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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. XIII [XXVIII], nr. 1, Arheologie. Istorie Antică
ISSN 1857-0240
E-ISSN 2537-6330

Tyragetia, serie nouă, vol. XIII [XXVIII], nr. 1, Arheologie. Istorie Antică

Chișinău, 2019

I. Researches


Михаил Видейко
The channel kilns in Trypillia Culture and development of pottery

Наталья Бурдо
Spindle whorls of Trypillia-Cucuteni cultural unity

Florin Gogâltan
About the Absolute Chronology of the Late Bronze in the Eastern Carpathian Basin

II.    Papers and surveys


Оксана Олих, Алексей Данильченко, Елена Ревина
Mar’eva Gora in the northeastern Sea of Azov region – a Unique Archaeological Site

Александр Колесник, Никита Манько
On the typology of hammerstones from Neo-Eneolithic workshops of Donbass

Eugen Mistreanu
Settlements of Gumelniţa culture in the Prut-Dniester area (catalog)

Игорь Сапожников, Майя Кашуба
«Corpus of antiques and archaeological findings in Bessarabia» by N. Mogilyansky and Ya. Ebergardt

Виктор Мерц
Copper vessel from from Krivinka 1 settlement

Салтанат Амирова, Мильяна Радивоевич
Copper vessel from from Krivinka 1 settlement. Compositional and metallographic analysis

Елена Избицер
Wagon burials in pits of the Middle Bronze Age in the Don River basin

Виктор Гребенников
Settlements of the epoch late bronze of the left-bank Tiligul Lyman and the basin of r. Berezan (materials for the archaeological map of the Northern Black Sea Coast)

Тудор Сорочянy, Кэтэлин Добринеску, Сорин Айлинкэй, Виталие Бодоликэ, Тибериу Сава
Die Coslogeni-Fundgrube 121 von Cernavodă-„Autobahn 2, km. 152“ (Kr. Constanţa, Rumänien): Treffpunkt hervorragender osteuropäischer Bronzen und Keramik an der westlichen Schwarzmeerküste

Mariana Sîrbu, Sergiu Popovici, Vlad Vornic
The hoard of bronze artifacts discovered near village Haragîş (Cantemir district)

Margareta Simina Stanc, Daniel Ioan Malaxa, Sorin-Cristian Ailincăi
The analysis of faunal remains in Early Iron Age settlement at Enisala-Palanca (Sarichioi Commune, Tulcea County, South-Eastern Romania)

Ion Niculiţă, Aurel Zanoci, Mihail Băţ, Victor Dulgher
Archaeological investigations at the Saharna Mare / „Dealul Mănăstirii” site, Rezina district (2017-2019)

Tatiana Nagacevschi, Angela Simalcsik, Vitalie Sochircă, Margareta Simina Stanc
Interdisciplinary research at Saharna Mare / „Dealul Mănăstirii” site

Natalia Mateevici
Emblems representing deities on Sinope amphora stamps (based on the Tyras collection)

Иван Снытко, Андрей Бондаренко
Coin segments used as weights in the Olbia Polis in the 4th-3rd centuries BC

Aurel Mototolea, Tiberiu Potârniche, Simina Margareta Stanc
Recent Archaeological Investigations on the Tomitan Acropolis (2017-2018). Preliminary Study

Vasile Iarmulschi
On the chronology of the La Tène cemetery at Cammer (Lkr. Potsdam-Mittelmark)

Boris A. Raev
Roman bronzes and door knockers from the Black Sea cities of Central Anatolia. An ethnographic etude

Иван Власенко
Early medieval bone handles of knives with annular notches as one of the possible signs of ethnic attribution of the Tivertsi

Ion Tentiuc, Valeriu Bubulici
The hoard of early medieval tools and weapons found at Sadova-Călăraşi, the Republic of Moldova

Вячеслав Крыжановский
Traces of bronze casting production on the western outskirts of ancient Kyiv

Octavian Munteanu, Angela Simalcsik
Une tombe médiévale avec d’anneaux à boucles decouverte à Butuceni, la région d’Orhei (notes préliminaires)

Mariana Gugeanu, Gheorghe Postică
The research, preservation and restoration of textiles discovered during the archaeological excavations undertaken at the Căpriana Monastery

Ana Boldureanu
Chronicle of coin finds (XII-XIII)

III. Paper and book review


Ana Boldureanu
Александр Владимирович Пачкалов, Золотая Орда по данным нумизматических источников. Монография, Москвa: Кнорус, 2018, 180 pp., ISBN 978-5-4365-2528-0

IV. Scientific events


Zvezdana Dode, Dale Carolyn Gluckman
The 4th Annual Symposium of the International Association for the Study of Silk Road Textiles

V. Homage


Tudor Soroceanu
Wojciech Blajer. Oder: Die Kraft der Ruhe

Florin Gogâltan
Tudor Soroceanu şi cercetarea epocii bronzului

Sergiu Matveev
Profesorul Ion Niculiţă la 80 de ani

 


 

 


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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