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#Exhibit of the Month

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German porcelain is highly prized among antique collectors for its exceptional material quality, originality, and the meticulous craftsmanship of its decorative design.
The museum's collection preserves five figurines from one of the oldest porcelain manufactories in the Thuringia region of Germany - the statuary group known as *"The Musicians"*, crafted at the Volkstedt manufactory. These pieces entered the museum's holdings in 1991, acquired from a resident of Chișinău. With undeniable historical and artistic value, they bear the distinct imprint of the Rococo style.
The Volkstedt manufactory has a long-standing tradition in producing figurines, including those depicting musicians. In 1760, Georg Heinrich Macheleid - inventor of hard-paste porcelain in Thuringia - founded a production workshop in Zitzendorf, which was relocated to Volkstedt in 1762. Macheleid led the manufactory until 1764. Over time, the factory changed ownership and management multiple times. Under the direction of Christian Nonne, it flourished between 1767 and 1797, a period marked by significant artistic development. Volkstedt began creating figurines that would later gain international recognition.
It was during this flourishing period that the museum's porcelain statuettes, titled *"The Musicians"*, were produced. They depict five cherubic figures: four playing musical instruments (flute, mandolin, horn, and pipe), while the fifth conducts. Each figurine is entirely handcrafted - from modeling to painting - and delicately adorned with pastel tones and gilded details, capturing the playful movement and refined artistry of each musician. The base is made of mass-colored porcelain in a rare grey-green hue. The contrast between green, white, and gold accents lends the ensemble an unusually delicate appearance. These ornamental features are characteristic of the Rococo style, which emerged in France and is closely associated with the reign of King Louis XV.
The mark applied to the figurines consists of two crossed forks, clearly rendered in underglaze blue, with slightly blurred paint - a detail that helps date their production. Because the crossed forks often resembled the crossed swords of the Meissen trademark, the Volkstedt manufactory was compelled to change its mark starting in 1787. Initially represented by a single fork, the mark briefly returned to two forks before being replaced in 1800 by the graphic symbol "R", referencing the town of Rudolstadt. Therefore, the brief period during which the two-fork mark was reinstated - and during which the museum's figurines were likely produced - is estimated to be between 1787 and 1800.

The statuettes range in height from 10 to 18 cm and are preserved in relatively good condition.

These late 18th-century German porcelain pieces, now on display, are exceptionally rare. They stand as true works of art by German craftsmen and serve as important historical testimonies to the evolution of porcelain manufacturing in Germany.

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#Exhibit of the Month

May 2021

The copy of the golden pectoral from Tovsta Mohyla

The pectoral from Tolstaya Mogila is considered the main archaeological treasure of Ukraine (it is depicted, for example, on the logo of the Institute of Archeology of the National Academy of Sciences of Ukraine). This unique artifact of 958 gold, weighing 1140 g, was discovered as a result of excavations of the Scythian burial mound of Tolstaya Mogila (Tovsta Mohyla) on June 21, 1971 near the modern city of Pokrov (then Ordzhonikidze) in the Dnepropetrovsk region. Following the excavations carried out by Boris Mozolevsky and Yevgeny Chernenko, it turned out that a mound with a height of 8.6 m and a diameter of 70 m was filled over the representatives of the Scythian elite around 350s-340s BC. The Tolstaya Mogila mound was the family tomb of the Scythian aristocracy, in which а male burial of а "king" and then, after a short period, of a "queen" with a child was performed. Then, some time after the funeral, the burial of the "king" was robbed, but the robbers, fortunately, did not notice jewelry (a sword in a scabbard, a whip) lying in the dromos at the entrance to the tomb, including the pectoral.

It is believed that the pectoral was made by goldsmiths of Greek or Macedonian origin. It is kept in the Kiev Museum of Historical Treasures of Ukraine and belongs to the State Fund of Precious Metals and Precious Stones of Ukraine. The pectoral has a crescent shape; its composition consists of three tiers, separated by two hollow tubes in the form of a twisted rope. Two more of the same tubes frame the pectoral from above and below. The upper tier features several separate scenes with Scythians and domestic animals. In the center, two half-naked men are holding in their hands a stretched animal skin, similar to a sheep's skin. On the left and right, horses with foals and cows with calves are depicted; behind them, there are figurines of Scythian servants, one of whom is milking a sheep, and the other is milking a cow, holding in their hands, respectively, a clay pot and a small amphora. In the middle tier, among the stems of plants and flowers, there are figurines of birds. The lower tier depicts hunting scenes of fantastic griffins and real wild animals. The upper and lower friezes of the pectoral are lacy; the figurines of people and animals on them are made using the casting technique on the basis of a lost wax model. These are almost completely three-dimensional sculptures, flat only on the inside. Three-dimensional figurines of birds are attached with pins among flowers, the petals of which are covered with colored enamel.

It is obvious that a certain iconographic text was encrypted in the pectoral, although its understanding is very difficult. Therefore, it is not surprising that over half a century since the discovery, more than twenty interpretations of images in the pectoral have been put forward. One of the most accurate and innovative seems to be the primary interpretation of images in the pectoral, expressed by its discoverer Boris Mozolevsky. Already in his precise, insightful analysis, the smallest details of the decor, including floral ornaments, all the movements of the figures of the lower and upper friezes, gestures and the direction of the views of the characters of the central scene are noted, although they are not always taken into account in further research. B.N. Mozolevsky also proposed an analysis of the composition of the friezes, and the interpretation of the nature of the images, especially the central scene of the upper frieze. Dmitry Sergeevich Raevsky brilliantly entered the pectoral into the conceptual model of the Scythian universe, devoting a special study to it, in which the structure of the pectoral is read as the Greco-Scythian cosmogram. The plot of the upper frieze of the pectoral can also be based on a time-varying legend associated with the emergence of the Macedonian dynasty. Therefore, the pectoral could go to the Scythian leader as a trophy captured in a clash with the Scythians in 339 BC, received as a gift during negotiations, received as a gift from Ateas for helping in the war (and he, in turn, received it as a gift when they had good relations with Philip II of Macedon). Yet much remains unclear. The pectoral has no analogies, not only in the Scythian world, but also in the Greek environment. Until now, despite the possible correspondences to its elements and techniques found in other things, the pectoral remains a special work of art, still not surpassed in the skill of execution and the lightness of the idea of its creator.

The copy of the pectoral from Tovsta Mohila, an object of historical value of the Ukrainian treasury, was given as a gift to President Maia Sandu by his Ukrainian counterpart, Volodymyr Zelenskyy, during his visit to Kyiv in January 2021 and is currently part of the MNIM heritage.




 

 


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Period of Relative Autonomy of Bessarabia within the Russian Empire
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#Exhibit of the Month

German porcelain is highly prized among antique collectors for its exceptional material quality, originality, and the meticulous craftsmanship of its decorative design...

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The National Museum of History of Moldova takes place among the most significant museum institutions of the Republic of Moldova, in terms of both its collection and scientific reputation.
©2006-2025 National Museum of History of Moldova
Visit museum 31 August 1989 St., 121 A, MD 2012, Chisinau, Republic of Moldova
Phones:
Secretariat: +373 (22) 24-43-25
Department of Public Relations and Museum Education: +373 (22) 24-04-26
Fax: +373 (22) 24-43-69
E-mail: office@nationalmuseum.md
Technical Support: info@nationalmuseum.md
Web site administration and maintenance: Andrei EMILCIUC

 



The National Museum of History of Moldova takes place among the most significant museum institutions of the Republic of Moldova, in terms of both its collection and scientific reputation.
©2006-2025 National Museum of History of Moldova
Visit museum 31 August 1989 St., 121 A, MD 2012, Chisinau, Republic of Moldova
Phones:
Secretariat: +373 (22) 24-43-25
Department of Public Relations and Museum Education: +373 (22) 24-04-26
Fax: +373 (22) 24-43-69
E-mail: office@nationalmuseum.md
Technical Support: info@nationalmuseum.md
Web site administration and maintenance: Andrei EMILCIUC

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The National Museum of History of Moldova takes place among the most significant museum institutions of the Republic of Moldova, in terms of both its collection and scientific reputation.
©2006-2025 National Museum of History of Moldova
Visit museum 31 August 1989 St., 121 A, MD 2012, Chisinau, Republic of Moldova
Phones:
Secretariat: +373 (22) 24-43-25
Department of Public Relations and Museum Education: +373 (22) 24-04-26
Fax: +373 (22) 24-43-69
E-mail: office@nationalmuseum.md
Technical Support: info@nationalmuseum.md
Web site administration and maintenance: Andrei EMILCIUC