We find ourselves in the month of April, as we prepare to celebrate Easter-a moveable religious holiday rich in festive rituals and ceremonial activities that place this event at the very heart of Christian spiritual life. The spirit of the Resurrection is beautifully complemented by ten Easter-themed postcards from the heritage of the National Museum of History of Moldova, printed a century ago. These pieces were added to the museum's postcard collection over a decade ago following a successful acquisition; as the fund for Easter-themed illustrations is modest, we are in a constant search for new additions.
These postcards are "extraordinary" in terms of their postal, typographical, and chromatic effects-the primary reason for revisiting this genre of greetings. Unlike "classic" postcards, these are smaller in size (6.5 cm x 11 cm), made of cardboard (with the exception of one piece made of photographic paper in black and white), and feature "vivid" colors. Printed in Romania and Germany, they bear the marks of having been sent and circulated through the post.
The name of the holiday originates from the verb persach, meaning "to pass," a term adopted by the Jews from the Egyptians. It entered the Romanian language through the Byzantine-Latin form Paschae, signifying the "passage through death to life, the victory of life, and liberation from the bondage of sin." Easter is a holiday of tolerance and forgiveness, representing a bridge between the present and the past. The significance of this celebration is conveyed through its symbols, which are also featured on these postcards: Hand-painted eggs, the Easter Bunny and the Lamb, traditional sweet breads (cozonac and pască), biblical scenes related to the crucifixion and resurrection of Jesus Christ.
The Easter table also features pască-a ritual food reminiscent of ancient, bloodless "reconciliation" sacrifices. Its preparation is the exclusive task of women, the givers of life, as the leavened dough is considered "alive."
The most significant component of the Easter holiday, however, is the Light. The Ceremony of the Holy Light is associated with the miracle of the light appearing on Easter Sunday at Christ's Tomb in Jerusalem. The candle, often depicted in these images, carries a powerful message; it is with the Resurrection candle that we return home after the midnight religious service. Furthermore, the Easter Bunny represents the rebirth of nature, so eagerly awaited after a harsh winter.
Unlike Christmas, when the announcement and ritual integration of the community into sacred time was the duty of caroling groups, at Easter, "one does not go from house to house." Instead, the ritual meal is organized within each family, symbolizing a direct communion with God.
Des législations sur la consolidation des nécropoles et la construction des églises dans les cimetières dans la première moitié du XIXe siècle
Tyragetia, serie nouă, vol. VII [XXII], nr. 2, Istorie. Muzeologie
Dans cet article l'auteur discute sur les lois en vigueur dans la région Nistru-Prut sur l'arrangement des cimetières et l'édifice des églises dans les nécropoles. Les sources archivistiques et les représentations des églises nous permettent de déterminer tous les instructions qu'ont influencées sur l'arrangement des nécropoles et la construction des basiliques. La règle acceptée du pouvoir impérial installé les fondements de transformation des traditions régionales sur la construction des basiliques dans les cimetières.
Liste des figures:
Fig. 1. Le positionnement du cimetière et l'église du village Seliște, district Călărași. Collection privée.
Fig. 2. Le positionnement du cimetière et l'église du village Gordinești, district Rezina. Collection privée.
Fig. 3. Fragment d'un plan topographique du village Pupăzeni, actuellement village Nucăreni, district Telenești. 1809 années. Le positionnement du cimetière et l'église à la périphérie du village. La collection de Musée eth- nographique de Chișinău.
Fig. 4. Fragment d'un plan topographique du village Copanca, district Căușeni, et le positionnement du cimetière et l'église à la périphérie du village. La collection de Musée ethnographique de Chișinău.
Fig. 5. L églises du village Volcineț, district Ocnița, et le cimetière.
Fig. 6. La porte du cimetière et l'église du village Stodolna, district Rezina. Photo M. Brihuneț.
Fig. 7. Aspect d'une ancienne église de Bessarabie. Photo 1877 années. ANRM.
Fig. 8. I. Charlemane, A. Mihailov, A. Mihailov, A. Uhtomski. Collection de plans, élévations et sections pour construire des églises en pierre, Saint-Pétersbourg, 1824.
Fig. 9. Les projets types du Collection de plans, 1824 années, Saint-Pétersbourg.
Fig. 10. Un plan typique de l'église, village Lipcani (1822).
Fig. 11. Le projet spécial de l'église du village Lipcani, élaboré en 1822 années.
Fig. 12. L'église village Lipcani, érigé en 1837 années. Photo М. Brihuneț.
Manole Brihuneț
Religious architecture and funerary complexes of the Dniester-Prut interfluve: the importance of historiographical essays of the tsarist and the interwar times
Tyragetia, serie nouă, vol. VI [XXI], nr. 2, Istorie. Muzeologie
We find ourselves in the month of April, as we prepare to celebrate Easter-a moveable religious holiday rich in festive rituals and ceremonial activities that place this event at the very heart of Christian spiritual life...
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.
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31 August 1989 St., 121 A, MD 2012, Chisinau, Republic of Moldova
