The exhibit represents a fragment from a unique amphora discovered in 1988 in a ceramic kiln from the Chirileni III settlement (Sîngerei district), attributed to the Cucuteni-Tripolie archaeological culture stage CII (5th-4th millennia BC).
The ceramic fragment with painted human and geometric representations constitutes about 50% of the upper part of an amphora, made of clay paste without impurities. It is burned in an oxidizing environment, with a reddish color in the section. The inner surface of the vessel is covered with a pink-whitish color layer, and the smoothed and polished exterior is covered with a yellowish-gray engobe start. The body of the amphora is spheroidal with four pyramidal cakes on the shoulder, and the neck is high frustoconical with a short outwardly turned lip. The dimensions of the bowl: lip diameter - 18 cm; maximum body diameter - 43-45 cm; neck height - 13 cm; height of exposed fragment - 43 cm; the estimated total height of the vessel is 55-60 cm. Thickness at the lip - 6-7 mm, at the neck - 9-11 mm, and at the body - 10-13 mm.
The outer surface of the amphora in a proportion of about 4/5, except for the lower part, is bicolorly decorated with black and brown paint, the brush being used as a tool, which can be felt from the specific application of the lines. Two brushes were most likely used. The ornament is divided into three horizontal registers that surround the vessel dividing the interior into metopes. The decoration is composed of lines arranged vertically, horizontally or obliquely forming geometric compositions of the net type.
The special significance of the amphora resides in the representation in the middle register of the painting of the stylized scene of a female ritual dance. The scene painted on the body of the amphora represents the image of a group made up of 9 female characters assisted by two dogs and 3 snakes. The female images are represented schematically, with the emphasis on long legs, mini-trapezoidal skirts, short stretched bodies, folded dancing hands and pointed heads.
Vessels with painted anthropomorphic representations are very rare, being around 140 images of this kind known so far in the entire area of spread of the Cucuteni-Tripoli culture.
Based on the analysis of the shape of the vessel, the specific decoration and the context of the discovery, it can be admitted that the amphora from Chirileni belongs to the cult of the Mother Woman, the Great Goddess worshiped by the Eneolithic populations.
Tyragetia, serie nouă, vol. I [XVI], nr. 2, Istorie. Muzeologie Chișinău, 2007
Starting with 1470 Ştefan cel Mare builds a new strategy in the security politics of the eastern border of Ţara Moldovei. In the context of this strategy a new place was reserved to the city-fortress Orhei which became the central element in the protection of these borders.
During this period Ştefan cel Mare established the administration of Orhei, which was governed in the next three decades by prominent persons of the time, members of Sfatul Domnesc (Prince’s Council): Radu Gangur, Galeș, Vlaicu with his son Duma, Grozea Micotici etc. Due to their high status they contributed to the growing role that the fortress from Răut had to play in the general defense policy of Ţara Moldovei.
Orhei was a natural fortress endowed with supplementary fortifications built at different stages of its evolution, including in the period of Ştefan cel Mare’s rule, when with the help of the governors were built new fortification or repaired the old ones. Three fortifications date from this period: two big earthen and wooden wallums blocking the entrance in the settlement from the west and a stone citadel situated in the central part of Orhei city.
An argument supporting the importance of Orhei fortress in the politics of the sovereign Ştefan cel Mare is the endowment of the fortress with fire artillery, fact which was documented archaeologically by the discovery of two splendid bronze canons.
A new stage begins in the history of the fortress from Răut after the year 1494, when the governors of Orhei ceased to be members of Sfatul Domnesc, fact that lead to its gradual degradation and abandonment by the middle of the 16th century.
Mariana Gugeanu, Gheorghe Postică
The research, preservation and restoration of textiles discovered during the archaeological excavations undertaken at the Căpriana Monastery
Tyragetia, serie nouă, vol. XIII [XXVIII], nr. 1, Arheologie. Istorie Antică
Gheorghe Postică
Elena Ploșnița, Concepte muzeografice cu profil de istorie: retrospectivă și perspectivă. Biblioteca "Tyragetia", Chișinău, 2008, 248p.
Tyragetia, serie nouă, vol. IV [XIX], nr. 2, Istorie. Muzeologie
Gheorghe Postică, Iulia Postică
Considerations regarding the museum policies within the complex Orheiul Vechi and future perspectives
Tyragetia, serie nouă, vol. IV [XIX], nr. 2, Istorie. Muzeologie
Gheorghe Postică
The early medieval spirituality in the Prut-Nistru space
Tyragetia, serie nouă, vol. II [XVII], nr. 1, Arheologie. Istorie Antică
Gheorghe Postică, Ion Tentiuc
Early medieval bronze amulets representing horsemen from the Carpathian-Dniester region
Tyragetia, serie nouă, vol. VIII [XXIII], nr. 1, Arheologie. Istorie Antică
The exhibit represents a fragment from a unique amphora discovered in 1988 in a ceramic kiln from the Chirileni III settlement (Sîngerei district), attributed to the Cucuteni-Tripolie archaeological culture stage CII (5th-4th millennia BC)...
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
