrid, Ohrid, 1999. Georgievski M., The meaning of the icons and presenting of Jesus Christ and the Mother of God, in: The presentations of Jesus Christ and the Mother of God in the icon painting of Ohrid, an exhibition catalogue, Ohrid, 2000. Georgievski M., La tradizione medievale della pittura di icone in Macedonia, Luca Evangelista-parola e imagine tra oriente e occidente, Padova, 2001. Grabar A., Les revetements en or et en argent des icones byzantines du moyen age, Venise, 1975. Grozdanov C., Ohridskoto zidno slikarstvo od XIV vek, Ohrid, 1980. Ivanov I., Blgarski starini iz Makedonija, Sofija, 1937. Kasanin M., Ohridske ikone, Umetnost i umetnici, Beograd, 1943. Kondakov N. P., Makedonija-Arheologiceskoe putesestvie, Sanktpeterburg, 1909. Kondakov N. P., Ikonografija Bogomateri, II, Petrograd, 1915. Ljubinkovic R.-Corovic-Ljubinkovic M., Srednovekovnoto slikarstvo vo Ohrid, Zbornik na trudovi na Narodniot muzej vo Ohrid, Ohrid, 1951. Ljubinkovic R., Umetnicki okovi na nekim ikonama riznice Sv. Klimenta u Ohridu, casopis Jugoslavija 5 (Makedonija), Beograd, 1952. Macan J., Ohridskite ikoni, Kulturno nasledstvo V, Skopje, 1959. Mazalic Dj., Nesto ikonama iz crkve Sv. Klimenta Ohridu, Starinar-III serija, knj. 14, Beograd, 1939. Miljkovic-Pepek P., Avtorite na nekolku ohridski ikoni od XIII i XIV vek, Evtihie ili Mihajlo?, Glasnik na muzejsko-konzerv. drustvo na N. R. Makedonija, kn. 1, Skopje, 1954. Miljkovic-Pepek P., Materijali za makedonskata srednovekovna umetnost I Freskite vo svetilisteto na crkvata Sv. Sofija vo Ohrid, Zbornik na arheoloskiot muzej I, Skopje, 1956. Miljkovic-Pepek P., Ikona Uspenja Bogorodice iz crkve Sv. Nikole-Gerakomija Ohridu, Zbornik radova Vizantoloskog instituta LIX, Beograd, 1958. Miljkovic-Pepek P., Une icone de la comunion des apotres, Haristirion eis Anastasion K. Orlandou, Athina, 1966. Miljkovi-Pepek P., L'evolution des matres Michel Astrapas et Eutychios comme peintres d'icones, Jahrbuch der sterreichischen Byzantinischen Gesellschaft, XVI, Graz-WienKln, 1967.
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Miljkovic Pepek P., Deloto na zografite Mihailo i Eutihij, Skopje, 1967. Mijkovic-Pepek P., Licone de Saint Georges de Struga, Cahiers Archeologiques XIX, Paris, 1969. Mijkovic-Pepek P., Licone de la Vierge Episkepsis dOhrid, Kulturno nasledstvo III, Skopje, 1971. Mijkovic-Pepek P., Materijali za makedonskata srednovekovna umetnost III, Freskite vo naosot i narteksot na crkvata Sv. Sofija vo Ohrid, Kulturno nasledstvo III, Skopje, 1971. Mijkovic-Pepek P., Proucuvanjata na nekolku novootkrieni ikoni koi znacitelno ja zbogatuvaat makedonskata kolekcija, Kulturno nasledstvo IV, Skopje, 1972. Mijkovic-Pepek P., Deux icones nouvellement decouvertes en Macedoine, Jahrbuch der Osterreichischen Byzantinischen Gesellschaft XXI, Wien, 1972. Mijkovic-Pepek P., Za najstarata ikona vo makedonskata kolekcija, Zbornik na Arheoloskiot muzej na Makedonija posveten na Dimce , kniga VI-VII, Skopje, 1975. Mijkovic-Pepek P., Vodoca, Skopje, 1975. Mijkovic-Pepek P., Freskite i ikonite od X i XI vek vo Makedonija (voperiodot na Samoila ipo nego), Kultumo nasledstvo VI, Skopje, 1975. Mijkovic-Pepek P., Prilog kon soznanijata za solunskoto poteklo na slikarskata familija Astrapa i za moznoto poistovetuvanje na zografot Mihailo Astrapa so Panselinos, Godisen zbornik na Filozofskiot fakultet vo Skopje, 1979/80. Mijkovic-Pepek P., La collection Macedonienne dicones du XI au commencement du XV siecle, estratto da XXXIII corso di cultura sullarte ravennate e bizantina, Ravenna, 1986. Mijkovic-Pepek P., Crkvata Mali Sv. Vraci vo Ohrid, Kultumo nasledstvo XIX-XX-XXI, Skopje, 1996. Ostrogorski G., Istorija na Vizantija, Skopje, 1992. Panov ., Srednovekovna Makedonija, torn III, Skopje, 1985. Popovska-Korobar V., Icon painting in Macedonia (11th-19th c.), The art of the icon, Krakow, 2000. Popovska-Korobar V., Icons from the Museum of Macedonia, Skopje, 2004. Radojcic S., Ikone Srbije i Makedonije, Beograd, 1962. Snegarov I., Istorija na Ohridskata arhiepiskopija I-II, Sofija, 1924. Snegarov I., Grad Ohrid, Sofija, 1943. Tasic D., Vizantijsko slikarstvo Srbije i Makedonije, Beograd, 1967. Tatic-Djuric M., Ohridska Bogorodica Utesiteljka, Zbornik Narodnog muzeja XIII-2, Beograd, 1987. Talbot-Rice D., Umetnost vizantijskog doba, Beograd, 1968. Tatic-Djuric M., Poznate ikone od XII-XIV veka, Beograd, 1984. Weitzman K., Chatzidakis M., Miatev K., Radoji S., Ikone sa Balkana, Beograd-Sofija, 197

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