The grapevine plant, now widespread across the globe, traces its origins back to the Upper Cretaceous geological period, when species of Vitis Linn appeared on Earth (Mesozoic era), followed later by Vitis vinifera L., the latter already classified among cultivated agricultural plants. Most researchers link the origin of the cultivated grapevine (Vitis vinifera L.) to the wild forest species Vitis sylvestris Gmel. Thickets of Vitis sylvestris Gmel. can still sporadically be found in the groves along the Prut and Dniester floodplains.
During the Precucuteni III - Trypillia A period (ca. 4750-4600 BC), the presence of cultivated grape seeds was clearly documented on pottery from the settlement of Ruseştii Noi I, layer I, kiln A, consisting of a seed impression on a ceramic fragment, with the elongated beak characteristic of the domesticated species Vitis vinifera L. Another seed impression of Vitis vinifera L. was recorded at the settlement of Vărvăreuca VIII, identified on the wall of a painted vessel from the Cucuteni B - Trypillia CI stage (3800-3500/3300 BC). In October, on the occasion of the National Wine Day, the National Museum of History of Moldova presents to your attention a unique relic in Southeastern Europe. The exhibit originates from the settlement Brînzeni VIII "Sâiece," belonging to the Cucuteni-Trypillia culture and dated to the Cucuteni AB2 - Trypillia B2 phase (ca. 4050-3800 BC), located in Brînzeni village, Edineț district. The site lies 2 km southwest of the locality, in a triangle formed by the confluence of the Racovăț and Drobiște streams and the local road L36 Bădragii Vechi-Brînzeni. Positioned on land 25-30 meters above the valley, it was discovered in 1966 by archaeologist Nicolaie Chetraru and investigated through excavations between 1978-1980 by Vsevolod Marchevici. The October exhibit is a grapevine leaf impression discovered in 1980. It comes from pit no. 5, partially investigated, with a maximum depth of 155 cm. From the same archaeological complex near dwelling no. 1, several grape seeds were also recovered, as noted in the excavation report. The grapevine leaf impression appears on a coarse clay lump, fired and vitrified due to secondary burning, reddish in color, with an irregular rectangular, flattened shape. The outer surface is uneven and rough. The impression surface is smoothed, with the leaf veins clearly highlighted. Measuring 99 mm in length, 110 mm in width, and 28-31 mm in thickness, the exhibit presents in full splendor an authentic grapevine leaf impression. Some researchers attribute it to the domesticated grapevine Vitis vinifera L., while others, more skeptical, consider it a wild species. Nevertheless, being discovered in a well-documented archaeological context, together with grape seeds near a dwelling, it provides evidence that grapevine was part of Cucuteni community life 6,000 years ago. These findings allow us to affirm that the process of domestication and the creation of table grapes was already underway. The diversity of Cucuteni ceramic forms, as well as the painting on some vessels, undoubtedly suggests their use as containers for various liquids. Accordingly, the emergence of wine among Cucuteni communities can be taken into consideration.
Restoration and attribution of The Virgin of Tenderness (a new acquisition of the Byzantine collection of the Hermitage Museum)
Tyragetia, serie nouă, vol. X [XXV], nr. 2, Istorie. Muzeologie
Keywords: The Virgin Tenderness, Post-Byzantine icon-painting, woodcut, local icon workshops of the 19th century, Balkan Peninsula.
Abstract: After the once mighty Byzantine Empire ended its existence in 1453, the masters of the local artistic schools from different regions of the former empire preserved and developed the traditions of Byzantine icon painting, enriching them with contemporary innovations in both iconography and technique. These post-Byzantine traditions have continued to live up to the present, as shown, for example, in works of the remarkable Greek artist Manolis Betinakis.
In the history of post-Byzantine icon painting from the second half of the 15th century until the 21st , the period of the mid second half of the 19th century is among those that did not attract much attention of art historians. For fine art connoisseurs, icons of this period were works of practically contemporary painters, and, as a result, the Hermitage Museum, whose icons collection has been formed solely out of acquisitions of private, museum, and state collections, possessed only a few works of Greek and Balkan workshops. During the last decade, the purchase of icons from private persons, this lacuna became filled with interesting works made at Mount Athos, Palestine, the Balkans, and Ionian islands.
One of these icons, The Virgin of Tenderness, was acquired in 2013. The icon depicts the waist-high Virgin Mary holding the Child cuddled up with the cheek to the Virgin's face. Two life-size figures of Archangels Michael and Gavriil are placed in the upper corners; they crown the Virgin with one hand and hold the gold medallions with black monograms of Her name in the other, "МР ӨY". White letters "M" and "G" are visible over the gold halos of archangels. On the background, to the right from the figure of the Child, there are white monograms "IC XC"
The icon had some significant losses of coating and paint, a vertical crack, and chips. Taking into account that in the 19th century the artists often applied "atypical" materials experimenting with water solvent paints and varnishes, the restoration committee decided to use the case for the development of the methodology and choice of optimal materials for the restoration of Greek icon painting of the mid second half of the 19th century.
The Hermitage icon bears many features typical for the late Greek and Balkan painting. From the traditional iconographic type of The Virgin of Tenderness, well-known in Byzantine art from the 7th century, the icon differs by the pose of the Child and position of hands of the Virgin. By its composition and iconographic details the icon finds numerous parallels in works of Bulgarian masters of the 19th century.
According to the results of the technical expertise of the pigments used and iconographic parallels, the icon was painted in the mid-19th century in one of the local workshops of the Balkan Peninsula.
Юрий А. Пятницкий
Coptic textile from Count Alexey Bobrinsky's collection in the State Hermitage: the history of one mistake
Tyragetia, serie nouă, vol. X [XXV], nr. 2, Istorie. Muzeologie
Юрий А. Пятницкий
Cloisonné enamels from the former collection Alexander Zwenigorodsky and a new book by Ljudmila Pekarska, Jewellery of Princely Kiev. The Kiev Hoards in the British Museum and the Metropolitan Museum of Art and Related Material
Tyragetia, serie nouă, vol. IX [XXIV], nr. 2, Istorie. Muzeologie Chișinău, 2015
Юрий А. Пятницкий
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
The grapevine plant, now widespread across the globe, traces its origins back to the Upper Cretaceous geological period, when species of Vitis Linn appeared on Earth (Mesozoic era), followed later by Vitis vinifera L., the latter already classified among cultivated agricultural plants. Most researchers link the origin of the cultivated grapevine (Vitis vinifera L.) to the wild forest species Vitis sylvestris Gmel...
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
