This study examined the iconographic features of the wall paintings in the churches of Vithkuq in Albania with the aim to explore the origins, evolution, and significance of the iconographic features of the murals. The study focused on revealing the hybrid style of these frescoes, which combine Byzantine, post-Byzantine and local traditions, and also analysed specific iconographic themes such as the “Trinity of Christ” and the “Communion of the Apostles”. The study also revealed how local traditions and external influences are woven into the visual language of these religious artworks. The analysis showed that these frescoes were not simply reproductions of established iconographic types, but rather adaptations that reflected the local theological and cultural context. The study also highlighted the high artistic sensitivity of the frescoes, particularly in terms of their use of colour, composition and symbolism. This study identified the influence of itinerant artists who brought new stylistic elements to the region, contributing to a dynamic exchange of artistic traditions in the Balkans. The results highlighted the challenges of preserving these frescoes due to environmental factors and insufficient restoration efforts. The study offered valuable insights into how local and external artistic traditions intersected in the creation of these paintings, and contributes to a deeper understanding of the social, religious, and artistic dynamics of the post-Byzantine period in the Balkans. It was concluded that the frescoes in the Vithkuq churches are not only important religious works of art, but also key cultural artifacts that reflect the complexity of the region’s historical and theological developments in the post-Byzantine era
Rozela Dhimgjini (Tue,) studied this question.