The history of this icon traces back to the 10th century at the Protaton Monastery on Mount Athos. In one of the cells named "The Dormition of the Mother of God," an elderly hieromonk lived with his disciple. They preserved a superb depiction of the Virgin Mary. This old icon became renowned through the revelation of the prayer "It Is Truly Meet." Between the years 980-982, on a Saturday evening before an all-night vigil, the elder monk left for the nearby church, instructing his disciple to continue the religious routine in the cell. Being obedient, the disciple followed the instructions. When he reached the 9th Ode of the Canons, "More Honorable Than the Cherubim...," he suddenly heard someone beginning to chant alongside him: "It is truly meet to bless thee, O Theotokos..." It was a mysterious pilgrim monk who had appeared unexpectedly and joined in the prayers. At that moment, the icon began to radiate light, as if it were broad daylight. Astonished by the events, the disciple asked the mysterious monk to write down the verses. The monk wrote them on a tile with his finger as if it were soft wax and said, "From now on, this is how you Orthodox Christians should chant," and, saying this, he vanished. Left alone, the disciple realized he had witnessed a great miracle. Enlightened, he understood that the pilgrim was none other than the Archangel Gabriel, who had come, as he had before, to deliver the word of the Highest to humanity.
The icon was transferred from the cell to the Holy Altar of the Protaton Church, where a similar icon is preserved to this day. The tile with the divine hymn was taken to Constantinople and included in the Orthodox Church's liturgical books. Soon after, Archangel Gabriel's prayer was incorporated into the Divine Liturgy, immediately following the Consecration of the Gifts of Bread and Wine. The valley with the cells has since been called Adin, meaning "to chant," "chanting."
The icon "It Is Truly Meet" is of inestimable value and has become the protector of Mount Athos. The icon is celebrated on June 11/24, commemorating the miraculous appearance of the Archangel, and on July 13/26, in honor of the Synaxis of the Archangel Gabriel.
This icon, of the Eleusa type, portrays gentleness and tenderness in its central figures. The Virgin holds the Child with her right hand, while her left hand, placed beneath His feet, grips the hem of His tunic. The small Jesus wears a short tunic reaching His knees and holds a scroll in His right hand inscribed with the words of the Axion hymn. His left-hand slips under the veil of the Virgin towards her left shoulder. Both figures are crowned with golden halos. Two angels flank the Virgin's halo, while the Almighty in an open heaven blesses with both hands.
Crafted using tempera on wood, the icon is adorned with gold leaf and multicolored enamel, giving the image a unique delicacy. The inscription on the lower frame indicates that the icon was created by the painter Ioasaf in 1905.
The painter monk Ioasaf Berghie (1862-?) of the New Neamț Monastery resided there between 1887 and the 1940s, occupying three rooms to set up his studio, where he worked continuously on icons and church artworks. Born into the family of a church teacher in Jabca village, Ștefan Berghie, Ioan Berghie developed a passion for sacred iconography from an early age. In 1890, Andronic, the abbot of the New Neamț Monastery, blessed him to paint icons. Taking monastic vows in 1895 under the name Ioasaf, he traveled by foot to visit major ecclesiastical centers nearby and further afield, learning the art of iconography. Starting with naive-style interpretations, he eventually mastered professional painting techniques and acquired new decorative skills. His works became highly popular throughout Bessarabia and abroad. Painting a significant number of icons, they were often mistakenly sold as coming from major artisan workshops. To prevent such confusion, he received the abbot's blessing to sign his works, earning recognition and fame for his name.
The image of Our Lady of Hârbovăț from the collection of icons of the National Museum of History of Moldova
Tyragetia, serie nouă, vol. VII [XXII], nr. 2, Istorie. Muzeologie
The six icons from the collection of Marian icons from the National Museum of History of Moldova represent the image of Our Lady of Hârbovăț. Of these, three are large processional ones and the others are smaller, home icons. The techniques of their manufacture are different: from tempera and oil on wood and gilding with gold leaf to chasing the fish glue gesso and enamel paints. All these icons are Russian and Bessarabian and are dated from the end of the 19th and early 20th centuries.
As is known, the appearance of the icon of Our Lady of Hârbovăț in the monastery dates from the late 18th century and is connected with the name of a Russian officer Nikolai Albaduev. Sources indicate that it was a family heirloom, handed down from generation to generation. In the monastery it proved to be a miracle-working icon. Multiple copies of it have spread in Bessarabia and beyond, and soon the image has become widely known as the icon of Our Lady of Hârbovăț.
On April 17, 1859 the Holy Synod has recognized its miraculous properties and approved the requests of Chisinau residents, allowing annually, from October 1 to April 17, with a procession to transfer the icon of Our Lady of Hârbovăț from the monastery to Chișinău.
This image is of the Hodegetria type. The image of the Virgin is presented till the knees; she holds the Child on her left hand and points at him with her right hand. The Savior blesses with his right hand, and in his left hand he holds a scroll. Their heads are inclined to each other. The distinctive elements of this type of Marian iconography are the outstretched more than usual right arm of the Savior, his light shirt with a belt, sad face of the Virgin and floral decoration of her garments.
List of illustrations:
Fig. 1. Icon of Our Lady of Hârbovăț.
Fig. 2. Icon of Our Lady of Hârbovăț from the Ascension Monastery at the village of Japca, Florești District.
Fig. 3. Icon of Our Lady of Hârbovăț from the Noul Neamț Monastery of the Holy Ascension, Slobozia district.
Fig. 4. Icon of Our Lady of Hârbovăț from the village of Sârcova, Rezina District.
Fig. 5. Icon of Our Lady of Hârbovăț from the village of Sârcova, Rezina District.
Fig. 6. Icon of Our Lady of Hârbovăț from the Church of All Saints in the Armenian Cemetery in Chișinău.
Fig. 7. Icon of Our Lady of Hârbovăț from the Savior's Transfiguration Monastery in Bolgrad, Ukraine.
Fig. 8. Icon of Our Lady of Hârbovăț from the Archangel Michael Monastery in Odessa, Ukraine.
Fig. 9. Icon of Our Lady of Hârbovăț from the St. Paraskeva Church at Furatovka village, Odessa Region, Ukraine.
Fig. 10. Icon of Our Lady of Hârbovăț from the Cathedral of the Holy Great Martyr Theodore the Tyron in Chișinău.
Fig. 11. Icon of Our Lady of Hârbovăț from the Cathedral of the Holy Great Martyr Theodore the Tyron in Chișinău (painter Ioan Protcenco).
Fig. 12. Icon of Our Lady of Hârbovăț, from the Assumption Monastery at Hârbovăț.
Fig. 13. Icon of Our Lady of Hârbovăț, the NMHM collection (FB-22918-3).
Fig. 14. Icon of Our Lady of Hârbovăț, the NMHM collection (FB-22918-11).
Fig. 15. Icon of Our Lady of Hârbovăț, the NMHM collection (FB-22918-44).
Fig. 16. Icon of Our Lady of Hârbovăț, the NMHM collection (FB-22642).
Fig. 17. Icon of Our Lady of Hârbovăț, the NMHM collection (FB-14736).
Fig. 18. Icon of Our Lady of Hârbovăț, the NMHM collection (FB-1540).
Fig. 19. Icon of Our Lady "Il'inskaya Chernigovskaya" from the St. Trinity Monastery of St. Elijah in Chernihiv, Ukraine.
Fig. 20. Icon of Our Lady "Chernigovskaya Gefsimanskaya" from the Trinity Lavra of St. Sergius, Sergiyev Posad, Russia.
Fig. 21. Icon of Our Lady of Trigorie from the Holy Transfiguration Monastery at the village of Trigorie, Ukraine.
Fig. 22. Icon of Our Lady of Barkolabovo from the Ascension Monastery at the village of Barkolabovo, Belarus.
Fig. 23. Icon of Our Lady of Lublin from the Monastery of the Miracle of Archangel Michael at Chonae (Chudov Monastery) in Moscow, Russia.
Fig. 24. Icon of Our Lady of Hârbovăț.
Fig. 25. Icon of Our Lady of Hârbovăț from the St. Vladimir's Cathedral in Kiev, Ukraine.
Adelaida Chiroșca
Eucharistic icons of Jesus Christ in the collections of the National Museum of History of Moldova
Tyragetia, serie nouă, vol. X [XXV], nr. 2, Istorie. Muzeologie
Adelaida Chiroșca
The monk-painter Irenaeus Protcenco and his famous icon "Our Lady of Sorrows"
Tyragetia, serie nouă, vol. VI [XXI], nr. 2, Istorie. Muzeologie
Ana Boldureanu, Adelaida Chiroșca, Elena Revenco
Medieval coin hoard of the 16th century from Parcani, Soroca District, Republic of Moldova
Tyragetia, serie nouă, vol. V [XX], nr. 1, Arheologie. Istorie Antică
Adelaida Chiroșca
The iconographic message of the Last Supper compositions from the collection of the National Museum of the History of Moldova)
Tyragetia, serie nouă, vol. XI [XXVI], nr. 2, Istorie. Muzeologie
Adelaida Chiroșca
Two monetary treasures from the 16th and the 17th centuries from the collections of the NMAHM
Tyragetia, serie nouă, vol. III [XVIII], nr. 2, Istorie. Muzeologie
The history of this icon traces back to the 10th century at the Protaton Monastery on Mount Athos. In one of the cells named "The Dormition of the Mother of God," an elderly hieromonk lived with his disciple. They preserved a superb depiction of the Virgin Mary...
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
