Romania, 1993. Icon - St. Anthony. Sc. 3854

The National Museum 

 of Art of Romania 

Art in Monasteries 

Romania, 1993. Icon - Martyrs from Brancoveanu and Vacarescu Families. Sc. 3853

    Byzantium endured through people and through autonomies, namely through that which, spiritually or politically, had maintained a relative freedom after the conquest of Constantinople. Among the people - exiles, clerics, scholars, merchants, and high officials - the most important were the archons and the princes. 

Romania 1999. Arnota Monastery. Romania 1999. Bistrita Monastery. Romania 1999. Dintr-un Lemn (From a Wood) Monastery. Romania 1999. Govora Monastery.

    Among the autonomies, the most powerful and the most efficient were Moldavia and Walachia, much more so than the Christian communities on the continent or on the islands, at Athos or in the oriental patriarchies.

Romania 1994, Vacaresti Monastery Church. Sc. 3884. Romania 1999. Tismana Monastery. Romania 1994, Vacaresti Monastery, Prince's House. Sc. 3886. Romania 1967, Voronet Monastery Church. Sc. 1935.

    The institutions, ideas, aspirations, education, way of life, and the superior type of human realization, everything that represented the grandeur of the world whose defeated descendants remained faithful to it were saved by hierarchs, archons, and Romanians. Due to them one can speak of a Byzantium after Byzantium. Or, as the historian Nicolae Iorga wrote: "There was a time when it appeared that the entire Byzantine, Balkan legacy would be inherited by the Romanian princes who, as the only ones who remained standing among the Christians, showed that they wanted to preserve it and that they were capable to sacrifice themselves for it". (After Virgil Candea, Introduction to Byzantium after Byzantium by Nicolae Iorga, ISBN 973-9432-09-3).

    In the Eastern Orthodox service, the kivotos is a vessel used for keeping the Holy Gifts; usually it looks like a model of the church to which it belongs. The kivotos shown on the right was presented to Hurezi monastery by its founder, Prince Constantin Brancoveanu. 
    Provenance: Hurezi monastery (Valcea county). 1691 - 1692. Hammered silver, chiseled, gilded, polychrome application. H: 44.5 cm; L: 37 cm.
    Typical of the style which developed in the second half of the sixteen century, during the reigns of Cantacuzino and Brancoveanu, the kivotos impresses with its dimensions and the quality of execution. It is the most sumptuous piece of medieval Romanian silverwork in the collection of the museum.
    It has the shape of an Orthodox church with apostles under the arcades. Roth their figures and the scenes above the arcades are set against a colored enamel background. Floral patterns decorate the upper part of the kivotos and the windows of the high turrets. (After Victor Simion, in "The National Museum of Art of Romania").

Kivotos, Hurezi monastery (Valcea County). 1691 - 1692

    The different stamps displayed above show monasteries and churches from Romania. Please move the mouse pointer over the stamps for more information.


Published: 06/09/2001. Revised: 06/11/01.
Copyright 2001 by Victor Manta, Switzerland.
All rights reserved worldwide.

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