#Exhibit of the Month

The grapevine plant, now widespread across the globe, traces its origins back to the Upper Cretaceous geological period, when species of Vitis Linn appeared on Earth (Mesozoic era), followed later by Vitis vinifera L., the latter already classified among cultivated agricultural plants. Most researchers link the origin of the cultivated grapevine (Vitis vinifera L.) to the wild forest species Vitis sylvestris Gmel. Thickets of Vitis sylvestris Gmel. can still sporadically be found in the groves along the Prut and Dniester floodplains.

During the Precucuteni III - Trypillia A period (ca. 4750-4600 BC), the presence of cultivated grape seeds was clearly documented on pottery from the settlement of Ruseştii Noi I, layer I, kiln A, consisting of a seed impression on a ceramic fragment, with the elongated beak characteristic of the domesticated species Vitis vinifera L. Another seed impression of Vitis vinifera L. was recorded at the settlement of Vărvăreuca VIII, identified on the wall of a painted vessel from the Cucuteni B - Trypillia CI stage (3800-3500/3300 BC).
In October, on the occasion of the National Wine Day, the National Museum of History of Moldova presents to your attention a unique relic in Southeastern Europe. The exhibit originates from the settlement Brînzeni VIII "Sâiece," belonging to the Cucuteni-Trypillia culture and dated to the Cucuteni AB2 - Trypillia B2 phase (ca. 4050-3800 BC), located in Brînzeni village, Edineț district. The site lies 2 km southwest of the locality, in a triangle formed by the confluence of the Racovăț and Drobiște streams and the local road L36 Bădragii Vechi-Brînzeni. Positioned on land 25-30 meters above the valley, it was discovered in 1966 by archaeologist Nicolaie Chetraru and investigated through excavations between 1978-1980 by Vsevolod Marchevici.
The October exhibit is a grapevine leaf impression discovered in 1980. It comes from pit no. 5, partially investigated, with a maximum depth of 155 cm. From the same archaeological complex near dwelling no. 1, several grape seeds were also recovered, as noted in the excavation report. The grapevine leaf impression appears on a coarse clay lump, fired and vitrified due to secondary burning, reddish in color, with an irregular rectangular, flattened shape. The outer surface is uneven and rough. The impression surface is smoothed, with the leaf veins clearly highlighted. Measuring 99 mm in length, 110 mm in width, and 28-31 mm in thickness, the exhibit presents in full splendor an authentic grapevine leaf impression. Some researchers attribute it to the domesticated grapevine Vitis vinifera L., while others, more skeptical, consider it a wild species. Nevertheless, being discovered in a well-documented archaeological context, together with grape seeds near a dwelling, it provides evidence that grapevine was part of Cucuteni community life 6,000 years ago. These findings allow us to affirm that the process of domestication and the creation of table grapes was already underway. The diversity of Cucuteni ceramic forms, as well as the painting on some vessels, undoubtedly suggests their use as containers for various liquids. Accordingly, the emergence of wine among Cucuteni communities can be taken into consideration.

Virtual Tour

April 2023

“Resurrection of the Lord” icon

The Paschal icon "Resurrection of the Lord" represents one of the central holidays of Christianity, the subject signifying also one of the great Mysteries. The "Resurrection of the Lord" is the pivotal moment in the history of salvation, Christ the Redeemer raising man and the whole creation closer to God. The resurrection of Christ is the truth on which all Christian teaching is based. The worldview of the first Christians and all early Christian art is permeated by this paschal joy and belief in the triumph of life over death.

The constitution of the iconography of the "Resurrection of the Lord" celebration presented an extremely difficult task, the very event of Christ's Resurrection being misunderstood. This moment, not being described in the Holy Scripture, remained for the simple man an impenetrable mystery. The silence of the evangelists in this regard testified to the greatness of the event that defied any description, much less representation. Only through the symbol that expresses Christ's victory over death does the mind become able to transcend space and time, to leave the visible world and approach what is hidden from historical evidence. For the artistic embodiment of the mystery of the Resurrection, the Church has over time created a complex language of images, signs and attributes. Such a pictorial formula was developed that revealed the spiritual component of the Resurrection of Christ, embodied the true triumph of Christ as the lord of heaven, conqueror of death and liberator of mankind.

According to the Orthodox belief, in the three days between His death and resurrection, Christ descended into hell, to free the souls imprisoned in that place, this is why the classic icon of Orthodox origin was entitled "The Descent of Christ the Savior into Hell". In these images, Christ does not appear in a humble, vanquished attitude, but in one of the conqueror of death, the savior of those defeated by death. Western tradition has introduced into liturgical use other images, more understandable for the layman's consciousness, in which the Risen Christ can be represented above the tomb, the sarcophagus, sometimes alongside the women bearing myrrh. These images distance themselves from the stated symbolism and are included among the images that chronicle the evangelical events.

The icon from the museum's collection devoted to this subject presents a silver-plated brass ironwork using the hammering technique, the decorative elements being modeled in relief and engraved in depth. The composition is framed in a border made up of three columns: the central column being made of small pyramids viewed from above, the side ones decorated with the so-called "twisted rope" ornament. The veil almost completely covers the field of the icon, leaving only the Savior's face visible. Jesus Christ is represented triumphant over death, stepping over the closed sarcophagus. He is draped in a broad mantle fastened to the breast by a brooch, his right hand extended to his side, his left holding the banner with a cross inscribed in it. The haloed Christ is framed in a radiated rhomboidal mandorla. On one side and the other - split stones, which testify to the passages described in the Gospel - "the earth shook and the stones split" - at the moment of Christ's death (Matthew 27, 51). The cracking of the stones could also recall the opening of the waters of the Red Sea, mentioned in the Old Testament, about the people of Israel who left the slavery of Egypt, to go to the land of promise. On one side and the other of the sarcophagus - two Roman soldiers, among those guarding the tomb, blinded by the light emitted by the resurrected Christ.

Bessarabia, 1853
Wood, oil, silvered brass, gilding, 30×21 cm
Inventory 24158, purchase, Chisinau, 2003