Several Vladimir-Suzdal churches of the 12th and the 13th centuries represent the only Byzantine churches extensively decorated with relief sculptures. The present thesis postulates Turkic influences from a wide geographical area including Russian steppelands, Central Asia, Iran and Anatolia.

Chapter one deals with the history of the buildings: the palatial complex of Bogoljubovo (1158-1165), the Uspenskij Cathedral (1158-60/1185-1189), the Church of the Pokrov on the Nerl (1165) and the Dmitrij Cathedral (1194-97).

Chapter two presents an overview of Russian relations with the Turkic tribes of the steppes such as the Pechenegs, the Kumans, the Turkic Khazars and the Turkic Volga Bulgars, indicating an artistic heritage of the Russian land distinct from the religious Byzantine art.

Chapter three addresses the question of Romanesque influences from Germany and Sweden, the so-called corrente comasca. Differences in style and the evolution of the style of the corrente comasca style, arrangement of the reliefs on the facades and carving techniques don't sustain a connection with the corrente comasca. Non-conclusive suggestions of influences of Norwegian corbel heads on the Vladimir-Suzdal corbel heads were presented.

Chapter four suggests Seljuk Anatolian and an Armenian source for the arrangement of the reliefs of the Church of the Pokrov and Iranian organizing principles in the carpet design on the Dmitrij Cathedral revealing connections to the carpet designs of Seljuk Iran, Khoresm and Anatolia.

Chapter five presents a stylistic analysis of the Vladimir-Suzdal lions, suggesting a Central Asian origin. The same lion, also inspired by Central Asian prototypes, is also found in 12th century art of the Seljuks.

Chapter six continues the analysis of style, focusing on the human figure. Female heads from all churches, a figural composition from the Uspenskij Cathedral and the horsemen on the Dmitrij Cathedral reveal stylistic affinities with post-Sasanian metalware, Abbasid art, Indianizing artistic traditions of Central Asia and relief carvings from Seljuk Iran and Seljuk Anatolia.

Chapter seven discusses the iconography of rulership that combines Sasanian ideas of kingship with Turkic Central Asian shamanistic ideas.

Chapter eight summarizes the above findings, emphasizing the many stylistic elements of an Indianizing style.