Books by Alexandra P H . TRIFONOVA
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PhD at Aristotle University of Thessaloniki (in press)
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Εικόνες Ιεράς Μονής Καρακάλλου [Icons of the Holy Monastery of Karakallou Mont Athos]
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Papers by Alexandra P H . TRIFONOVA
Актуальние проблемыи теории и истории искусства / Actual Problems of Theory and History of Art,, 2023
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Zograf, 2022
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ΣΤ΄ Επιστημονικό Συμπόσιο Νεοελληνικής Εκκλησιαστικής Τέχνης, 2022
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Проблеми на изкуството / Problemi na izkustvoto, 2022
In this article thirty Greek inscriptions, dating back to the first quarter of the 18th till the ... more In this article thirty Greek inscriptions, dating back to the first quarter of the 18th till the third quarter of the 19th century, which come from the church of St Kyriake (Nedelya) in Plovdiv (Philippoupolis) or refer to it, are presented. These inscriptions, preserved on portable icons, paper, metal and marble, are grouped in categories - ktetors inscriptions (4), dedicatory inscriptions (16), grave inscriptions (8) and inscriptions with the name of the painter (2). They give valuable information about the Metropolis of Philippopolis and its clergy, as well as about the society of the town, including secular persons – donors, painters, goldsmiths, deceased persons, and merchants’ guilds.
More precisely the presented members of the ecclesiastical circle in the inscriptions are the metropolitan of Philippopolis Nicephorus of Lesbos (1824-1850) and two hieromonks - Kirkos (beginning of 18th c.) and hadji Cyril of Bachkovo (†1851).
The secular persons, among which donors of icons and metal work, appear from the first quarter of the 18th century to the second quarter of the 19th century - Konstantinos Mounidzoglou, anonymous orthodox Christians of Philippopolis, some couples with their children – Vlasios and Rali, Panayiotis and Smaragda, Georgakis and Mariola, Valko and Elisavet, Ioannis and Smaragda, the couple Konstantinos and Melahro, someone Peyo and the Zafeiriadis brothers.
The painters, referring to the Greek inscriptions, are three of the third quarter of the 19th century – Stefanos Antoniadis, Dimitrios and Stefanos Adrianoupolitis. The main painter of the iconostasis’s icons, who is not signed in the inscriptions, undoubtedly according to the style of painting is Dimitar Hristov Zograf from Samokov, along with his brother Zaharij Zograf, who left as well some icons.
The inscriptions refer also to a goldsmith from the first quarter of the 18th century – Georgios Papamanoli Nazloglou.
The deceased persons, buried in the yard of the church from the second to the third quarter of the 19th century are the parents of Artritsa Panayotou, Milahro hadji Iovani, Manouil and Teofano, Georgios Papasaoul, hadji Ioannis Konstantinou Tiutious, Lambros Petrou Kazisis and Maria Athanasiou, Zhelyo D. Boyadzis, and Christos.
The inscriptions give as well information about four merchants guilds during the second and the third quarter of the 19th century – the guilds of μπαχτσεβαζήδων (gardeners), of κουιομτζήδων (goldsmiths), of τσοχατζήδων (makers of soft woolen textile named tsoha) and of σαλτζίδων (sellers of textile).
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Манастирот Слепче и пост - византиската уметност на Балканот од XVI и XVII век, 2021
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Αρχονταρίκι. Αφιέρωμα στον Ευθύμιο Ν. Τσιγαρίδα, ΤΑΠΑ, Αθήνα , 2021
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Проблеми на изкуството / Problemi na izkustvoto, 2021
In the Art Gallery “Dimitar Dobrovich” in Sliven an icon of the Virgin Gorgoepikoos (Skoroposlush... more In the Art Gallery “Dimitar Dobrovich” in Sliven an icon of the Virgin Gorgoepikoos (Skoroposlushnica), painted in 1818, is kept. The central representation, according to its inscription and iconography, is a copy of the homonymous miracle-working icon of the Docheiariou monastery on Mount Athos. The Virgin with Christ is surrounded by six medallions with depictions of the miracles, made by the Virgin and her miraculous icon. In two of these scenes there are represented also the archangels Michael and Gabriel. In the lower part of the icon there is a depiction with the ktetors of the Docheiariou monastery - the monks Euthymios and Neophytos, as well as a dedicatory inscription of 1818, which is not wellpreserved. All the inscriptions of the icon are in Greek. To date there are no other known depictions of the miracles of the Sliven’s icon. It seems that they are related to an unpublished manuscript of the Docheiariou monastery, which was used by Nikodemus the Hagiorite in his book Synaxarion. Among the settlements, where the fame of the Virgin Gorgoepikoos was spread, Nikodemus the Hagiorite refers also to the town of Sliven. The icon is related with the metochion of the Docheiariou monastery in Sliven, established at the end of the 18th century. The mentioned in its dedicatory inscription person, named Ioannikios, is probably the same name monk of the Docheiariou monastery, who was oikonomos of the metochion at the beginning of the 19th century.
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Zograf , 2021
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Проблеми на изкуството / Problemi na izkustvoto, 2021
In this paper an icon of st Anastasia Pharmakolytria with eight life scenes (1789) is presented (... more In this paper an icon of st Anastasia Pharmakolytria with eight life scenes (1789) is presented (fig.1-2). The icon originates from the monastery of St Anastasia on the St Anastasia island of the Black Sea Coast, but nowadays is kept in the church of Dormition of the Virgin (1869) in Burgas.
The icon of st Anastasia Pharmakolytria bears the following vita scenes: 1. St Anastasia reads the letter of her teacher Chrysogonous (fig. 3). 2. St Anastasia imprisoned by the perfect’s order 3. St Anastasia in front of prefect Phloros (fig.5). 4. St Anastasia in front of emperor Diocletian (fig.6) 5. St Anastasia in front of king Poplios (fig.7). 6. St Anastasia in front of the perfect of Bethania (fig.8). 7. St Anastasia in a ship with a lot of martyrs (fig.9) 8. The martyrdom of st Anastasia in the fire (fig.10). There is also a donor’s inscription: † δέησις Τοῦ δούλου Τοῦ Θ(εο)ύ, Γεωργάκ[η …]χατ[………..] / αψπθ ὀκτωβρίου / κγ / χεῖρ δημητρίου - / προςκυνητοῦ (fig.11), which indicates that the icon was ordered by Georgakis and was painted by Dimitrios pilgrim (προσκυνητής) on 23th of October 1789.
The presented icon is of great iconographical interest, because is the one of the three known vita icons of st Anastasia Pharmakolytria from the Balkans. Moreover, our research indicates that five of its life scenes are unique, which indicate that the painter of the icon, Dimitrios pilgrim, was inspired by a vita text of st Anastasia Pharmakolytria or by another lost nowadays vita icon of the saint.
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Monumenta, 2019
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Bulgaria Mediaevalis, 2018
In this paper 20 Greek inscriptions, preserved on a mural painting, icons and grave plaques, whic... more In this paper 20 Greek inscriptions, preserved on a mural painting, icons and grave plaques, which originate from the church of Dormition of Virgin (1845) in Plovdiv (Philippopolis) are presented. They date back from the last quarter of the 17th to the third quarter of the 19th cc. and give valuable information about persons from the ecclesiastical and social circles of Plovdiv (Philippopolis).
The mentioned in the inscriptions persons from the ecclesiastical circles refer to a Metropolitan of Philippopolis, Neophytos (last quarter of the 17th c. – 1711), during whose archbishopric the old church of the Virgin was build, in the place of which nowadays the church of Dormition of Virgin (1845) is erected. The other one is the rhetor of the same Metropolis, Andronikos (last quarter of the 17th c.), who gave the money for the mural painting of the above mentioned church of the Virgin.
The persons from the social circle, mentioned in the inscriptions, refer to Greeks and Bulgarians donnor’s and all of them were in a direct or indirect relation with the powerful Čalukov (Čaloglou or Čalukoglou) family in Plovdiv (Philippopolis). These persons sponsored the execution of different icons for the church, as Dimitris Tsaharlis - st Demetrios on a horseback (1812), Lucia and her children – st Menas (1846), Salčo Ioannou (Čomakov), together with his wife and children - st Stylianos (1846), Iakov Kendindenoglou – st Jacob (1846), Georgi Stoianovič (Čalukoglou) – st George (1846), Ioannis Dimitriou Sitsianis – st John the Forerunner (1846), Dimitrakis Kyriakou Mitsouras – st Demetrios (1846), Eustathios Ioannou Tsironis – st Spyridon enthroned (1846), Iskro Iskrov Kesak (Kesiakov) – st Nicholas enthroned (1846) and Teodor Vulko Čaloglou – Dormition of the Virgin (1848).
The provided from the inscriptions information about persons from the artistic circle refers to the painter Nicholaos, who could be identified as Nicholaos Adrinaoupolitis, the author of the above mentioned icons.
The inscriptions give also information about the descended persons in Plovdiv (Philippoplis) from the second to the third quarter of the 19th century, mostely Greeks, among which are Panagiotis Dimitriadis (†1838), Eleni (Politoglou) Čalukova (†1848), Anastasia Konstantinou Noutsi (†1852), Konstantinos Andreou Garginos (†1854), Teodoraki Stoian Teodorou (†1856), Ioanis Dimitriou Sitsianis (†1857) and S. Tsikerdekis (†1865).
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Културното наследство на Странджа – богатство, рискове, предизвикателства, А. Николов (ред.), 2019
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Ε΄ Επιστημονικό Συμπόσιο Νεοελληνικής Εκκλησιαστικής Τέχνης, 2020
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Δελτίον της Χριστιανικής Αρχαιολογικής Εταιρείας , 2019
Dans la présente étude, nous nous proposons d’examiner, par ordre chronologique, onze icônes de l... more Dans la présente étude, nous nous proposons d’examiner, par ordre chronologique, onze icônes de l’époque des Paléologues, plus exactement, de la seconde moitié du XIIIe jusqu’ au dernier quart du XIVe siècle, d’origine différente, qui sont conservées dans différents musées de Bulgarie. La plupart de ces images proviennent de Nessebar, sur la mer Noire. Il s’agit en particulier des icônes, représentant la Vierge avec l'enfant Kiria Zoïss (Maîtresse de la Vie) (de la seconde moitié du XIIIe siècle) de Nessebar (fig.1); la Vierge Odigitria (icône en mosaïque du premier quart du XIVe siècle) d’Constantinople (fig. 2); saint Georges (icône bilatérale de la première moitié du XIVe siècle, deuxième couche du XVIIe siècle) et ses parents saint Gérontes et sainte Polychromie (première moitié du XIVe siècle) de Nessebar (fig. 3); l’Assemblée des Archanges (milieu du XIVe siècle) du monastère de Bačkovo (fig. 6); un saint hiérarque anonyme (milieu du XIVe siècle) d’origine inconnue (fig.7); un sujet inédit (la sainte Vierge ?) (icône bilatérale) et la Crucifixion (seconde moitié du XIVe siècle) de Nessebar (fig. 9); saint Jean Chrysostome (seconde moitié du XIVe siècle), d’origine inconnue (fig.12); le Christ Pantokrator (icône bilatérale, seconde moitié du XIVe siècle) et la Descente de Croix (début du XVIIIe siècle) de Nessebar (fig. 14); l’icône bilatérale de la sainte Vierge Cataphighie (Refuge) et saint Jean Chrysostome (dernier quart du XIVe siècle) et le Miracle de Latôme (dernier quart du XIVe siècle) du monastère de Poganovo en Serbie méridionale (fig. 16-17); la Crucifixion (dernier quart du XIVe siècle) du village de Bania, région de Bourgas (fig. 20) et saint Jean de Rila (dernier quart du XIVe siècle) du monastère de Rila (fig.23).
La plupart des icônes proviennent des villes du littoral de la mer Noire, notamment, de Nessebar et de Bourgas et sont par conséquent, l’œuvre d’artistes, ayant été en relation directe avec les ateliers constantinopolitains de peinture d’icônes de cette période. C’est bien naturel, puisque les villes littorales de la mer Noire se trouvaient à proximité, aussi bien par terre, que par mer, de Constantinople, la capitale de l’Empire byzantin, avec lequel elles entretenaient des relations commerciales et d’où elles importaient, de même que diverses marchandises, des œuvres d’art.
Plusieurs icônes, telles l’icône bilatérale de la sainte Vierge Cataphighie (Refuge), saint Jean Chrysostome (dernier quart du XIVe siècle) et le Miracle de Latôme (dernier quart du XIVe siècle) (fig. 16-17), ainsi que probablement l’icône de saint Jean de Rila (dernier quart du XIVe siècle) (fig. 23), et l’icône du saint Jean Chrysostome (seconde moitié du XIVe siècle) (fig. 12-13) sont liées aux ateliers de peinture de Thessalonique. Le nombre réduit d’icônes, provenant de Thessalonique est dû probablement à la guerre civile entre (1341-1350) Jean V Paléologue et Jean VI Cantacuzène, qui a entravé les rapports commerciaux et par conséquent, les relations artistiques entre les villes bulgares et Thessalonique.
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Σερραϊκά Σύμμεικτα / Serraika Symmeikta, 2018
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Г О Д И Ш Н И К на Софийския университет “Св. Климент Охридски” Център за славяно-византийски проучвания “Иван Дуйчев” / A N N U A I R E de L’Université de Sofia “St. Kliment Ohridski” Centre de Recherches Slavo-Byzantines “Ivan Dujčev”, 2017
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Κτίτωρ. Αφιέρωμα στον δάσκαλο Γεώργιο Βελένη. Θεσσαλονίκη, 2017
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Books by Alexandra P H . TRIFONOVA
Papers by Alexandra P H . TRIFONOVA
More precisely the presented members of the ecclesiastical circle in the inscriptions are the metropolitan of Philippopolis Nicephorus of Lesbos (1824-1850) and two hieromonks - Kirkos (beginning of 18th c.) and hadji Cyril of Bachkovo (†1851).
The secular persons, among which donors of icons and metal work, appear from the first quarter of the 18th century to the second quarter of the 19th century - Konstantinos Mounidzoglou, anonymous orthodox Christians of Philippopolis, some couples with their children – Vlasios and Rali, Panayiotis and Smaragda, Georgakis and Mariola, Valko and Elisavet, Ioannis and Smaragda, the couple Konstantinos and Melahro, someone Peyo and the Zafeiriadis brothers.
The painters, referring to the Greek inscriptions, are three of the third quarter of the 19th century – Stefanos Antoniadis, Dimitrios and Stefanos Adrianoupolitis. The main painter of the iconostasis’s icons, who is not signed in the inscriptions, undoubtedly according to the style of painting is Dimitar Hristov Zograf from Samokov, along with his brother Zaharij Zograf, who left as well some icons.
The inscriptions refer also to a goldsmith from the first quarter of the 18th century – Georgios Papamanoli Nazloglou.
The deceased persons, buried in the yard of the church from the second to the third quarter of the 19th century are the parents of Artritsa Panayotou, Milahro hadji Iovani, Manouil and Teofano, Georgios Papasaoul, hadji Ioannis Konstantinou Tiutious, Lambros Petrou Kazisis and Maria Athanasiou, Zhelyo D. Boyadzis, and Christos.
The inscriptions give as well information about four merchants guilds during the second and the third quarter of the 19th century – the guilds of μπαχτσεβαζήδων (gardeners), of κουιομτζήδων (goldsmiths), of τσοχατζήδων (makers of soft woolen textile named tsoha) and of σαλτζίδων (sellers of textile).
The icon of st Anastasia Pharmakolytria bears the following vita scenes: 1. St Anastasia reads the letter of her teacher Chrysogonous (fig. 3). 2. St Anastasia imprisoned by the perfect’s order 3. St Anastasia in front of prefect Phloros (fig.5). 4. St Anastasia in front of emperor Diocletian (fig.6) 5. St Anastasia in front of king Poplios (fig.7). 6. St Anastasia in front of the perfect of Bethania (fig.8). 7. St Anastasia in a ship with a lot of martyrs (fig.9) 8. The martyrdom of st Anastasia in the fire (fig.10). There is also a donor’s inscription: † δέησις Τοῦ δούλου Τοῦ Θ(εο)ύ, Γεωργάκ[η …]χατ[………..] / αψπθ ὀκτωβρίου / κγ / χεῖρ δημητρίου - / προςκυνητοῦ (fig.11), which indicates that the icon was ordered by Georgakis and was painted by Dimitrios pilgrim (προσκυνητής) on 23th of October 1789.
The presented icon is of great iconographical interest, because is the one of the three known vita icons of st Anastasia Pharmakolytria from the Balkans. Moreover, our research indicates that five of its life scenes are unique, which indicate that the painter of the icon, Dimitrios pilgrim, was inspired by a vita text of st Anastasia Pharmakolytria or by another lost nowadays vita icon of the saint.
The mentioned in the inscriptions persons from the ecclesiastical circles refer to a Metropolitan of Philippopolis, Neophytos (last quarter of the 17th c. – 1711), during whose archbishopric the old church of the Virgin was build, in the place of which nowadays the church of Dormition of Virgin (1845) is erected. The other one is the rhetor of the same Metropolis, Andronikos (last quarter of the 17th c.), who gave the money for the mural painting of the above mentioned church of the Virgin.
The persons from the social circle, mentioned in the inscriptions, refer to Greeks and Bulgarians donnor’s and all of them were in a direct or indirect relation with the powerful Čalukov (Čaloglou or Čalukoglou) family in Plovdiv (Philippopolis). These persons sponsored the execution of different icons for the church, as Dimitris Tsaharlis - st Demetrios on a horseback (1812), Lucia and her children – st Menas (1846), Salčo Ioannou (Čomakov), together with his wife and children - st Stylianos (1846), Iakov Kendindenoglou – st Jacob (1846), Georgi Stoianovič (Čalukoglou) – st George (1846), Ioannis Dimitriou Sitsianis – st John the Forerunner (1846), Dimitrakis Kyriakou Mitsouras – st Demetrios (1846), Eustathios Ioannou Tsironis – st Spyridon enthroned (1846), Iskro Iskrov Kesak (Kesiakov) – st Nicholas enthroned (1846) and Teodor Vulko Čaloglou – Dormition of the Virgin (1848).
The provided from the inscriptions information about persons from the artistic circle refers to the painter Nicholaos, who could be identified as Nicholaos Adrinaoupolitis, the author of the above mentioned icons.
The inscriptions give also information about the descended persons in Plovdiv (Philippoplis) from the second to the third quarter of the 19th century, mostely Greeks, among which are Panagiotis Dimitriadis (†1838), Eleni (Politoglou) Čalukova (†1848), Anastasia Konstantinou Noutsi (†1852), Konstantinos Andreou Garginos (†1854), Teodoraki Stoian Teodorou (†1856), Ioanis Dimitriou Sitsianis (†1857) and S. Tsikerdekis (†1865).
La plupart des icônes proviennent des villes du littoral de la mer Noire, notamment, de Nessebar et de Bourgas et sont par conséquent, l’œuvre d’artistes, ayant été en relation directe avec les ateliers constantinopolitains de peinture d’icônes de cette période. C’est bien naturel, puisque les villes littorales de la mer Noire se trouvaient à proximité, aussi bien par terre, que par mer, de Constantinople, la capitale de l’Empire byzantin, avec lequel elles entretenaient des relations commerciales et d’où elles importaient, de même que diverses marchandises, des œuvres d’art.
Plusieurs icônes, telles l’icône bilatérale de la sainte Vierge Cataphighie (Refuge), saint Jean Chrysostome (dernier quart du XIVe siècle) et le Miracle de Latôme (dernier quart du XIVe siècle) (fig. 16-17), ainsi que probablement l’icône de saint Jean de Rila (dernier quart du XIVe siècle) (fig. 23), et l’icône du saint Jean Chrysostome (seconde moitié du XIVe siècle) (fig. 12-13) sont liées aux ateliers de peinture de Thessalonique. Le nombre réduit d’icônes, provenant de Thessalonique est dû probablement à la guerre civile entre (1341-1350) Jean V Paléologue et Jean VI Cantacuzène, qui a entravé les rapports commerciaux et par conséquent, les relations artistiques entre les villes bulgares et Thessalonique.
More precisely the presented members of the ecclesiastical circle in the inscriptions are the metropolitan of Philippopolis Nicephorus of Lesbos (1824-1850) and two hieromonks - Kirkos (beginning of 18th c.) and hadji Cyril of Bachkovo (†1851).
The secular persons, among which donors of icons and metal work, appear from the first quarter of the 18th century to the second quarter of the 19th century - Konstantinos Mounidzoglou, anonymous orthodox Christians of Philippopolis, some couples with their children – Vlasios and Rali, Panayiotis and Smaragda, Georgakis and Mariola, Valko and Elisavet, Ioannis and Smaragda, the couple Konstantinos and Melahro, someone Peyo and the Zafeiriadis brothers.
The painters, referring to the Greek inscriptions, are three of the third quarter of the 19th century – Stefanos Antoniadis, Dimitrios and Stefanos Adrianoupolitis. The main painter of the iconostasis’s icons, who is not signed in the inscriptions, undoubtedly according to the style of painting is Dimitar Hristov Zograf from Samokov, along with his brother Zaharij Zograf, who left as well some icons.
The inscriptions refer also to a goldsmith from the first quarter of the 18th century – Georgios Papamanoli Nazloglou.
The deceased persons, buried in the yard of the church from the second to the third quarter of the 19th century are the parents of Artritsa Panayotou, Milahro hadji Iovani, Manouil and Teofano, Georgios Papasaoul, hadji Ioannis Konstantinou Tiutious, Lambros Petrou Kazisis and Maria Athanasiou, Zhelyo D. Boyadzis, and Christos.
The inscriptions give as well information about four merchants guilds during the second and the third quarter of the 19th century – the guilds of μπαχτσεβαζήδων (gardeners), of κουιομτζήδων (goldsmiths), of τσοχατζήδων (makers of soft woolen textile named tsoha) and of σαλτζίδων (sellers of textile).
The icon of st Anastasia Pharmakolytria bears the following vita scenes: 1. St Anastasia reads the letter of her teacher Chrysogonous (fig. 3). 2. St Anastasia imprisoned by the perfect’s order 3. St Anastasia in front of prefect Phloros (fig.5). 4. St Anastasia in front of emperor Diocletian (fig.6) 5. St Anastasia in front of king Poplios (fig.7). 6. St Anastasia in front of the perfect of Bethania (fig.8). 7. St Anastasia in a ship with a lot of martyrs (fig.9) 8. The martyrdom of st Anastasia in the fire (fig.10). There is also a donor’s inscription: † δέησις Τοῦ δούλου Τοῦ Θ(εο)ύ, Γεωργάκ[η …]χατ[………..] / αψπθ ὀκτωβρίου / κγ / χεῖρ δημητρίου - / προςκυνητοῦ (fig.11), which indicates that the icon was ordered by Georgakis and was painted by Dimitrios pilgrim (προσκυνητής) on 23th of October 1789.
The presented icon is of great iconographical interest, because is the one of the three known vita icons of st Anastasia Pharmakolytria from the Balkans. Moreover, our research indicates that five of its life scenes are unique, which indicate that the painter of the icon, Dimitrios pilgrim, was inspired by a vita text of st Anastasia Pharmakolytria or by another lost nowadays vita icon of the saint.
The mentioned in the inscriptions persons from the ecclesiastical circles refer to a Metropolitan of Philippopolis, Neophytos (last quarter of the 17th c. – 1711), during whose archbishopric the old church of the Virgin was build, in the place of which nowadays the church of Dormition of Virgin (1845) is erected. The other one is the rhetor of the same Metropolis, Andronikos (last quarter of the 17th c.), who gave the money for the mural painting of the above mentioned church of the Virgin.
The persons from the social circle, mentioned in the inscriptions, refer to Greeks and Bulgarians donnor’s and all of them were in a direct or indirect relation with the powerful Čalukov (Čaloglou or Čalukoglou) family in Plovdiv (Philippopolis). These persons sponsored the execution of different icons for the church, as Dimitris Tsaharlis - st Demetrios on a horseback (1812), Lucia and her children – st Menas (1846), Salčo Ioannou (Čomakov), together with his wife and children - st Stylianos (1846), Iakov Kendindenoglou – st Jacob (1846), Georgi Stoianovič (Čalukoglou) – st George (1846), Ioannis Dimitriou Sitsianis – st John the Forerunner (1846), Dimitrakis Kyriakou Mitsouras – st Demetrios (1846), Eustathios Ioannou Tsironis – st Spyridon enthroned (1846), Iskro Iskrov Kesak (Kesiakov) – st Nicholas enthroned (1846) and Teodor Vulko Čaloglou – Dormition of the Virgin (1848).
The provided from the inscriptions information about persons from the artistic circle refers to the painter Nicholaos, who could be identified as Nicholaos Adrinaoupolitis, the author of the above mentioned icons.
The inscriptions give also information about the descended persons in Plovdiv (Philippoplis) from the second to the third quarter of the 19th century, mostely Greeks, among which are Panagiotis Dimitriadis (†1838), Eleni (Politoglou) Čalukova (†1848), Anastasia Konstantinou Noutsi (†1852), Konstantinos Andreou Garginos (†1854), Teodoraki Stoian Teodorou (†1856), Ioanis Dimitriou Sitsianis (†1857) and S. Tsikerdekis (†1865).
La plupart des icônes proviennent des villes du littoral de la mer Noire, notamment, de Nessebar et de Bourgas et sont par conséquent, l’œuvre d’artistes, ayant été en relation directe avec les ateliers constantinopolitains de peinture d’icônes de cette période. C’est bien naturel, puisque les villes littorales de la mer Noire se trouvaient à proximité, aussi bien par terre, que par mer, de Constantinople, la capitale de l’Empire byzantin, avec lequel elles entretenaient des relations commerciales et d’où elles importaient, de même que diverses marchandises, des œuvres d’art.
Plusieurs icônes, telles l’icône bilatérale de la sainte Vierge Cataphighie (Refuge), saint Jean Chrysostome (dernier quart du XIVe siècle) et le Miracle de Latôme (dernier quart du XIVe siècle) (fig. 16-17), ainsi que probablement l’icône de saint Jean de Rila (dernier quart du XIVe siècle) (fig. 23), et l’icône du saint Jean Chrysostome (seconde moitié du XIVe siècle) (fig. 12-13) sont liées aux ateliers de peinture de Thessalonique. Le nombre réduit d’icônes, provenant de Thessalonique est dû probablement à la guerre civile entre (1341-1350) Jean V Paléologue et Jean VI Cantacuzène, qui a entravé les rapports commerciaux et par conséquent, les relations artistiques entre les villes bulgares et Thessalonique.