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.
Zur Anfangsphase der Verbreitung attischer rotfiguriger Keramik im Nordwesten des Pontos Euxeinos
Tyragetia, serie nouă, vol. IV [XIX], nr. 1, Arheologie. Istorie Antică
Gegenstand dieses Aufsatzes bilden 29 attische frührotfigurige Vasen aus dem nordwestlichen Pontos-Raum, die zum überwiegenden Teil in einem sehr fragmentarischen Zustand überliefert worden sind. Die vielfältigen Informationen über die Herkunft, Bilddarstellung, stilistischen und chronologischen Zuweisung sowie bibliographischen Hinweise zu jedem Gefäß bzw. Fragmentstück werden in einem separaten Katalogteil zusammengefasst. Dabei handelt es sich nur um die Keramikgefäße aus Athen, die noch im letzten Drittel des 6. Jhs. v. Chr. in diesem Gebiet importiert wurde. Das gesamte Material wird in erster Linie in Hinsicht auf die geographische Verbreitung und den archäologischen Fundkontext ausgewertet. Es ließ sich dabei feststellen, dass sich die frührotfigurige Keramik bislang nur an drei Fundstellen nämlich Olbia, Berezan und Insel Leuke fand, wobei die Anzahl der griechischen Kolonien und Agrarsiedlungen aus ihrem Hinterland in dieser Zeitphase deutlich höher war. Diesbezüglich fällt das Fehlen solcher Funde in erster Linie in der griechischen Kolonie Histria, die bereits in der zweiten Hälfte des 7. Jhs. v. Chr. gegründet war und bis zu diesem Zeitpunkt aufgrund zahlreicher Keramikfunde vielfältige Beziehungen mit Athen hatte, besonders auf. Die Zusammenstellung der Informationen über die archäologischen Fundumstände zeigt, dass die meisten Gefäße im Temenos von Olbia und im Achilleus-Tempel auf der Leuke-Insel aufgetaucht sind. Nur wenige davon sind mit Siedlungs- oder Grabkomplexen aus Berezan und Olbia in Zusammenhang zu bringen. Wie bereits in den früheren Ansätzen vermutet wurde, ist diese Fundsituation darauf hinzudeuten, dass die frührotfigurigen Gefäße in erster Linie als Opferbeigaben an verschiedenen griechischen Göttern verwendet wurden. Aufgrund der Lage der Leuke-Insel als wichtiger Orientierpunkt und Zwischenstation in dem pontischen Seeverkehr kann man davon ausgehen, dass diese Gefäße hier von Händlern geopfert wurden. Da unsere Keramik meistens mit verschiedenen ostgriechischen Keramiken vergesellschaftet ist, ist davon auszugehen, dass diese Keramik nicht direkt aus Athen importiert wurde, sondern durch die Vermittlung der Ostgriechen nach Pontos gelangte.
Tafel 1. Fundkontext und Formenauswahl attischer frührotfiguriger Gefäße. Tafel 2. Archäologische und literarische Quellen über die Gründung griechischer Kolonien aus dem nordwestlichen Pontos-Raum.
Valeriu Banaru
Natalia Mateevici, Amforele grecești în mediul barbar din nord-vestul Pontului Euxin în sec. VI - începutul sec. II a. Chr. Chișinău, 2007. 284 p. + 353 estampaje, 37 fi guri și 18 hărți. ISBN 978-9975-80-080-8
Tyragetia, serie nouă, vol. III [XVIII], nr. 1, Arheologie. Istorie Antică
Valeriu Banaru
Betrachtungen über die Vermittler der Handels- und Austauschbeziehungen zwischen der griechischen Welt und Einheimischen des nordwestlichen Pontos-Raumes auf der Grundlage archäologischer und schriftlicher Quellen des 7.-5. Jh. v. Chr.
Tyragetia, serie nouă, vol. III [XVIII], nr. 1, Arheologie. Istorie Antică
Valeriu Banaru
Piese arheologice din colecțiile Muzeului Național de Arheologie și Istorie a Moldovei într-o expoziție din Republica Federală Germania. Attila und die Hunnen – Begleitbuch zur Ausstellung (Attila și hunii – ghidul expoziției). Hrsg. vom Historischen Museum der Pfalz, Speyer. Konrad Theiss Verlag: Stuttgart, 2007. 388 p. + 470 imagini color. ISBN 978-3-8062-2114-5
Tyragetia, serie nouă, vol. II [XVII], nr. 1, Arheologie. Istorie Antică
Valeriu Banaru
Zur Verzierung rotfiguriger Keramik aus dem Norden und Nordwesten des Pontos Euxeinos
Tyragetia, serie nouă, vol. II [XVII], nr. 1, Arheologie. Istorie Antică
Valeriu Banaru
Griechen, Skythen, Amazonen. Ausstellungskatalog, Pergamonmuseum, Berlin, 14. Juni bis 21. Oktober 2007 (Antikensammlung Staatliche Museen zu Berlin, Institut für Klassische Archäologie der Freien Universität Berlin). Hrsg. von Ursula Kästner, Martin Langner und Britta Rabe. Berlin, 2007. 84 p. + 115 figuri alb-negru și color
Tyragetia, serie nouă, vol. V [XX], nr. 1, Arheologie. Istorie Antică
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
