The history of this icon traces back to the 10th century at the Protaton Monastery on Mount Athos. In one of the cells named "The Dormition of the Mother of God," an elderly hieromonk lived with his disciple. They preserved a superb depiction of the Virgin Mary. This old icon became renowned through the revelation of the prayer "It Is Truly Meet." Between the years 980-982, on a Saturday evening before an all-night vigil, the elder monk left for the nearby church, instructing his disciple to continue the religious routine in the cell. Being obedient, the disciple followed the instructions. When he reached the 9th Ode of the Canons, "More Honorable Than the Cherubim...," he suddenly heard someone beginning to chant alongside him: "It is truly meet to bless thee, O Theotokos..." It was a mysterious pilgrim monk who had appeared unexpectedly and joined in the prayers. At that moment, the icon began to radiate light, as if it were broad daylight. Astonished by the events, the disciple asked the mysterious monk to write down the verses. The monk wrote them on a tile with his finger as if it were soft wax and said, "From now on, this is how you Orthodox Christians should chant," and, saying this, he vanished. Left alone, the disciple realized he had witnessed a great miracle. Enlightened, he understood that the pilgrim was none other than the Archangel Gabriel, who had come, as he had before, to deliver the word of the Highest to humanity.
The icon was transferred from the cell to the Holy Altar of the Protaton Church, where a similar icon is preserved to this day. The tile with the divine hymn was taken to Constantinople and included in the Orthodox Church's liturgical books. Soon after, Archangel Gabriel's prayer was incorporated into the Divine Liturgy, immediately following the Consecration of the Gifts of Bread and Wine. The valley with the cells has since been called Adin, meaning "to chant," "chanting."
The icon "It Is Truly Meet" is of inestimable value and has become the protector of Mount Athos. The icon is celebrated on June 11/24, commemorating the miraculous appearance of the Archangel, and on July 13/26, in honor of the Synaxis of the Archangel Gabriel.
This icon, of the Eleusa type, portrays gentleness and tenderness in its central figures. The Virgin holds the Child with her right hand, while her left hand, placed beneath His feet, grips the hem of His tunic. The small Jesus wears a short tunic reaching His knees and holds a scroll in His right hand inscribed with the words of the Axion hymn. His left-hand slips under the veil of the Virgin towards her left shoulder. Both figures are crowned with golden halos. Two angels flank the Virgin's halo, while the Almighty in an open heaven blesses with both hands.
Crafted using tempera on wood, the icon is adorned with gold leaf and multicolored enamel, giving the image a unique delicacy. The inscription on the lower frame indicates that the icon was created by the painter Ioasaf in 1905.
The painter monk Ioasaf Berghie (1862-?) of the New Neamț Monastery resided there between 1887 and the 1940s, occupying three rooms to set up his studio, where he worked continuously on icons and church artworks. Born into the family of a church teacher in Jabca village, Ștefan Berghie, Ioan Berghie developed a passion for sacred iconography from an early age. In 1890, Andronic, the abbot of the New Neamț Monastery, blessed him to paint icons. Taking monastic vows in 1895 under the name Ioasaf, he traveled by foot to visit major ecclesiastical centers nearby and further afield, learning the art of iconography. Starting with naive-style interpretations, he eventually mastered professional painting techniques and acquired new decorative skills. His works became highly popular throughout Bessarabia and abroad. Painting a significant number of icons, they were often mistakenly sold as coming from major artisan workshops. To prevent such confusion, he received the abbot's blessing to sign his works, earning recognition and fame for his name.
Tyragetia, serie nouă, vol. VI [XXI], nr. 2, Istorie. Muzeologie
The article uses a rather large number of sources concerning Armenian resettlement center in Kiliya (Danube Delta, in the Bessarabian historic district of Budjak). Most of them are presented by Armenian epitaphs, in total twelve ones, dated to 1646-1765 years. Twelve tombstones, carrying them, were located inside the church of St. Nicholas in Kiliya and possibly in its environment as well. Five of them, together with epitaphs are preserved to our times: three in the church garden and two in the Kiliya museum. Three of these five tombstones were discovered recently, and their epitaphs are new-found sources. Two others had been published earlier. The remaining seven tombstones and there epitaphs are known only from various publications.
The analysis of these twelve epitaphs reveals that the persons, mentioned in them, in their vast majority were the representatives of the second or third generation of the Armenians, who migrated here from various places of His- torical Armenia, and even, perhaps, from Persia in the early decades of the XVII century. So they had no relation to the old Armenian inhabitants of Kiliya, settled here earlier – in the course of the XI-XV centuries. The sources come to prove that the last ones had a church of St. Virgin (now the location is unknown), which existed up to the very beginning of the XIX century.
So we have to admit that the newly arrived Armenians made burials in the church of St. Nicholas and round it right after its construction in 1648 by the Moldavian ruler Vasile Lupu and, presumably, until their leaving for Grigoriopol in 1792. The epitaph dated 1646 suggests a burial made even during the construction of the church. The said indicates a direct relation of the last to the newly arrived Armenians and finds confirmation in N. Kleeman’s information (the 60-s of the XVIII century) that the Armenians had two churches in Kiliya.
List of illustrations: Table 1. Previously published Armenian inscriptions, relating to Кiliya. Table 2. Armenian epitaphs of the preserved tombstones. Photo 1. Marble tombstone with the inscription, dated to 1749. Was found in the churchyard of St. Nicholas on the north side. Photo 2. Marble tombstone with the epitaph in three verses. Historical museum of Kiliya district. Photo 3. The third verse, carved on the butt end of the plate. Photo 4. Marble gravestone with an epitaph in four verses. Carved decoration of the horizontal surface. Historical museum of Kiliya district. Photo 5. Marble tombstone with the inscription in four verses. Historical museum of Kiliya district. Photo 6. Marble tombstone with the epitaph, dated to 1755. Located east of the church of St. Nicholas, in the garden. Photo 7. Tombstone with the inscription, dated to 1653. Located east of the church of St. Nicholas, in the garden. Photo 8. Marble tombstones in the environment of the church of St. Nicholas, used as doorstep stones.
The history of this icon traces back to the 10th century at the Protaton Monastery on Mount Athos. In one of the cells named "The Dormition of the Mother of God," an elderly hieromonk lived with his disciple. They preserved a superb depiction of the Virgin Mary...
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.
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.
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.
31 August 1989 St., 121 A, MD 2012, Chisinau, Republic of Moldova
