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#Exhibit of the Month

The item is the lower part of a leg of a festive table made of white and gray marble. In the upper part, it has a protrusion, similar to a Doric capital, on the horizontal platform of which a square recess is engraved, designed to fix the second part of the leg (upper). The lower part of the leg is made in an anthropomorphic style, and, in our opinion, there are two variants of identifying the depicted character. The first involves the image of the head of the young Heracles (Heracles - Ἡρακλῆς) (beardless), the most favorite hero of antiquity, wearing on his head the skin of the Nemean lion - Λέων της Νεμέας, a vicious monster from Greek mythology who lived in Nemea and was eventually killed by Heracles. The first labor of Heracles, of the twelve set by King Eurystheus (his cousin), was to kill the Nemean lion and bring his skin to the king. It is also known from Greek mythology that the lion of Nemea took the form of a beautiful woman in order to seduce the inhabitants of neighboring villages, who wanted to save the girl from danger. Upon entering the cave, a man saw the woman, who usually pretended to be wounded, and rushed to help her. When he approached her, the woman turned into a lion and killed him. Then the lion devoured the man, giving his bones to Hades - ᾍδης, the god of Hell, who lived in the kingdom of shadows. The second version of the anthropomorphic image interpretation suggests Alexander the Great, king of Macedonia in the second half of the 4th century BC, one of the most famous heroes of the Greek world, who sometimes is depicted as Hercules - wearing a lion's skin. Some researchers consider the custom of wearing the skin of a slain lion a sign of royal power. The word βασιλεύς itself, translated from ancient Greek, means "walking the path of the lion", that is, the king. This title was held by the Greek kings from the Homeric period, and later, starting from the 7th century AD - by the Byzantine emperors.

The item can be dated to the 5th-6th centuries AD, and, possibly, it originates from Asia Minor.

It is kept in the collection of the museum for about 10 years. The gray granite stand does not belong to the original item.

Metric characteristics: height 330 mm; width: 112 mm.


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Publications Journal „Tyragetia"   vol. VI [XXI], nr. 2

Old Russian art on the shores of Seine. Some notes on the
ISSN 1857-0240
E-ISSN 2537-6330

Old Russian art on the shores of Seine. Some notes on the "Holy Russia: Russian Art from the beginning to the times of Peter the Great" exhibition in the Louvre in 2010

Tyragetia, serie nouă, vol. VI [XXI], nr. 2, Istorie. Muzeologie

In the spring of 2010, the Louvre, the largest museum of France, held an exhibition of Russian art that became the most prominent event of the Year of Russia in France. The exhibition was put on a list of official matters and the presidents of both countries opened it in a formal ceremony. The visitors could see in the Louvre’s halls a refined selection of objects of the highest artistic level, an elaborate conception of the exposition’s plan, an excellent design, and a great respect for Russian culture. It took several years for Dr Jannic Durand, a specialist in Byzantine art and Louvre’s curator, and Director Henri Leyrotte to prepare the exhibition. 300 objects from 37 museums and libraries from all around the world, including 26 depositories from Russia, were put on display. It should be emphasized that the main part of the exhibition included the articles of the high artistic level, often the masterpieces. The extensive exhibition catalogue contained numerous essays on the history and art of Old Russia in different chronological periods, written by the Russian and French art historians. The catalogue entries describing the objects were done mainly by the specialists from the museums and libraries where the objects are kept. It gave an opportunity to the general public and those foreign professionals who do not know Russian to familiarize themselves with opinions of Russian specialists on some specific issues of Old Russian art. Translations into French were done skillfully and with respect to the original authors’ texts, though some truncations and stylistic editing were unavoidable, taking into account the difference in traditions of French and Russian academic schools and distinctions in mentality of French public.

In this article, the author tried to give a virtual tour around the exhibition’s halls in the Louvre, drawing the readers’ attention to the special ways in the displaying the objects, the reasons behind the objects’ selection, and their effect in the exposition space. Special attention is paid to the result (quite often, an unexpected one even for the organizers of the exhibition themselves) reached by the arrangement of the objects in the halls and showcases, their comparison, lighting, and successful design. In some cases, the article explains the motivations behind the selection of the art works that are connected to the ways Old Russian art is perceived by the European public and their interpretation of Russian history. The author is trying to explain not only the ideas that the French organizers of the exhibition wished to reveal in the exhibition halls but also the result of it, and why this result had, in fact, the enormous success among the different categories of visitors.

A very important effect of the Louvre exhibition was the breaking out of a number of stereotypes held toward Old Russian art, its relationships with Byzantine art, for example; the existence of a large number of regional painting schools with specific, apprehensible features; the high level of Russian art not only during the “time of Andrei Rublev” but also in the previous and following it centuries. The difficult work done by the Louvre during the preparation of this exhibition gave a grand result and, undoubtedly, opened a new era in the study of Old Russian art in the West.

The Louvre exhibition made such a great impression on the President of Russia and his envoy that it was decided to show it to the Russian public. Indeed, when the show in Paris ended and the objects returned back home, the exhibition was organized in Moscow and Saint Petersburg. However, it was not the same exhibition as the one in Paris. The Russian “specialists” and museum functionaries made their own, “true”, conception in exposing the Old Russian materials. Unfortunately, in both scholarly and exposition ways it happened to be very unprofessional, and possessed that which is commonly defined as “bad taste”. Even more unfortunate was the situation with the exhibition catalogue. On the account of its scholarly content, the catalogue was turned into an abridged edition and was designed in the pompous style of coffee table books. Although a significant amount of money was spent on all these efforts, and the bureaucrats from culture were satisfied, it should be admitted that the result was rather sad for the Russian public and for Russian art history as a scholarly discipline.

List of illustrations.
Fig. 1. Presidents of Russia and France at “Holy Russia” during the tour led by Jannic Durand, the curator of the exhibition.
Fig. 2. The banner of the “Holy Russia” exhibition on the building of the Louvre
Fig. 3. Model of Smolny Convent of the Resurrection in St Petersburg by F-B Rastrelli that “greeted” the visitors of the “Holy Russia” exhibition in the Louvre.
Fig. 4. “St Boris and Gleb”, the Novgorod icon of the 14th century chosen as the emblem of the Louvre exhibition. Fig. 5. The Polovets “baba” of the 12th century and showcases with archaeological artifacts of pre-Christian Russia. Fig. 6. “Deisis” from the city of Vladimir, end of the 12th century
Fig. 7. The Old Russian icons, end of the 12th-13th centuries.
Fig. 8. The Novgorod section of the “Holy Russia” exhibition.
Fig. 9. The Novgorod icons at the “Holy Russia” exhibition.
Fig. 10. Icon “John the Forerunner” from the Vasil’ev Deisus attributed to Andrei Rublev.
Fig. 11. The “Icon Hall” with icons from the iconostases of the St. Cyril-Belozersk Monastery.
Fig. 12. The showcase with provincial “northern” monuments of Old Russia.
Fig. 13. “The King and the Patriarch” – the portrait apposition of two rules of Russia of the 17th century.
Fig. 14. The hall of the 17th century with decorative tiles.
Fig. 15. “Christ Pantocrator Enthroned”, 1703 – the final accord of the “Holy Russia” exhibition at the Louvre.


 

 


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

The item is the lower part of a leg of a festive table made of white and gray marble. In the upper part, it has a protrusion, similar to a Doric capital, on the horizontal platform of which a square recess is engraved, designed to fix the second part of the leg (upper). The lower part of the leg is made in an anthropomorphic style, and, in our opinion, there are two variants of identifying the depicted character...

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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.
©2006-2022 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.
©2006-2022 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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