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National Museum of History of Moldova
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#Exhibit of the Month

It is said that the icons, by the divine grace they have, choose their own places from where they can manifest their powers of blessing and consolation. It so happened that one icon of the Mother of God has remained on our lands from the end of the 18th century, when the battles of the Russo-Turkish war of 1787-1791 took place here. The circumstances of the appearance of this icon in Bessarabia are confirmed by several historical references, from which it follows that the Russian officer N.A. Albaduev, a participant in the military campaign, brought this icon here with him, and after his death his relatives – the colonel’s wife or his mother – gave this icon to the monastery, where he suddenly died when he came there on Christmas to receive communion. The icon of the Mother of God was initially placed in the old wooden church, where the officer’s grave was located, and then was placed in the new Church of the Assumption of the Blessed Virgin, built and consecrated in 1816.

Soon the icon became very popular, and its fame increased enormously thanks to the healings that occurred thanks to the intercession of the Mother of God; the names of the healed people, their place of residence and sufferings were described in periodicals. Archimandrite Seraphim, hegumen of the monastery in from 1805 to 1827, mentioned the special veneration of the icon of the Mother of God from the Hârbovăţ Monastery by Orthodox people who are always looking for help and intercession from this icon of the Empress of The World. Believers called it a wonder-making icon even before the Holy Synod issued Decree No. 526 of January 26, 1859, signed by Emperor Alexander II, proclaiming the icon of the Our Lady of Hârbovăţ as the Wonder-Making. Recognizing the miraculous properties of this icon, the Holy Synod also organized religious processions with the delivery of the icon to Chişinău on October 1 and its subsequent return to the monastery on April 23.

The icon of the Mother of God of Hârbovăţ is one of the earliest and most popular types of the Theotokos icons, that of Hodegetria. In this iconographic depiction, the Mother of God and the Child are presented in a frontal position, looking at the one who is praying. The Mother of God holds the Child on Her left hand, and with Her right hand points to Him, the Child blesses with His right hand, holding in His left hand a sacred scroll – a symbol of the Gospel. Regarding the images, it should be said that the icons of the Herbovets Mother of God differ from the traditional icons of the Hodegetria type in a special relationship between the characters, their mutual affection is expressed in poses, in the tilt of the heads, in the gentle expression of the Child’s face. We can say that in the iconography of the Mother of God of Hârbovăţ, features of two different types of Theotokos are harmoniously combined: the Mother of God Hodegetria, or Our Lady of the Way, and the Mother of God Eleusa, or the Virgin of Tenderness.

Exact copies of this icon are still kept in the summer church of the Noul Neamţ Monastery in the village of Chiţcani (Căuşeni), in the Intercession of the Blessed Virgin Church in the village of Sîrcova (Rezina), in the All Saints Church in Chişinău (early 20th century), in the Transfiguration Cathedral in Bolgrad, in the Transfiguration Monastery in Tatarbunary, in the Saint Paraskeva Church in the village of Furatovka (Odessa Oblast), in the Saint Archangel Michael Monastery in Odessa, in the Ascension Monastery in Teplodar (Ukraine), in the Holy Trinity Monastery in the village of Mramor, near Topolovgrad (Bulgaria), in the Holy Great Martyr Theodore Tyron Cathedral in Chişinău, in the Saint Prince Alexander Nevsky Cathedral in Ungheni, and other churches.

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National Museum of History of Moldova
 

Exhibitions

“Among posters and musical instruments”

June 27, 2019 - December 31, 2020

 
The exhibition Among posters and musical instruments is the result of the research and valorization of the collection of posters (about a thousand pieces) and musical instruments from the collections of the National Museum of History of Moldova. Through its approximately 80 posters and 50 musical instruments, selected according to a chronological, typological and diversity criteria, the museum institution fulfills its obvious function to preserve in time and valorize the cultural heritage which includes posters and musical instruments. Established over several decades during the 20th century from donations and acquisitions, the poster collection is a short chronicle of Moldovan musical events from the East of Prut between 1900-2010. It is a pioneering exhibition, the collection of musical posters being displayed for the first time, and aims to familiarize the public with the evolution of the musical poster as advertising support of documentary and artistic value, but also as a work of art. The diversity of the collection of musical instruments, some with particular memorial value, allows us to follow and fill in the creative biography of artists, but also the existence of a musical piece in time.

The evolution of the musical poster both chronologically and as composition, form and content was structured into four categories: the musical poster from the Tsarist period (1812-1918), the interwar period (1918-1944), the Soviet period (1944-1991) and the musical poster from the period of independence of the Republic of Moldova. The oldest music program poster in the collections of the museum dates back to the 19th century and it is an announcement of the concert of the baritone V. Anenkov at the Nobility Club in Chişinău on February 6, 1900. The musical poster of the interwar period, modest as number, is valuable through generous information, where we can identify musical events, valuable interpreters, and places where musical performances were given. The Soviet-era musical poster was different from the previous ones in color, but also in text, as they also had an ideological role. In the early 90ies of the 20th century, the poster is varied in shape, chromatics, rich in images (with pictures of performing artists), but modest as informative text.

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The most valuable category of musical posters is those of classical music (symphonic, choral, instrumental, vocal) represented by the most famous orchestras of the time: Symphonic Orchestra of the State Philharmonic, National Symphonic Orchestra of „Teleradio Moldova" Company, National Chamber Orchestra, Academic Chapel „Doina", etc. A special message is offered by the posters of the popular folk music orchestras, which contributed to preserving and promoting the folk music: „Mugurel", „Fluieraş", „Folclor", „Lăutarii", the ethnofolkloric group „Tălăncuţa" etc. The collection includes posters of music groups and interpreters of popular music „Noroc", „Orizont", „Plai", „Legenda", „Colinda" etc., as well as posters of various festivals, contests and tours. In the musical atmosphere of the exhibition there is a beautiful collection of musical instruments, some of them of memorial value: the violin of the famous Bessarabian Gheorghe Heraru (1853-1920) and the violin of the master Sergei Lunchevici (1934-1995). The elegance of the music is also transmitted by the pieces of clothing that belonged to some personalities who left an important page in the history of the musical culture of the Republic of Moldova.



 




Independent Moldova
Moldavian Soviet Socialist Republic
Bessarabia and MASSR between the Two World Wars
Bessarabia and Moldavian Autonomous Soviet Socialist Republic in the Period between the Two World Wars
Revival of National Movement
Time of Reforms and their Consequences
Abolition of Autonomy. Bessarabia – a New Tsarist Colony
Period of Relative Autonomy of Bessarabia within the Russian Empire
Phanariot Regime
Golden Age of the Romanian Culture
Struggle for Maintaining of Independence of Moldova
Formation of Independent Medieval State of Moldova
Era of the
Great Nomad Migrations
Early Middle Ages
Iron Age and Antiquity
Bronze Age
Aeneolithic Age
Neolithic Age
Palaeolithic Age

  
  
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#Exhibit of the Month

It is said that the icons, by the divine grace they have, choose their own places from where they can manifest their powers of blessing and consolation. It so happened that one icon of the Mother of God has remained on our lands from the end of the 18th century, when the battles of the Russo-Turkish war of 1787-1791 took place here. The circumstances of the appearance of this icon in Bessarabia are confirmed by several historical references, from which it follows that the Russian officer N.A. Albaduev, a participant in the military campaign, brought this icon here with him, and after his death his relatives – the colonel’s wife or his mother – gave this icon to the monastery, where he suddenly died when he came there on Christmas to receive communion. The icon of the Mother of God was initially placed in the old wooden church, where the officer’s grave was located, and then was placed in the new Church of the Assumption of the Blessed Virgin, built and consecrated in 1816..

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