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#Exhibit of the Month

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Several icons from the collection of the National Museum of History of Moldova reproduce in their compositions the miracle that would have been performed around the beginning of the 10th century in the church of Mother of God of Vlacherne in Constantinople. According to the legend, the townspeople retreated to the place for fear of an invasion that threatened the capital of the empire. The gathered crowd prayed incessantly, asking the Blessed Virgin to save the city. In the church of Vlacherne, her ancient vestments, which are said to make miracles, have been preserved for centuries. Among the Christians praying in the church was Saint Andrew the Fool-For-Christ, who came with his disciple Epiphanius, who would later become the Patriarch of Constantinople Polyevkt. After hours of fervent prayers, Saint Andrew was worthy to see the Mother of God passing through the royal doors with a procession of saints, who rose above the crowd, praying together with those present. In the end, the Blessed Virgin spread her garment over the crowd, as a sign of defense and protection, leaving the place. Also, from the legend we know that the city was really saved then.

Later, in memory of this miracle, the Church will order the Feast of the Protection of the Mother of God, celebrated on October 1/14.

The composition of the exposed icon highlights the interior of the Vlacherne church. In the upper register, in a radiate oval mandorla, the Mother of God soars on the clouds, holding the omophorus in her hands. She wears loose robes, trimmed with gold thread, beneath which red, gilded shoes can be seen. In the lower register, in the center of the gathered crowd, Romanos the Melodist is depicted sitting on the pulpit with the timetable in his hands, his head being framed by a radiant nimbus. He is dressed in festive robes, of the same shades as the vestments of the Mother of God. Romanus the Melodist is surrounded by several ecclesiastical faces and simple people, including Saint Andrew, who urges his disciple Epiphanie to look up at the miracle that was taking place in the church. The appearance of the hymnographer Romanos the Melodist (490-556) in this composition is not accidental. The young deacon began his activity in the Vlacherne church, where, five centuries later, Saint Andrew experienced his miraculous revelation. The legend tells that it was the Mother of God who endowed the young man with the grace of a wonderful voice, he later glorified her in his songs, writing, in all probability, the Akathist Hymn of the Mother of God. The Church commemorates Romanos the Melodist on October 1/14, the same day when the Protection of the Mother of God is commemorated.

The icon comes from the 19th century, from one of the workshops in southern Russia, being painted in tempera on a wooden support with dimensions 59x90x3 cm.

Virtual Tour


Chronological Axis


Aeneolithic Age

(late 5th millennium B.C. - early 3rd millennium B.C.)

The archaeological collections related to this period are the most representative ones. The development of material and spiritual culture testifies to the existence of different communities of farmers and nomadic cattle-breeders. Representatives of the Cucuteni-Tripolye culture inhabited the vast territory from the Carpathians to Dnieper for about 1,500 years (late 5th millennium B.C. – early 3rd millennium B.C.).

In the territory of the Republic of Moldova there are known more than 600 settlements of farmers, some of which were archaeologically investigated: Floresti, Rogojeni, Rusestii Noi, Radulenii Vechi, Petreni, Varvareuca, Brinzeni, etc. At this time there were first produced metal (copper) items. Tools made of bone and stone are predominant.  The earthenware collection is remarkable for the variety of vessels decorated with carving or painted in diverse ornamental styles. The ornamental compositions contain cosmologic scenes, astral symbols, fantastic animals, and anthropomorphic deities. The spiritual life of the communities is represented by an impressive collection of zoo- and anthropomorphic figurines.

At the same time in the south of the Prut-Dniester area there was spread the Bolgrad-Aldeni culture represented by an impressive material.

Cattle-breeding tribes from North-Pontic steppes, which are represented here by the archaeological monuments of the Suvorovo-Novodanilovca and Cernavoda type, played an important part in the history of Aeneolithic communities. The stages of transition from the Aeneolithic to the Bronze Age in the Prut-Dniester area are represented by the archaeological cultures like the Brinzeni, Gordinesti, and Usatovo ones, which have harmoniously combined elements of the Cucuteni civilization and features of the cultures of the North-Pontic cattle-breeders identified with the ancient Indo-Europeans.

1.Vessel, the Bolgrad-Aldeni culture
 
1.Vessel, the Bolgrad-Aldeni culture - Aeneolithic Age
 
2.Vessel, the Bolgrad-Aldeni culture
 
2.Vessel, the Bolgrad-Aldeni culture - Aeneolithic Age
 
3.Female figurine of “Orante” type, the Bolgrad-Aldeni culture
 
3.Female figurine of “Orante” type, the Bolgrad-Aldeni culture - Aeneolithic Age
 
4.Painted amphora with zoomorphic representations, the Late Cucuteni-Tripolye culture
 
4.Painted amphora with zoomorphic representations, the Late Cucuteni-Tripolye culture - Aeneolithic Age
 
5.Head of anthropomorphic figurine representing a slipping female deity, the Late Cucuteni-Tripolye culture
 
5.Head of anthropomorphic figurine representing a slipping female deity, the Late Cucuteni-Tripolye culture - Aeneolithic Age
 
6.Anthropomorphic top of lid representing male deity, the Early or the Middle Cucuteni-Tripolye culture
 
6.Anthropomorphic top of lid representing male deity, the Early or the Middle Cucuteni-Tripolye culture  - Aeneolithic Age
 
7. Female figurine sitting on the zoomorphic “throne”, the Early Cucuteni-Tripolye culture
 
7.	Female figurine sitting on the zoomorphic “throne”, the Early Cucuteni-Tripolye culture  - Aeneolithic Age
 
8.Female figurine, the Early Cucuteni-Tripolye culture
 
8.Female figurine, the Early Cucuteni-Tripolye culture - Aeneolithic Age
 
9.Stemmed “fruit dish” vessel with lid, with incised and excised decoration, the Early Cucuteni-Tripolye culture
 
9.Stemmed “fruit dish” vessel with lid, with incised and excised decoration, the Early Cucuteni-Tripolye culture  - Aeneolithic Age
 
10.Stemmed “fruit dish” vessel with incised and excised decoration, the Early Cucuteni-Tripolye culture
 
10.Stemmed “fruit dish” vessel with incised and excised decoration, the Early Cucuteni-Tripolye culture  - Aeneolithic Age
 
11.Stemmed “fruit dish” vessel with painted design, the Middle Cucuteni-Tripolye culture
 
11.Stemmed “fruit dish” vessel with painted design, the Middle Cucuteni-Tripolye culture  - Aeneolithic Age
 
12.Painted anthropomorphic amphora with lid, the Middle Cucuteni-Tripolye culture
 
12.Painted anthropomorphic amphora with lid, the Middle Cucuteni-Tripolye culture  - Aeneolithic Age
 
13.Painted amphora with representation of the Great Goddess possessing animals, the Late Cucuteni-Tripolye culture
 
13.Painted amphora with representation of the Great Goddess possessing animals, the Late Cucuteni-Tripolye culture - Aeneolithic Age
 
14.Female figurine, the Late Cucuteni-Tripolye culture
 
14.Female figurine, the Late Cucuteni-Tripolye culture - Aeneolithic Age
 
15.Bowl with zoomorphic representations, the Late Cucuteni-Tripolye culture
 
15.Bowl with zoomorphic representations, the Late Cucuteni-Tripolye culture - Aeneolithic Age
 
16.Painted pear-shaped vessel, the Late Cucuteni-Tripolye culture
 
16.Painted pear-shaped vessel, the Late Cucuteni-Tripolye culture - Aeneolithic Age
 
17.Painted vessel, the Late Cucuteni-Tripolye culture
 
17.Painted vessel, the Late Cucuteni-Tripolye culture - Aeneolithic Age
 
18.Female figurines, the Late Cucuteni-Tripolye culture
 
18.Female figurines, the Late Cucuteni-Tripolye culture - Aeneolithic Age
 
19.Female figurines, the Late Cucuteni-Tripolye culture
 
19.Female figurines, the Late Cucuteni-Tripolye culture - Aeneolithic Age
 
20.Painted amphora, the Late Cucuteni-Tripolye culture
 
20.Painted amphora, the Late Cucuteni-Tripolye culture - Aeneolithic Age
 
21. Copper items, the Middle Cucuteni-Tripolye culture
 
21. Copper items, the Middle Cucuteni-Tripolye culture - Aeneolithic Age
 
22. Painted dishes and bowls, the Late Cucuteni-Tripolye culture
 
22. Painted dishes and bowls, the Late Cucuteni-Tripolye culture - Aeneolithic Age
 
23.Painted vessels, the Middle Cucuteni-Tripolye culture
 
23.Painted vessels, the Middle Cucuteni-Tripolye culture - Aeneolithic Age
 
24.Binocular vessel, the Middle Cucuteni-Tripolye culture
 
24.Binocular vessel, the Middle Cucuteni-Tripolye culture - Aeneolithic Age
 
25.Figurine of a bull, the Late Cucuteni-Tripolye culture
 
25.Figurine of a bull, the Late Cucuteni-Tripolye culture - Aeneolithic Age
 
26. Painted vessels: lidded anthropomorphic amphora representing a female deity and bowl, the Middle Cucuteni-Tripolye culture
 
26. Painted vessels: lidded anthropomorphic amphora representing a female deity and bowl, the Middle Cucuteni-Tripolye culture - Aeneolithic Age
 
27. Binocular vessel, the Middle Cucuteni-Tripolye culture
 
27. Binocular vessel, the Middle Cucuteni-Tripolye culture - Aeneolithic Age
 
28. Fragment of design of a painted amphora with zoomorphic representations, the Late Cucuteni-Tripolye culture
 
28. Fragment of design of a painted amphora with zoomorphic representations, the Late Cucuteni-Tripolye culture - Aeneolithic Age
 
29.Fragment of design of a painted amphora with zoomorphic representations, the Late Cucuteni-Tripolye culture
 
29.Fragment of design of a painted amphora with zoomorphic representations, the Late Cucuteni-Tripolye culture  - Aeneolithic Age
 
30. Fragment of design of a painted amphora with zoomorphic representations, the Late Cucuteni-Tripolye culture
 
30. Fragment of design of a painted amphora with zoomorphic representations, the Late Cucuteni-Tripolye culture  - Aeneolithic Age
 
31.Fragment of design of a painted amphora with the scene of a ritual dance, the Late Cucuteni-Tripolye culture
 
31.Fragment of design of a painted amphora with the scene of a ritual dance, the Late Cucuteni-Tripolye culture  - Aeneolithic Age
 
32.Copper axe, the Late Cucuteni-Tripolye culture
 
32.Copper axe, the Late Cucuteni-Tripolye culture  - Aeneolithic Age
 
33. Bone daggers, the Late Cucuteni-Tripolye culture
 
33. Bone daggers, the Late Cucuteni-Tripolye culture  - Aeneolithic Age
 








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

Several icons from the collection of the National Museum of History of Moldova reproduce in their compositions the miracle that would have been performed around the beginning of the 10th century in the church of Mother of God of Vlacherne in Constantinople. According to the legend, the townspeople retreated to the place for fear of an invasion that threatened the capital of the empire. The gathered crowd prayed incessantly, asking the Blessed Virgin to save the city...

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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.
©2006-2022 National Museum of History of Moldova
Visit museum 31 August 1989 St., 121 A, MD 2012, Chisinau, Republic of Moldova
Phones:
Secretariat: +373 (22) 24-43-25
Department of Public Relations and Museum Education: +373 (22) 24-04-26
Fax: +373 (22) 24-43-69
E-mail: office@nationalmuseum.md
Technical Support: info@nationalmuseum.md
Web site administration and maintenance: Andrei EMILCIUC

 



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.
©2006-2022 National Museum of History of Moldova
Visit museum 31 August 1989 St., 121 A, MD 2012, Chisinau, Republic of Moldova
Phones:
Secretariat: +373 (22) 24-43-25
Department of Public Relations and Museum Education: +373 (22) 24-04-26
Fax: +373 (22) 24-43-69
E-mail: office@nationalmuseum.md
Technical Support: info@nationalmuseum.md
Web site administration and maintenance: Andrei EMILCIUC

menu
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.
©2006-2022 National Museum of History of Moldova
Visit museum 31 August 1989 St., 121 A, MD 2012, Chisinau, Republic of Moldova
Phones:
Secretariat: +373 (22) 24-43-25
Department of Public Relations and Museum Education: +373 (22) 24-04-26
Fax: +373 (22) 24-43-69
E-mail: office@nationalmuseum.md
Technical Support: info@nationalmuseum.md
Web site administration and maintenance: Andrei EMILCIUC