Around thirty icons from the collection of the National Museum of History of Moldova feature Saint Nicholas the Hierarch and Miracle Worker. While most represent the later iconographic tradition, a few early images stand out as rare examples due to their composition. In the icon "Saint Nicholas with Scenes from His Life", the hierarch is depicted bust-length, blessing the Gospel. He is framed by two round medallions showing Christ and the Mother of God, who hand him the Gospel and the omophorion. Saint Nicholas, earlier than other saints, was portrayed with scenes from his hagiographic cycle. The first images of his life date back to the 11th century, represented on a folding icon from the Monastery of Saint Catherine at Sinai.
The museum icon dates from the early 19th century, preserving the traditional chest format typical of classical icons. Twelve panels illustrate episodes from the saint's life, arranged from left to right: four on the upper register, four on the lower, and two on each side, as follows: Birth of Saint Nicholas (1), Baptism of Saint Nicholas (2), Miracle of Healing the Crippled Woman (3), Apprenticeship of Young Nicholas (4), Ordination as Deacon (5), Ordination as Bishop (6) Vision of Constantine (7), Saint Nicholas Saves Three Voivodes from Execution (8), Miracle of Rescue from Drowning (9), Miracle of Saving Basil from the Arabs (10), Dormition of Saint Nicholas (11), Translation of the Relics of Saint Nicholas to Bari (12).
Saint Nicholas the Hierarch is commemorated by the Orthodox Church twice a year: on December 6/19, the day of his birth, and on May 9/22, the day his relics were transferred from Myra to Bari (1087). Among all saints of the Christian world, the image of Saint Nicholas is one of the most popular, easily recognizable even to those unfamiliar with iconography.
He was born in the Roman Empire, at Patara in the province of Lycia, between 260-280, though early sources omit the exact date. Coming from a wealthy family, he rejected fame and luxury. From an early age he devoted himself to prayer and the study of Holy Scripture, while also mastering other disciplines. He avoided noisy gatherings and idle talk, attended church regularly, and pursued a life of chastity. Later he dedicated himself to pastoral ministry, defending the Christian faith with perseverance and firmly opposing heresies. Through his care for people and the benefactions he performed everywhere, he became highly venerated not only in Myra but also in the surrounding regions. The grace of the Holy Spirit dwelling in his heart was revealed through miracles performed both during his life and after his death, earning him the enduring title of "Miracle Worker." Saint Nicholas passed away in the 330s (circa 334-337), and his remains were placed in a sumptuous marble tomb in the episcopal cathedral where he had served for many years. This soon became an important center of pilgrimage. Holy Tradition has preserved with accuracy the features of his portrait, and his appearance in icons is marked by a distinct individuality. Ecclesiastical art has produced numerous iconographic representations, ranging from bust images to full-length depictions. The diversity of these representations suggests that the final iconography of Saint Nicholas was not yet established, taking shape only in the 10th-11th centuries. It is said that an authentic icon from the basilica in Myra, executed during the saint's lifetime and mentioned in written sources as early as the 11th century, played a significant role in his veneration. Icons depicting the hagiographic cycle of Saint Nicholas spread widely in both Byzantine and post-Byzantine art, confirming the importance and popularity of his cult.
Tyragetia, serie nouă, vol. IX [XXIV], nr. 2, Istorie. Muzeologie Chișinău, 2015
Abstract
This article is the result of research of the museum's collection of postcards on the theme of the First World War, which was carried out in connection with the centenary since the war began.
At the present stage of the evolution of historical science a special role belongs to the documentary sources that had previously been "less required", including illustrated postcards. At the beginning of the 20th century postcards know peak of their evolution. Being very popular, mobile and accessible, during the war they fulfilled several functions. In addition to performing the functions of postal items, they become an accessible form of propaganda and a source of supplementing military budget.
The collection of picture postcards relating to the First World War comprises three categories of documents. The first one includes black-and-white postcards with representations of weapons and ammunition, scenes of the battlefield, soldiers' lives in their leisure hours, the work of the military medical service, life behind the front.
The second category includes illustrated postcards calling on the public to support the army. These are color postcards of high quality, with a lot of printed text on the back side, containing, in addition to the publisher's data, the call to the public to support the army in the fight against the enemy.
The third category contains postcards with caricatures, which occupied a special place during the First World War, as they were used as an effective weapon against the enemy, the propaganda support both on the battlefield and in the rear.
Chronologically, these postcards were printed and circulated between 1914 and 1916. There are cards with blackand-white and color images that were printed in Russia by printing houses and private publishers, Red Cross soci eties, as well as the Moscow satirical magazine "Novoe Krivoe Zerkalo" ("New Distorting Mirror").
The article contributes to the study of the history of World War II in terms of the illustrative material, as well as provides information about the authors and publishers of postcards.
List of illustrations: Fig. 1. Postcard Prayer before the battle. Released by the St. Nicholas Community of the Russian Red Cross Society (NMHM, FB-21336-10).
Fig. 2. Postcard (reverse side). Every 2-3 sold cards provide an opportunity to make a respirator to protect against poison gases. Released by the St. Nicholas Community of the Russian Red Cross Society (NMHM, FB21336-10). Fig. 3. Postcard. 116. Cannon on a position. Released by G.V. Gruzintsev, the town of Luga, 1915; Phototype Scherer, Nabholz & Co., Moscow (NMHM, FB-21336-8). Fig. 4. Postcard. 54. Battery on a position. Released by G.V. Gruzintsev, the town of Luga, 1915; Phototype Scherer, Nabholz & Co., Moscow (NMHM, FB-21336-7). Fig. 5. Postcard. 127. Hair cutting near the dugout. Released by G.V. Gruzintsev, the town of Luga, 1915; Phototype Scherer, Nabholz & Co., Moscow (NMHM, FB-21336-9). Fig. 6. Postcard. 24. In the war. Sending wounded men from the regimental dressing station to the hospital. Released by O. Adamovich, Minsk; Phototype Scherer, Nabholz & Co. (NMHM, FB-20579). Fig. 7. Postcard. In Galicia. In the safe shelter during the shelling. Released by O. Adamovich, priest of the 64 Kazan Infantry Regiment; Phototype Scherer, Nabholz & Co. (NMHM, FB-20578). Fig. 8. Postcard. Bandaging of the wounded during the battle. Russia, 1915 (NMHM, FB-20577). Fig. 9. Postcard. Shells for the army the glory and prosperity of Russia. Released by the Skobelev Committee of the Assistance to the Wounded Soldiers. Petrograd, 1915 (NMHM, FB-7788-30). Fig. 10. Postcard. When the motherland needed guns, the factories are working day and night. Released by the Skobelev Committee of the Assistance to the Wounded Soldiers. Petrograd, 1915 (NMHM, FB-7788-31). Fig. 11. Postcard. French long-range gun. Released by the Skobelev Committee of the Assistance to the Wounded Soldiers. Petrograd, 1915 (NMHM, FB-7788-32). Fig. 12. Postcard. Romanian troops in the First World War. Balloon, 1916 (NMHM, FB-7788-33). Fig. 13. Postcard. On the strengthening of funds of the Northern Railway Committee to assist soldiers. Russia, 1914 (NMHM, FB-7788-5). Fig. 14. Postcard (reverse side). Take part in the accumulation of funds, buy war bonds. Russia, 1916 (NMHM, FB-7788-23). Fig. 15. Postcard. Help the Army in its great work and sign up for the military 5½ loan. Released by the Office for Small Loans. Petrograd, 1916 (NMHM, FB-7788-19). Fig. 16. Postcard. Anyone who signs up for military 5½ loan will help our heroes to destroy the enemies. Released by the Office for Small Loans. Petrograd, 1916 (NMHM, FB-7788-22). Fig. 17. Postcard. Sign up for the military 5½ loan. Released by the Office for Small Loans. Petrograd, 1916 (NMHM, FB-7788-21). Fig. 18. Postcard. Military 5½ loan. The more money, the more weapons and ammunition, the closer to victory. Released by the Office for Small Loans. Petrograd (NMHM, FB-7788-23). Fig. 19. Postcard. Military loan. Forward for the Motherland! Released by the Office for Small Loans. Petrograd, 1916 (NMHM, FB-7788-20). Fig. 20. The reverse side of the postcards released by the Office for Small Loans. Petrograd, 1916 (NMHM, FB7788-20). Fig. 21. The reverse side of the postcards released by the Skobelev Committee of the Assistance to the Wounded Soldiers. Petrograd, 1916 (NMHM, FB-7788-30). Fig. 22. Postcard. Caricature (color). Russian hen, Slavic chickens and German thieves. Released by "Novoe Krivoe Zerkalo". Moscow, 1914 (NMHM, FB-5935-11). Fig. 23. Postcard. Caricature (color). The prudent son. By L. Zolotarev. Petrograd, 1914 (NMHM, FB-59353). Fig. 24. Postcard. Caricature. The spirit of hatred and evil. By A. Tzenter. Petrograd, 1914 (NMHM, FB-59356). Fig. 25. Postcard. Caricature (color). Homeward. Russia, 1914 . (NMHM, FB-5935 12). Fig. 26. Postcard. Caricature (color). Finally, I am in Russia. Released by P. Khmelevsky. Russia, 1914 (NMHM, FB-5935-2). Fig. 27. Postcard. Caricature. "The Italian fig sign". Released by "Novoe Krivoe Zerkalo". Moscow, 1916 (NMHM, FB-5935-4). Fig. 28. Postcard. Caricature (color). On the way to Paris by 11 August. Russia, 1916 (NMHM, FB 59358). Fig. 29. Postcard. Caricature. What a pity that the world consists of only two hemispheres. Released by "Novoe Krivoe Zerkalo". Moscow, 1916 (NMHM, FB-5935-7). Fig. 30. Postcard. Caricature (color). Wolf in the kennel. Released by "Nov'", Kiev, 1914. (NMHM, FB-5935-10). Fig. 31. Postcard. Caricature. After the defeat of museums... "nah Fatherland". By A. Tzenter. Petrograd, 1914 (NMHM, FB-5935-8).
Fig. 32. Postcard. Caricature (color). Delusion of grandeur. Wilhelm II. Released by A.F. Postnov's Factory. Moscow, 1914 (NMHM, FB-59355). Fig. 33. Postcard. Caricature. Wilhelm the Bloody (see from a distance). Russia, 1914 (NMHM, FB-5935-1). Fig. 34. The reverse side of the postcard sent from Sevastopol (October 2, 1914) to the village of Răduleni (Guberniya of Bessarabia). Addressee: P.F. Sutulova (NMHM, FB-5935-5).
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Around thirty icons from the collection of the National Museum of History of Moldova feature Saint Nicholas the Hierarch and Miracle Worker. While most represent the later iconographic tradition, a few early images stand out as rare examples due to their composition...
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
