Despite the fact that during Soviet times churches and monasteries were closed in Bessarabia and a lot of artifacts were destroyed, the available data in collections in contemporary Ukraine, Romania and Bulgaria could serve as a model for reconstructing paths of influences between Moscow, Kiev and Constantinople for the period after the 15th century. In my paper I will focus on two indicative examples for mutual interaction. The first one is about the influence of Castoria artistic circle on the art processes (murals and icons) at the Trans-Danubian/ Romanian lands in the end of the 15th century and first three decades of the 16th century. Undoubtedly the creators of the presented works were members of itinerant ateliers/ crews and were working in a vast geographical area or in Northern Greece, FYROM, South-Eastern Albania, Western Bulgaria, Eastern Serbia, Moldova and Romania. Because of that amongst a number of centers of regional importance in 15th century, Castoria was one of the few, which exercised global influence on Balkan art after the fall of Byzantium. The second indicative example of intercommunion is from the period of 17th - 18th centuries and deals with illustrated printed books of Ukrainian masters as Nikodim Zoubritski. Those books influenced by the academic art of the West and adjusted for the needs of the Orthodoxy far away from the Balkans travelled creating new taste and reached the ateliers of Bulgarian icon-painters of the end of the 18th and 19th centuries. Those influences that passed for sure through Bessarabia are most obvious in the ways of presenting scenes of the Last Judgment in the works of the art schools of Bansko and Samokov. At the end I will present some hypotheses about the eventual character of the religious art pieces brought by the Bulgarian immigrants in Bessarabia from the 18th and 19th century according to their place of provenance and usual objects of private cult in Bulgaria.