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#Exhibit of the Month

From the early days of Christianity, the cross meant not only an instrument of torture, but also a symbol of victory over death, a symbol of salvation. The object is made of silver, having the shape of a Byzantine cross with trapezoidal edges of the arms. The side arms and the one at the bottom seem to be turned inside a vessel (chalice (?)) with the trapezoidal "foot". The arms of the cross and of the "chalice" were ended with a decorative element in the shape of a sphere (drop). The cross has a decoration in relief, executed in the technique of filigree and granulation, consisting of drops, double and triple cords, circles with a drop in the center, and trefoils (?). In the center of the cross, at the intersection of the arms, there is a round mount with a cord-like edge, in which the pomegranate fruit is located. However, the main decorative element is the images of four peacocks turned to the right, with a snake in the beak, arranged on all the arms of the cross. The image of the peacocks is rendered in an artistic way, and their tails are stylized in the shape of a palmette.
The peacock, originated from India, due to its luxurious fan-shaped tail, was considered a symbol of the Sun. In ancient Greece, they were considered the sacred birds of the goddess Hera, and in ancient Rome they were considered the sacred birds of the goddess Juno. In Kievan Rus', the peacock (the Firebird) also symbolized the Sun. In the West, the peacock was considered a snake killer, and the iridescent colors of its tail were attributed to its ability to turn snake venom into solar substance. Since snakes in Iranian symbolism were considered enemies of the sun, it was believed that the peacock killed snakes, in order to create "eyes" from their saliva, iridescent with a bronze-green and gold-blue color on the feathers of its tail. Due to the bright splendor of the male peacock's tail, it has been compared with immortal gods and, therefore, with immortality. Peacocks are known as an emblem of greatness, royal authority, spiritual superiority, ideal creation.

In the early period of Christianity, the peacock was a symbol of love, resurrection, immortality, beauty, eternity of the soul, the all-seeing eye of the Church, and the peacock feather was the emblem of Saint Barbara. The image of peacocks with snakes in their beaks on the cross is not at all accidental; it symbolizes the victory of Christ over evil.

On the back side of the cross, traces of fixing are preserved, probably of a pin (missing), so the object served as a brooch (fibula), which was probably attached to the fabric. The piece is presumably dated back to the 9th-12th centuries.

The object has the following dimensions: height - 125 mm; width - 86 mm; weight - 47 g.


 
National Museum of History of Moldova
 

Publications Journal „Tyragetia"

Tyragetia, serie nouă, vol. VI [XXI], nr. 2, Istorie. Muzeologie
ISSN 1857-0240
E-ISSN 2537-6330

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

Chișinău, 2012

I. Researches


Andrei Emilciuc
The legal framework of the circulation of Western European books in the Russian Empire (1721-1917)

Valentin Tomuleț
Bessarabian bourgeoisie in modern age (Classification, characteristics, evolution)

II. Papers and surveys


Lilia Zabolotnaia
Women and power in the history of the Asan dynasty

Cristina Herghiligiu
Coordinates of the evolution of the political elite of Moldavia in the first half of the 15th century

Eugenia Martea
The first documentary mention of the village of Gura Galbenei

Mihai Onilă
The population and estate of Veprova-Puțintei, the Orhei County (the 15th - 18th centuries)

Татевик Саргсян
Armenian Epitaphs from Kiliya

Valentin Arapu
The Armenian community and land lease in Moldova (second half of the 18th - early 19th centuries)

Dinu Poștarencu
Non-indigenous district police officers in the first years after the annexation of Bessarabia

Irina Cereș
The role of the commercial bourgeoisie in the expansion of trade relations between the Russian Empire and the Principality of Moldova during the Russian-Turkish war of 1806-1812

Nicolae Fuștei
Metropolitan Gavriil Bănulescu-Bodoni's attitude to some negative phenomena in society and the church during the period of Exarchate of Moldavia, Wallachia, and Bessarabia (1808-1812)

Silvia Pantaz
L'impact du fleau de la peste dans revolution des relations commerciales de l'Empire Russe avec la Principaute de Moldavie (1812-1831)

Alina Felea
Divorces in Bessarabia in the first half of the 19th century

Ivan Duminica
The policy of the Russian Empire aimed at the granting of privileges to Bulgarian colonists in Bessarabia in the first half of 19th century

Maria Danilov
The library of Costache Tufescu: Reconstructions (1st half of 19th century)

Tatiana Chicaroș
The role of Bessarabian private schools in the educational system of the Russian Empire in the second half of the 19th - early 20th century

Valentin Tomuleț, Victoria Bivol
The elites of Bessarabian bourgeoisie: Armenian and Greek wholesale merchants (1812-1868)

Igor Cereteu
On the distribution of early printed books published in Chișinău

Manole Brihuneț
Religious architecture and funerary complexes of the Dniester-Prut interfluve: the importance of historiographical essays of the tsarist and the interwar times

Mihail Iliev
Vasile Stroescu and Romanians of Bihor County

Ana Grițco
Building of the Hârbovăț Community of Nurses in Chișinău (late 19th - early 20th centuries): the image and history

Vera Serjant
Newspaper "Novaya Gazeta" and its role in the development of advertising in Bessarabia

Adelaida Chiroșca
The monk-painter Irenaeus Protcenco and his famous icon "Our Lady of Sorrows"

Mariana S. Țăranu
Imposition of Soviet legislation on the Romanian territory to the east of the Prut during the first Soviet occupation

Angela Lisnic
Censorship of the field of culture in the MSSR in the 60s-70s of the 20th century: Archival data

Silviu Andrieș-Tabac
Les armoiries et les drapeaux des villes Anenii Noi, Cimișlia, Fălești, Leova, Nisporeni

Liliana Condraticova
Artistic processing of metal in the Dniester-Prut interfluve. Typology of articles made by local jewelers

Vera Stăvilă
Playbills from the collection of the National Museum of Archaeology and History of Moldova

Ольга Щипакина
Soviet posters of 1918-1939 from the collections of the National Museum of Archaeology and History of Moldova

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

Gheorghe Pisica
On an internship at the Hermitage Museum

Sergiu Dobrea
On the financing of museum institutions in the Republic of Moldova

Elena Ploșnița
On the strategy of development of museums in the Republic of Moldova

III. Paper and book review


Maria Danilov
Ion Ţurcanu, Bessarabiana. Teritoriul dintre Prut și Nistru în câteva ipostaze istorice și istoriografice, Editura: Cartdidact, Chișinău, 2012, 344 p. ISBN 978-9975-4337-0-9

Maria Danilov
Ion Constantin, Ion Negrei, Gheorghe Negru, Ioan Pelivan, părintele mișcării naționale din Basarabia, Editura: Biblioteca Bucureștilor, București, 2011, 402 p. ISBN 978-606-8337-04-3

Elena Ploșnița
Dictionnaire encyclopedique de museologie, sour la direction d'Andre Desvallees et de Francois Mairesse, Paris: Armand Colin, 2011, 723 p. ISBN: 978-2-200-27037-7

Constantin I. Ciobanu
Elena Ploșnița, Mihai Ursu, Enciclopedia muzeologiei din Republica Moldova, Chișinău, 2011, 308 p. ISBN 978-9975-80-526-1

 


 

 


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

From the early days of Christianity, the cross meant not only an instrument of torture, but also a symbol of victory over death, a symbol of salvation. The object is made of silver, having the shape of a Byzantine cross with trapezoidal edges of the arms. The side arms and the one at the bottom seem to be turned inside a vessel (chalice (?)) with the trapezoidal "foot". The arms of the cross and of the "chalice" were ended with a decorative element in the shape of a sphere (drop). The cross has a decoration in relief, executed in the technique of filigree and granulation, consisting of drops, double and triple cords, circles with a drop in the center, and trefoils (?). In the center of the cross, at the intersection of the arms, there is a round mount with a cord-like edge, in which the pomegranate fruit is located...

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