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Transcript of 36987006 Manastiri Si Biserici Din Romania Moldova
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Bise
ric
i
onaste
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Monasteries and Churches of RomaniaM~n~stiri [i biserici din Romnia
Moldavia and BukowinaMoldova [i Bucovina
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Descrierea CIP a Bibliotecii Na]ionale a RomnieiGheorghiu, MihaiM~n~stiri din Romnia: Moldova [i Bucovina/ text [i legend~:Mihai Gheorghiu, Valeriu Cimpoeru; foto.: Dan Ioan Dinescu,Mircea Savu, tefan Petrescu; grafic~: Ovidiu Morar, Mihaela Dulea;trad.: Alina Crc.-Bucure[ti: NOI Media Print, 2005
ISBN: 973-7959-20-5
I. Cimpoeru, ValeriuII. Dinescu, Dan Ioan (foto.)III. Savu, Mircea (foto.)IV. Petrescu, tefan (foto.)V. Morar, Ovidiu (graf.)VI. Dulea, Mihaela (graf.)VII. Crc, Alina (trad.)
726.7(498)
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M~n~stirea Putna
M~n~stirea Neam]
M~n~stirea Sfntul Ioan cel Nou
M~n~stirea Vorone]
Biserica Arbore
M~n~stirea Dobrov~]
M~n~stirea Moldovi]a
M~n~stirea Humor
M~n~stirea Sucevi]a
M~n~stirea Bistri]a
M~n~stirea Slatina
M~n~stirea Galata
M~n~stirea Dragomirna
M~n~stirea Barnova
M~n~stirea Sfin]ii Trei Ierarhi
M~n~stirea Cet~]uia
M~n~stirea Agapia
M~n~stirea V~ratec
M~n~stirea Secu
Broderii Moldovene[ti
The Putna Monastery
The Neamt Monastery
The Saint John the New Monastery
The Voronet Monastery
The Arbore Church
The Dobrovat Monastery
The Moldovita Monastery
The Humor Monastery
The Sucevita Monastery
The Bistrita Monastery
The Slatina Monastery
The Galata Monastery
The Dragomirna Monastery
The Barnova Monastery
The Holy Three Hierarchs Monastery
The Cetatuia Monastery
The Agapia Monastery
The Varatec Monastery
The Secu Monastery
Moldavian Embroideries
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ContentsCuprins
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Monasteries and Churches of RomaniaM~n~stiri [i biserici din Romnia
Moldavia and Bukowina
Moldova [i Bucovina
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Arhitectura religioas~ moldoveneasc~ estecrea]ia remarcabil~ a unei civiliza]ii care [i atinge
maturitatea, echilibrul interior [i o anumit~ autonomie,
avnd totodat~ con[tiin]a unei certe filia]ii spirituale.Tragedia c~derii Constantinopolului g~se[te ~rile
Romne ntr-un moment fast, de avnt [i consolidare.
Transla]ia tradi]iei bizantine [i g~se[te astfel un f~ga[
a[a-zicnd natural la cur]ile domne[ti ale celor dou~
]~ri.
Modelul impus de tradi]ia bizantin~ domin~
spa]iul valah, dar prime[te nencetat pecetea unui
genius loci romnesc. De la tefan cel Mare, Petru
Rare[ [i Vasile Lupu la Cantacuzini [i Brncoveni,
Bizan]ul romnesc [i tr~ie[te propriul ritm armonic
dictat de o forma mentisautohton~.Stilul moldovenesc al arhitecturii religioase
(influen]ate n mod cert de arhitectura militar~ [i civil~)
[i al picturii murale este opera de bun augur a unei
civiliza]ii aflate la apogeul creativit~]ii sale. A doua
jum~tate a secolului al XV-lea [i ntregul secol al XVI-lea
alc~tuiesc vrsta de aur a medievalit~]ii romne[ti,
aflate n dezvoltare militar~, diplomatic~, cultural~ [i
artistic~. Din 1400 pn~ n 1600 trec dou~ secole de
acumul~ri n crea]ia romneasc~, ce ncepe s~-[i
dezvolte personalitatea proprie, distinct~, dar
permanent ancorat~ n matricea tradi]iei teologice [i
estetice imperiale. Biserici, m~n~stiri, cet~]i, miniaturi,
broderii, sculpturi [i attea altele recompun imaginea
unei civiliza]ii constituite ca un continuum al tradi]iei
bizantine [i asumndu-[i permanent aceast~ matrice
spiritual~. n toate aceste ctitorii se vede gestul
voievodului care [i mpline[te datoria de protector [i
slujitor al credin]ei.
Pictura mural~ a bisericilor m~n~stirilor
moldovene[ti din epoca lui tefan cel Mare [i cea a lui
Petru Rare[ reprezint~ un patrimoniu universal, odovad~ a autenticit~]ii [i creativit~]ii [colilor artistice
Moldavian religious architecture is theoutstanding creation of a civilization about to reach
maturity, interior poise, and a certain autonomy, while
preserving its definite spiritual heritage. The tragiccollapse of Constantinople found the Romanian Lands in
a favorable moment of consolidation and progress.
Thus, the Byzantine tradition got most naturally
grafted on the local spirit of the Wallachian and
Moldavian courts, constantly enhanced by the
Romanian genius loci. From Stephen the Great, Petru
Rares and Vasile Lupu to the Cantacuzinos and the
Brancovans, the Romanian Byzantium experienced its
own harmonious rhythm dictated by a distinct
autochthonous cast of mind.
The Moldavian style of religious architecture(bearing the obvious influence of military and civilian
architecture) and of mural painting is the well-auguring
creation of a civilization at an acme of creativeness. The
second half of the 15th century and the entire 16th
century represent the golden age of Romanian
medievalism at the height of its military, diplomatic,
cultural, and artistic development. From 1400 to 1600
the Romanian creation matured, finding a distinct
personality, yet constantly anchored in the matrix of
imperial theological and aesthetic tradition. Churches,
monasteries, citadels, illuminations, embroideries,
sculptures and many others compose the image of a
civilization that went in the footsteps of the Byzantine
tradition, constantly assuming this spiritual mould. All
these artifacts evince also the desire of the ruling princes
to fulfill their duty as protectors and servants of the faith.
The mural paintings in the Moldavian monasteries
and churches from the time of Stephen the Great and
Petru Rares now belong to the world heritage, standing
proof of the genius and creativity of the local art schools.
The churches of the Moldavian monasteries are ahistoric, artistic and theological expression of the
The Romanian Medieval EthosEthosul medieval romnesc
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moldovene[ti. Bisericile m~n~stirilor moldovene[ti sunt
expresia istoric~, artistic~ [i teologic~ a spiritului
medieval romnesc. Estetica acestei picturi este n
ntregime de extrac]ie plastic~, icoana acestei picturi
este fundamental frumuse]e teologic~, transmitere a
mesajului liturgic.
Umanitatea picturii murale este una trasfigurat~,
lipsit~ de spa]ialitate, de perspectiv~, pentru c~
zugravul nu construie[te iluzia unei realit~]i
cotidiene, ci aduce doar vedenia unei lumi v~zute sau
ntrev~zute de profe]i, sfin] i sau binecredincio[i.
Reprezentarea trupului uman este aici canonic~, deci o
func]ie a semnifica]iei teologice [i nu realist~,
ncercnd s~ refac~ un concret vizibil natural. Imaginea
este permanent~ trimitere la Evanghelie, la istoria sacr~
ante legem[i post legem. Ea aduce la prezen]~ sensulpredat. Frumuse]ea pictural~ rezid~ n prospe]imea
tipului de abordare, n armonia coloristicii, n
ingeniozitatea solu]iilor cromatice, n m~iestria g~sirii
coresponden]ei dintre pictur~ [i arhitectur~, n
siguran]a desenului care cite[te Biblia.
De la gestul ctitoririi pn~ la ultima imagine
pictat~, biserica este un act de ofrand~ [i un leg~mnt
de credin]~. Nimic nu este gratuit, nimic nu este n
plus, totul este un ntreg armonic.
Frescele bisericilor moldovene[ti ascund [i
transform~ piatra sau c~r~mida n liturghie [i vedere aadev~rului. Piatra zidirii este transfigurat~ de icoan~,
materia este dizolvat~ n imagine [i culoare, n semn al
nev~zutului. Biserica exprim~ omul medieval din spa]iul
romnesc, spiritul s~u c~l~uzit de istoria evanghelic~,
ntotdeauna deschis~ pentru sensul judec~]ii finale.
Ctitorul este cel care arvune[te de aici comoara
paradisului [i a judec~]ii lui Dumnezeu, iar biserica este
chivotul unui stra[nic leg~mnt, a unei umilin]e
des~vr[ite numai n fa]a p~rintelui ceresc. El d~ruie[te
[i se d~ruie[te, reunind smerenia [i mndria ntr-un
singur gest.
Romanian medieval spirit. The aesthetics of this
painting is entirely plastic, its icon expressing
theological beauty, and conveying a liturgical message.
The humanity of the murals is transfixed, lacking in
spatiality and perspective since the artists did not depict
the illusion of daily reality but the image of a world seen
or glimpsed only by prophets, saints, and the faithful.
The representation of the human body is therefore
canonical, a function of the theological meaning, not
realistic or attempting to present a concrete natural and
visible world. Images are permanently suggesting the
Gospels, the sacred history ante legem and post legem.
Pictorial beauty springs from the freshness of the
approach, the harmonious colors, the ingenious
chromatic solutions, and the masterful correspondence
between painting and architecture, the assuredness ofthe drawing that interprets the Bible.
From their very foundation down to the last
painted image, churches are an offering and a pledge of
faith. Nothing is redundant, nothing is gratuitous, and
everything creates a harmonious whole.
The frescoes on the Moldavian churches ensconce
and turn stone or brick into liturgy and perception of the
truth. The icon transforms the building stone, matter
dissolves into image and color as a token of the unseen.
Churches express medieval men from the Romanian
space, their spirit guided by the Gospels, and constantlyopen to the final judgement.
The founders of religious abodes offer an advance
down here for the paradisiacal treasure up there and for
Gods judgement, while a church represents the ark of a
mighty covenant, of consummate humility before the
heavenly father. The founders give and also give
themselves, combining meekness and pride in a single
gesture.
Frescoes dematerialize the walls, they pierce their
opaqueness and gravitational force. Gothic churches
send to the sky ever-sharper shapes in a final ascensional
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Moldova
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Fresca dematerializeaz~ zidul, i disloc~ opacitatea
[i for]a gravita]ional~. Dac~ biserica gotic~ se nal]~ la
cer n forme din ce n ce mai ascu]ite, ntr-o ultim~
ncercare ascensional~, n schimb biserica pictat~ n
exterior se dezvolt~ pe orizontal~, a[ezat~ molcom pe
p~mnt [i perfect armonizat~ cu peisajul, dar g~se[tealt mod de a nvinge gravita]ia [i materialitatea
acoperindu-se cu icoane ale transparen]ei teologice [i
p~strnd astfel numai materialitatea strict necesar~ a
mesajului purtat de dincolo c~tre aici [i de aici c~tre
dincolo.
Este de datoria pictorilor s~ execute ceea ce
P~rin]ii comand~ [i prescriu dicteaz~ Conciliul de la
Niceea (cf. Charles Diehl, Bizantine Art, Baynes & Moss,
Byzantinum, 1948, p.179). Zugravul ortodox este un
emerit care trebuie s~ picteze sub har [i n ascez~ o
umanitate a p~catului [i a mntuirii.
Marile fresce exterioare ale bisericilor m~n~stirilor
bucovinene sunt teologie desf~[urat~ ca o mantie pe
zidurile bisericilor, iar portretele votive ale domnitorilor,
care nchin~ chivotele bisericilor nsu[i
Mntuitorului, demonstreaz~ la rndul lor semnifica]ia
major teologic~ a ctitoririi.
Desigur, o dat~ cu nceputul secolului al XVII-lea
att stilul arhitectural ct [i cel pictural se modific~,
hieratismul picturii murale se atenueaz~ n bun~
m~sur~, iar arhitectura religioas~ se diversific~,dobndind influen]e renascentiste [i baroce care
conduc la pierderea unit~]ii stilistice n favoarea
ajungerii la formule unicat. Vasile Lupu, cu
impresionanta sa apeten]~ pentru fast, tradi]ie
imperial~ [i mprumuturi str~lucitoare, este
reprezentativ prin ctitoriile sale n aceast~ epoc~ asupra
c~reia [i pune amprenta. Arta Moldovei intr~ acum
ntr-o alt~ epoc~ [i ntr-un alt ritm al istoriei.
Vrsta premodern~ [i cea modern~ [i anun]~
venirea, influen]ele occidentale sunt din ce n ce mai
puternice, iar stilul artei cre[tine din ce n ce mai elastic.
attempt. In exchange, churches painted on the outside
grow on the horizontal, blandly stuck to the ground, in
perfect harmony with the scenery. Nonetheless, they
discover another method of defeating gravity and
materialness: getting covered all over with icons of
theological transparency, and thus preserving only asmuch materialness as necessary to convey the message
from beyond over here and from down here to beyond.
It is the duty of painters to carry out what the
Fathers order and prescribe, stipulates the Council of
Niceea (cf. Charles Diehl, Byzantine Art, Baynes & Moss,
Byzantium, 1948, p. 179). The Orthodox painter is an
artist who must paint with afflatus and in austerity a
humanity of sin and redemption.
The great outer frescoes of the churches of the
Bukovina monasteries are theology unfolding on walls
like a mantle; the votive portraits of the princes dedicate
the church arches to the Savior Himself, in order to
prove one more time the major theological significance
of the respective abodes.
With the turn of the 17th century architectural and
pictorial styles changed. The hieratic nature of the
murals considerably diminished, religious architecture
diversified, acquiring Renaissance and baroque touches
that shattered the stylistic unity in favor of unique
formulas. By his foundations, Vasile Lupu, with his
impressive penchant for pomp, imperial tradition andbrilliant loans is representative for that epoch on which
he left his indelible mark. Moldavian art entered then a
new stage, a different historical rhythm.
Pre-modern and modern times were already
dawning, western influences became more and more
powerful, and the style of Christian art showed
tremendous elasticity. Byzantine tradition started to fade
away, although mural painting continued to obey the
Byzantine painting canons. The monuments and the
painting of the 18th century attest to all these changes as
well as to the more and more diverse trends emerging.
B
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Tradi]ia bizantin~ devine un ecou din ce n ce mai
palid, de[i pictura mural~ va respecta n continuare
erminia picturii bizantine. Monumentele [i pictura
secolului al XVIII-lea atest~ toate aceste schimb~ri,
precum [i influen]ele din ce n ce mai diverse, care [i
fac sim]it~ prezen]a.
ncepnd cu 1711, o dat~ cu prima domnie
fanariot~, Moldova, [i cu ea ntreaga civiliza]ie
romneasc~, intr~ ntr-o epoc~ nou~, dominat~ de
instabilitate, de control excesiv al Por]ii, dar [i de o
deschidere pronun]at~ spre influen]ele occidentale
vehiculate tocmai prin intermediul fanario]ilor. Aceste
influen]e vor decide n final drumul spre modernitate al
culturii romne [i integrarea sa n concertul european
al secolului al XIX-lea. Dar chipul culturii romne va
r~mne totu[i dominat n permanen]~ de o tensiunedubl~ guvernat~ de o origine dubl~ a stilului na]ional.
Orient bizantin [i occident european au fost [i r~mn
dimensiuni ale sintezei culturii romne[ti.
Starting with 1711 and the first ruler from the
Phanar appointed to the Moldavian throne, the
Romanian land and its entire civilization embarked upon
a new epoch marred by instability and the Portes
excessive control, yet also benefiting from western
touches brought about by the very Phanar rulers. All this
minglement would finally pave the way for the modern
times of the Romanian lands, which became integrated
into the European concert in the 19th century. Still, the
Romanian culture remained prone to a two-fold tension
governed by the dual origin of the national style. The
Byzantine Orient and the European Occident will stay for
ever blended in the Romanian spirit and culture.
Mihai Gheorghiu
ucov na
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Ctitorie [i necropol~ a voievoduluitefan cel Mare, centru artistic [ic~rtur~resc. Construit~ \n 1466-1469,ca m~n~stire fortificat~, a fost ref~cut~
\n 1472, \n urma unui incendiu. Pustiit~de mai multe ori [i reconstruit~ \n1966-1988, ea nu mai p~streaz~ dinepoca lui tefan cel Mare dect TurnulTezaurului (1481). Muzeul m~n~stiriiposed~ o bogat~ colec]ie de broderiireligioase vechi, manuscrise miniate [iobiecte de cult.
De dimensiuni impun~toare,biserica m~n~stirii, cu hramul AdormireaMaicii Domnului, a fost ridicat~ \ntre1654 [i 1662 de domnitorii Vasile Lupu[i Gheorghe tefan. Edificiul reia planulbisericii ini]iale: plan treflat, cu propor]iialungite, avnd 37m lungime, 15ml~]ime \n dreptul absidelor laterale [i33 m \n~l]ime. Interiorul este \mp~r]it
\ntre tinda dreptunghiular~, pronaosulp~trat, camera mormintelor, dreptun-ghiular~, desp~r]it~ de naos prin dou~coloane, naosul p~trat, prelungit lateral
de absida secundar~, [i altarul din absidaprincipal~.Biserica ad~poste[te mormntul lui
tefan cel Mare [i pe cele ale urma[ilors~i, pn~ la Petru Rare[.
Biserica M~n~stirii Putna,v~zut~ dinspre sud-vest
The church of the Putna Monastery,
seen from the southwest
M~n~stirea Putna
Litografie color de Knapp Franz
Xavier,1859-1860.
The Putna MonasteryColoured litography
Knapp Franz Xavier, 1859-1860.
Foundation and necropolis of RulerStephen the Great, a center of arts andletters, Putna was erected between 1466and 1469 as a fortified monastery, andthen retouched in 1472, following a fire.Laid waste several times, it was rebuiltbetween 1966 and 1988, the onlyelement preserved from the time ofStephen the Great being the TreasuryTower (1481). The monasterys museumboasts a rich collection of old religiousembroideries, illuminated manuscripts,and objects of cult.
Between 1654 and 1662, RulersVasile Lupu and Gheorghe Stefan erectedthe Dormition of the Virgin Church, soimpressive in size, on a design similar toan older one. The church of the PutnaMonastery is built on a trefoiled design ofprolonged sizes, 37 m long and 15mwide at the lateral apses, and 33m high.The interior features the rectangularporch, the square pronaos, therectangular mortuary separated from thenaos by two columns, the square naos
that goes laterally to the secondary apse,and the altar in the main apse.The abode shelters the tombs of
Stephen the Great and his descendants,down to Petru Rares.
The Putna MonasteryM~n~stirea Putna
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Vedere panoramic~ dinspre nord-est
Turnul Tezaurului, a[ezat pe latura de vest a zidului incintei, este
singurul element arhitectonic p~strat din ansamblul original.
Panoramic view from the northeast
On the western side of the precincts wall, the Treasury Tower is
the only architectural element still standing from the old ensemble.
Camera mormintelor din
biserica M~n~stirii Putna
Mormntul ctitorului
tefan cel Mare (decedat
\n 2 iulie 1504).
Mortuary room in the
church of the Putna
Monastery
Tomb of founder
Stephen the Great (died
on July 2, 1504).
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tefan Vod~ cel Bun, cnd s-au apucat s~ fac~ M~n~stirea
Putna, au tras cu arcul tefan Vod~ dintr-un vrvu de munte, ce
este lng~ mn~stire, [i unde au agiuns s~geata au f~cut
prestolul \n oltariu. i este mult loc de unde au tras pn~ lamn~stire...(cronicar Ion Neculce, 1672-1745)
13
Ruler Stephen the Kind, when he made up his mind to build
the Monastery of Putna, he stretched his bow and shot an arrow
that flew right from the top of the mount close to the
monastery, and where the arrow struck there the table in thealtar was laid. And, I vouch, the distance between the monastery
and the place from where he shot the arrow is quite
remarkable...(chronicler Ion Neculce, 1672-1745)
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A fost ctitorit~ \n secolul al XIV-lea,mai \nti de Petru Mu[at, apoi deAlexandru cel Bun. n incinta m~n~stiriisunt dou~ biserici [i dou~ paraclise:Biserica mare n~l]area Domnului (secolulal XV-lea) [i Biserica Sfntul Gheorghe(secolul al XIX-lea), paraclisele BunaVestire (secolul al XVI-lea) [i AdormireaMaicii Domnului (secolul al XVIII-lea).
Biserica mare \ncununeaz~ prinarhitectura sa stilul moldovenesc ini]iat \nepoca lui tefan cel Mare. Este unmonument arhitectonic impresionant,sintez~ a tuturor elementelor arhitecturiimoldovene[ti, apogeu al arhitecturiireligioase a epocii. Pictura original~ s-amai p~strat \n altar, naos [i cameramormintelor; \n pridvor [i pronaos,pictura dateaz~ din timpul lui PetruRare[. Ultima restaurare, realizat~ \ntreanii 1954 [i 1961, a readus la formaini]ial~ biserica lui tefan [i cetatea.Biserica este caracterizat~ de elegan]~,armonie a propor]iilor, ingeniozitate asolu]iilor arhitectonice, armonia
combina]iilor cu elemente arhitecturalegotice.A[ez~mntul posed~ cea mai mare
bibliotec~ m~n~stireasc~ (18 000volume, incluznd manuscrise de marevaloare) [i un muzeu cu o valoroas~colec]ie de art~ bisericeasc~.
This abode was founded in the 14th
century first under the care of PetruMusat and then of Alexander the Kind.Within the monastery complex there aretwo churches and two chapels: the bigAscension Church (the 15th century), theSt. George Church (the 19th century), thechapels The Annunciation (the 16th
century) and The Dormition (the 18th
century).The architecture of the big church is
in Moldavian style dating from the timeof Stephen the Great. An impressivemonument of architecture, the churchachieves a synthesis of all the elementsof Moldavian architecture, being anacme of the religious art at that time.Original paintings have been preservedin the altar, naos and mortuary, whilethe paintings of the porch and thepronaos go back to the time of PetruRares. The latest restoration works,carried out between 1954 and 1961,returned Stephens church and thefortress to their former looks. Elegant, of
harmonious proportions, the church alsoevinces harmonious Gothic borrowings.The abode boasts the biggest
monastery library (18.000 volumes,including highly valuable manuscripts)and a museum with a priceless collectionof religious art.
O parte din incinta m~n~stirii, cu bisericile
n~l]area Domnului (secolul al XV-lea) [i
Sfntul Gheorghe (secolul al XIX-lea)
Vedere dinspre sud-vest.
Parts of the monastery precincts with the
Ascension Church (15th
century) and SaintGeorge Church (19th century)
View from the south-west.
M~n~stirea Neam], vedere aerian~Prim-plan cu aghiazmatarul.
The Neamt Monastery, birds eye view
Close-up of the holy waterfont.
15
The Neamt MonasteryM~n~stirea Neam]
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S~rb~toarea hramului M~n~stirii Neam]
Fotografie de epoc~.
Celebration of the Neamt Monastery dedication dayPeriod photograph.
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Tetraevanghelul lui Gavriil Uric, 1429Miniatur~: Sfntul Apostol Luca.
The Four Gospels of Gavriil Uric, 1429
Miniature: Saint Apostle Luke.
Tetraevanghelul lui Gavriil Uric, 1429nceputul evangheliei dup~ Marcu.
The Four Gospels of Gavriil Uric, 1429
Beginning of the Gospel according to
Saint Mark.
Tetraevanghelul lui Gavriil Uric, 1429Miniatur~: Sfntul Apostol Marcu.
The Four Gospels of Gavriil Uric, 1429
Illumination: Holy Apostle Mark.
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Biserica mare, In~l]area Domnului. Exonartex
Ni[a ferestrei [i fresce restaurate stngaci \n 1850.
The big Ascension Church. Exonarthex
Window niche and awkwardly restored frescoes from 1850.
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Fa]ada vestic~ [i aghiazmatarul
M~n~stirii Neam]
Cl~direa are un acoper~mnt
bulbat [i a fost construit~ \n 1836-
1847 [i pictat~ \n 1974-1977 de
Teodor Varahil-Moraru. i aceast~
cl~dire, dar mai ales turnul-
clopotni]~ cu patru etaje sub care
se arcuie[te intrarea \n incint~,
creeaz~ o puternic~ impresie de
monumentalitate.Fotografie interbelic~.
The westerf faade and the holy
waterfont of the Neamt
Monastery
The building with a bulbous roof
was built between 1836 and
1847 and painted between 1974
and 1977 by Teodor Varahil-
Moraru. This construction and
particularly the four-storied belfry
under which stands the entry give
a powerful sense ofmonumentality.
Interbellum photo.
Trapeza M~n~stirii Neam]
Imagine din perioada interbelic~.
Refectory of the Neamt Monastery
Picture from the interbellum period.
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Este ctitoria lui Bogdan al III-lea, fiullui tefan cel Mare (1514), fiindterminat~ de tef~ni]~ Vod~, nepotulmarelui voievod, urmnd apoi, de subferestre \n sus, a fi zugr~vit~ lacomanda lui Petru Rare[ (1532-1534),pridvorul fiind ad~ugat de Petruchiopul, la 1579.
Biserica, cu hramul SfntuluiGheorghe, \n form~ de nav~ [i cu pridvorcu intrare lateral~, nu [i-a schimbat preamult \nf~]i[area de-a lungul timpului;doar acoperi[ul, ini]ial din plumb, a fost
\nlocuit la sfr[itul secolului al XIX-lea, cuunul de ]igl~ multicolor~. Pictura dateaz~din timpul lui tef~ni]~-Vod~, iar pefa]ada sudic~ se p~streaz~ [i picturaexterioar~.
Numele de Sfntul Ioan cel Nou vinede la moa[tele acestui sfnt ad~postiteaici; ele au fost aduse de la Cetatea Alb~la Suceava \n 1402 de Alexandru cel Bun,unde Ioan din Trapezunt a fost martirizat
\n 1303. M~n~stirea a fost \nfiin]at~dup~ 1783, cnd au fost readuse aici
moa[tele Sfntului Ioan cel Nou, duse demitropolitul Dosoftei \n pribegia sa dinPolonia.
A[ez~mntul are o organizareadecvat~ catedralelor mitropolitane, fiindre[edin]a Arhiescopiei Sucevei [i aR~d~u]ilor [i a doua re[edin]~ amitroplitului Moldovei.
It is the foundation of Bogdan III,son of Stephen the Great (1514), and itwas finished by Ruler Stefanita, nephewof the great prince. Then it was paintedfrom the windows upwards upon theorders of Ruler Petru Rares (1532-1534),while the porch was added under Peterthe Lame, in 1579.
The church, dedicated to SaintGeorge, in the shape of a nave, has aporch with a lateral entrance. It hasremained unchanged over the centuries.Only the roof, initially made of lead, wasreplaced in the 19th century withmulticolored tiles. The painting datesfrom the reign of Ruler Stefanita, and thesouthern faade still features the originalfrescoes.
The name of Saint John the Newcomes from the relics of this saint,housed by the religious abode. In 1402,Alexander the Kind brought them toSuceava from Cetatea Alba where Johnof Trebizond was martyred in 1303. Themonastery was set up after 1783 when
the relics of Saint John the New werebrought over after having been taken bymetropolitan bishop Dosoftei, exiled toPoland.
The abode is organized inconformity with the rules formetropolitan cathedrals, being the seatof the Suceava and RadautiArchbishopric and the second residenceof the metropolitan bishop of Moldavia.
M~n~stirea Sfntul Ioan cel NouVedere aerian~ dinspre sud.
The Saint John the New Monastery
Birds eye view from the south.
Biserica Sfntul Gheorghe dup~ restaurare
Acoperi[ul din plumb a fost \nlocuit cu ]igle
multicolore. Fotografie interbelic~.
The Saint George Church after restorationMulticolored tiles replaced the lead roof.
Interbellum photo.
The Saint John the New MonasteryM~n~stirea Sfntul Ioan cel Nou
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The abode was built under RulerStephen the Great, in 1488, moreexactly in three months and 21 days.
Being dedicated to Saint George,the church is famous for its outer andinner frescoes created between 1534and 1535, during the reign of PetruRares. The paintings, on a light bluebackground (the celebrated Voronetblue) are monumental, clear andrigorously composed.
In 1547, metropolitan GrigorieRosca added a closed porch, painted bymaster Marcu. The pronaos waspainted in 1550.
Disbanded in 1986, the monasterywas reestablished after 1989 and nowis a UNESCO world heritagemonument.
A fost ctitorit~ de voievodul tefancel Mare \n anul 1488, fiind construit~ \ntrei luni [i 21 de zile.
Biserica, cu hramul SfntuluiGheorghe, este celebr~ prin picturaexterioar~ [i interioar~, executat~ \n1534-1535, \n timpul lui Petru Rare[.Picturile, realizate pe un fond albastrudeschis (vestitul albastru de Vorone]),se caracterizeaz~ prin monumentalitate,claritate [i rigoare compozi]ional~.
n 1547, mitropolitul Grigorie Ro[caa ad~ugat bisericii un pridvor \nchis, carea fost pictat la exterior de me[terulMarcu; pronaosul a fost pictat \n 1550.
Desfiin]at~ \n anul 1986,m~n~stirea a fost re\nfiin]at~ dup~1989, fiind \n prezent un monumentUNESCO.
23
Biserica M~n~stirii Vorone]Judecata de Apoi, fresc~ de pe fa]ada
de vest.
The church of the Voronet Monastery
The Last Judgement, frescoe on the
western faade.
Biserica m~n~stirii v~zut~
dinspre sud-est
The church of the monastery
seen from southeast
The Vorone] MonasteryM~n~stirea Vorone]
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Judecata de Apoi, fresc~ de pe fa]ada de vest a bisericii (1534-1535)
Compozi]ie impresionant~, acoperind tot peretele de vest al pridvorului. Tema este prezent~ \n toate picturile murale ale bisericilor bucovinene, avnd o
semnifica]ie teologic~ major~. n imagine sunt reprezentate por]ile Raiului cu Cel Vechi de Zile, \ncadrat de semnele zodiacului (centru, sus). n planul inferior un
registru \l nf~]i[eaz~ pe Iisus ca judec~tor suprem (centru), ncadrat de Fecioara Maria [i Ioan Botez~torul ca intercesori. De o parte [i de alta, pe b~nci, se afl~apostolii, veghea]i de cete de \ngeri. n registrul urm~tor, elementul central este tronul Hetimasiei, la picioarele c~ruia au \ngenuncheat Adam [i Eva. n stnga
tronului se afl~ cetele drep]ilor, \n dreapta cetele nelegiui]ilor, formate din necredincio[i evrei, turci, t~tari [i armeni, (ceea ce este o inova]ie a epocii lui Petru
Rare[, care aduce pentru prima dat~ \n figura]ie elementul etnic pentru caracterizarea cetei p~c~to[ilor). n registrul urm~tor sunt reprezentate c~ile pe care
merg cele dou~ cete: calea Raiului (pentru drep]i) [i calea Iadului (pentru necredincio[i).
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The Last Judgement, frescoe on the western faade of the church (1534-1535)
An impressive composition that covers the whole western wall of the porch. The theme is present in all the murals of Bukovina churches, having a major
theological significance. The picture presents the gates of Heaven with the Ancient of days surrounded by the signs of the zodiac (center up), followed, in a
lower register, by Jesus as the supreme judge (center), with the Virgin and John the Baptist as intercessors, on the right and on the left. On both sides, onbenches, there are the apostles guarded by groups of angels. The next register presents the Hetoimasia throne in the middle, with Adam and Eve kneeling.
On the left of the throne there stand the righteous, and on the left the sinners, including the heathen, the Jews, the Turks, the Tartars and the Armenians
(the ethnic element used to describe the sinners is an innovation dating from the time of Petru Rares). The next register presents the two paths followed by
the two groups: the path to Heaven (for the righteous), and that of Hell (for the evil).
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Fresce de pe fa]ada de nord a
bisericii M~n~stirii Vorone]
n registrul superior:
Facerea
n registrul mediu:
Scene din Evanghelie
Frescoes on the northern faade
of the Voronet Monastery
church
In the higher register:
Genesis
In the the medium register:
Scenes from the Gospels
n registrul inferior:
Sfin]i [i scene de martiriu
In the lower register:
Saints and martyrdom scenes
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And Ruler Stephen, rode up from
the Citadel of Neamt along the
Moldavia, to Voronet, where a hermit
called Daniil lived. And when he
knocked on the door, the hermitreplied that the Ruler should wait until
he was done with his praying. And
when the recluse finished his
devotions, he asked Stephen in and the
Ruler made his confession. And then
the Ruler asked the hermit what he
could do for he was no onger capable
of facing the Turks. So, should he
surrender the country or not? And the
hermit said that he should not
surrender for the victory would be his
and when he had vanquished the
enemy he should erect a monastery onthe spot, dedicated to Saint George.
(chronicler Ion Neculce, 1672-1745 )
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Fa]ada de est, absida principal~
a bisericii
Fresca \nf~]i[eaz~ Cinul,
registrul superior cuprinznd
ngerii, Serafimii [i Profe]ii; \n
axa absidei: Hristos Pantocrator,
Fecioara \n Glorie.
The estern faade, the main
apse of the church
The superior part of the Chosen
Hosts, comprising the Angels,
the Seraphims and the
Prophets. On the axis of the
apse, from top to bottom:
Christ Pantocrator, the Holy
Virgin in Glory.
Iar~ tefan-Vod~, mergnd de la
cetatea Neam]ului \n sus pre Moldova,
au m~rsu pe la Vorone], unde tr~ie un
p~rinte sihastru, pre nume Daniil. i
b~tnd tefan-Vod~ \n u[a sihastruluis~-i descuie, au r~spunsu sihastrul s~
a[tepte tefan-Vod~ afar~ pn~ ce [i-
au istovit ruga. i dup~ ce [-au istovit
sihastrul ruga, l-au chemat \n chilie pre
tefan-Vod~. i s-au ispovedit tefan-
Vod~ la dnsul. i au \ntrebat tefan-
Vod~ pe sihastru ce va mai face, c~ nu
poate s~ mai bat~ cu turcii: \nchina-va
]ara la turci, au ba? Iar sihastrul au dzis
s~ nu o \nchine, c~ r~zboiul este al lui,
numai, dup~ ce va izbndi, s~ fac~ o
mn~stire acolo \n numle Sfntului
Gheorghe, s~ fie hramul bisericii.(cronicar Ion Neculce, 1672-1745)
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Biserica m~n~stirii a fostconstruit~ la 1503 de Luca Arbore,portarul Sucevei, ca paraclis al cur]ilorsale [i ca loc de \nmormntare pentruneamul s~u.
Pictura bisericii a fost executat~ deDrago[ Coman \n 1541, un zugravremarcabil, fiul unui preot din Ia[i.Pictura este monumental~, cu uncolorit dominat de o nuan]~ de verdealb~strui ceruleum.
Luca Arbore, gatekeeper ofSuceava erected the church of themonastery in 1503 as a chapel for hiscourt, and repository for his family.
Dragos Coman, a remarkableartist, the son of a priest from Iasi,painted the church, in 1541. It is amonumental composition where blue-green (cerulean) prevails.
The Arbore ChurchBiserica Arbore
Fa]ada sudic~ a bisericii,cu intrarea
The southern faade of the
church, with the entrance
Fa]ada de vest
Forma de ni[~ apare ca un element
inedit, avnd rolul de a crea un spa]iu
cultic exterior.
Western faade
The niche form is an original element,
creating an exterior cult space.
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Ruler Stephen the Great (1503-1504) built it, while the painting wasexecuted later, (1527-1531), duringthe reign of Petru Rares. Theiconography contains in the bud thewhole program of outer churchpainting to be carried out later.
The church dedicated to theAnnunciation is majestically monu-mental, and it was restored to its initialform in 1975. This is a construction inMoldavian style with a rectangulardesign. The turrets were removedduring the restoration process, whenthe church was covered in coppersheet. The lateral walls have threebuttresses on each side.
Este o ctitorie a voievodului tefancel Mare (1503-1504), pictura fiindexecutat~ mai trziu (1527-1531), \ntimpul lui Petru Rare[. Programuliconografic cuprinde aici \ntr-o form~embrionar~ programul picturiiexterioare al bisericilor ce vor fi \n~l]atemai trziu.
Biserica cu hramul PogorreaSfntului Duh, construc]ie de omaiestuoas~ monumentalitate, a fostrestaurat~ [i adus~ la forma ini]ial~ \n1975. Este realizat~ \n stilmoldovenesc, dup~ un plandreptunghiular. Turlele au fost
\nl~turate cu prilejul restaur~rii, bisericafiind acoperit~ cu \nvelitoare de tabl~de cupru. Pere]ii laterali au ca \nt~rituritrei contrafor]i pe fiecare latur~.
The Dobrovat MonasteryM~n~stirea Dobrov~]
Turnul por]ii, cu decora]ii baroc-
moldovene[ti (secolul al XVIII-lea)
Gate tower, with decorations inthe Moldavian-Baroque style
(18th century)
Biserica v~zut~ dinspre sud-vest
The church seen from the
southwest
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Tablou votiv
Voievozii tefan cel Mare, Bogdan al III-lea [i Petru Rare[.
Votive painting
The rulers Stephen the Great, Bogdan III and Petru Rares.
Pictur~ mural~ \n naos
Sfin]ii Imp~ra]i Constantin [i Elena.
Mural painting in the nave
Sts. Emperors Constantine and Helena.
Fragment din portalul [i luneta bisericii
Fragment of the church portal and lunette
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A fost ctitorit~ de Petru Rare[ \n1532 (lng~ ruinele m~n~stirii fondate
\n 1402-1410 de Alexandru cel Bun), \nforma \n care se p~streaz~ ast~zi:Biserica Buna Vestire, chiliile [i casadomneasc~, \nconjurat~ de ziduriputernice cu turnuri de ap~rare. n1612, mitropolitul Efrem a ref~cutincinta fortificat~, \n~l]nd, \n col]ul denord-vest o clisiarni]~, care ad~poste[teast~zi muzeul m~n~stirii.
Biserica, avnd toate caracterelearhitecturale statornicite \n Moldova pevremea lui tefan cel Mare, plus unpridvor deschis, este pictat~ \n interior[i la exterior (1537).
Pridvorul se deschide cu treiarcade mari \n arc frnt pe peretelevestic, cte o arcad~ pe cel de sud [i celde nord. n imagine este vizibil [ipronaosul dreptunghiular, cu ctedou~ ferestre mari, \n arc frnt, pepere]ii de sud [i de nord. Turla se \nal]~pe o baz~ dublu stelat~, elementspecific stilului moldovenesc. Plastica
ornamental~ combin~ elemente degotic trziu [i renascentiste. Estemonument UNESCO.
Built by Petru Rares, in 1532 (closeto the ruins of the monastery foundedbetween 1402 and 1410 by Alexanderthe Kind), the complex as it is todayfeatures the Annunciation Church, thecells and the princely residencesurrounded by powerful defense towers.In 1612, metropolitan bishop Efremrebuilt the fortified precincts and erecteda treasury in the northwestern corner,which today houses the museum of themonastery.
The church, with all its architecturalcharacteristics established during thetime of Stephen the Great, also includesan open porch, and is painted on theinside and the outside (1537).
The church porch opens into threebig pointed arcades on the western wall,and an arcade on each of the southernand the northern walls. Also visible arethe rectangular pronaos with two bigwindows on the southern and northernwall. The turret of the church raises froma doubly starred foundation, a specific
element of the Moldavian style. Theornaments combine late Gothic andRenaissance elements. The abode is aUNESCO world heritage site.
35
Fragment din fa]ada sudic~ a bisericiicu pridvorul deschis
Fragment of the southern faade of the church
with the open porch
The Moldovita MonasteryM~n~stirea Moldovi]a
Col] din incinta m~n~stirii
A corner of monastery inner court
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M~n~stirea Moldovi]a
Vedere aerian~.
The Moldovita Monastery
Birds eye view.
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M~n~stirea Moldovi]a
Litografie color din secolul al XIX-lea de Knapp
Franz Xavier.
The Moldovita Monastery
Colour litography from 19th century by KnappFranz Xavier.
37
Biserica m~n~stirii, v~zut~ dinspre sud-est
The monastery church, seen from southeast
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R~stignirea
Pictur~ mural~ \n absida de nord a naosului.
The Crucifixion
Mural on the northern apse of the naos.
38
Iisus Pantocrator
Detaliu de pe bolta naosului bisericii.
Jesus Pantocrator
Detail from the vault of the church naos.
Pronaosul bisericii, ni[ele ferestrelor:
scene din Menologiu
The narthex of the church, window
niches: scenes from The Menologion
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Asediul Constantinopolului
Detaliu de fresc~ pe peretele sudic
al bisericii.
The Siege of Constantinople
Frescoe detail on the southern wall
of the church.
Sinod ecumenic, fragment de fresc~
Ecumenical synod, fragment of a fresco
Fragment din fa]ada sudic~ a bisericii
Fragment from the southern faade
of the church
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A fost \ntemeiat~ la \nceputulsecolului al XV-lea de vornicul Oan~ [irectitorit~ \n 1530 de logof~tul TeodorBubuiog. Biserica actual~, cu hramulSfntului Gheorghe, f~r~ turle [i cupridvor deschis, a fost pictat~ \n
\ntregime, att \n interior ct [i laexterior, \n 1535 de zugravul Toma dinSuceava. Turnul clopotni]ei a fostconstruit \n 1641.
Din punct de vedere arhitectural,biserica este format~ din: pridvordeschis, pronaos, naos [i altar. ntrepronaos [i naos este situat~ cameramormintelor. Pentru prima dat~ \narhitectura religioas~ moldoveneasc~apare pridvorul deschis. De asemenea,tot pentru prima oar~ aparediaconiconul (camera odoarelor), \npartea de nord-vest. Eleva]ia bisericiisurprinde prin eliminarea turlei de penaos; \n locul ei, boltirea se face printr-o calot~ sprijinit~ pe arce suprapuse, ca
\n mai vechile biser ici, ctitorite detefan cel Mare, de la Borze[ti [i
R~zboieni. M~n~stirea figureaz~ pelista monumentelor UNESCO.
It was founded in the early 15 th
century by High Steward Oana andretouched in 1530 by Chancellor TeodorBubuiog. The present church, dedicatedto Saint George, without turrets andwith an open porch, was painted bothon the outside and the inside in 1535 byartist Toma of Suceava. The belfry towerwas erected in 1641.
Architecturally, the church is madeup of an open porch, pronaos, naos,and altar. Between the pronaos and thenaos, there is the mortuary. It is for thefirst time in Moldavian religiousarchitecture that we see an open porch.Likewise, it is also for the first time thatwe have a diaconicon (treasure room),on the northwestern side of the church.The elevation of the church is surprisingas it has eliminated the turret on thenaos; instead the vaulting is achieved bya dome supported on superposedarches like in the older churches erectedby Stephen the Great at Borzesti andRazboieni. The monastery is featured on
the UNESCO world heritage list ofmonuments.
The Humor MonasteryM~n~stirea Humor
Pridvorul bisericii, v~zut dinspre sud
The church porch, seen from the south
Vedere aerian~ a bisericii, dinspre est
Birds eye view of the church seen
from the est
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Procesiune la hramul m~n~stirii, fotografie de epoc~
Procession on the monasterys dedication day, period photograph
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Tetraevangheliarul de la Humor
Ferec~tur~ \n argint.
The Humor Gospels
Bound in silver.
Sfntul Nicolae taie copacul cu demonul
Detaliu de pictur~ exterioar~ pe fa]ada
sudic~ a bisericii.
Saint Nicholas cutting the tree with the devilDetail from the outer painting on the
southern faade of the church.
Tetraevangheliarul anonim
A fost realizat n perioada lui tefancel Mare [i a lui Bogdan al III-lea.
Anonymous Gospels
Dating from the time of Stephen the
Great and Bogdan III.
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Biserica M~n~stirii Humor, fa]ada sudic~
Pictur~ mural~, reprezentnd Glorificarea Mariei.
The church of the Humor Monastery, southern faade
The mural painting features the Glorification of the Virgin.
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Arhanghel [i heruvimi
Detaliu de pe bolta pridvorului.
Archangel and cherubs
Detail of the porch vault.
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Biserica M~n~stirii Humor
Bolta pridvorului, arcul central:
Sfin]ii Ilarion [i Hariton, \ncadra]i de
heruvimi [i arhangheli.
Church of the Humor Monastery
The vault of the porch, the central arch:
Saints Ilarion and Hariton, between
cherubims and archangels.
Judecata de Apoi, detaliu
Fresc~ de pe peretele estic al pridvorului.
The Last Judgement Day, detail
Frescoe on the eastern wall of the porch.
Judecata de Apoi, fragment
Fresc~ de pe peretele estic al pridvorului.
The Last Judgement, fragment
Frescoe from the eastern wall of the porch.
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This above was erected between1581 and 1601 by the Movila brothers:Minister of Justice Ieremia and Simion,future princes, and Gheorghe,metropolitan bishop of Suceava. Themonastery has spacious quadrilateralprecincts surrounded by high walls,strengthened by massive corner towersand a gate tower housing the chapel,then the monastic buildings, and thechurch.
Built on a long design, consistingof a trefoiled naos, vault, pronaos and
closed porch (with two open porchesadded to the north and southentrances), the church stands out by itselegant architecture and the richness ofthe paintings decorating it on theinside and on the outside. These arethe creation of artist Ion and hisbrother Sofronie, before 1596.Sucevita Monastery is included on theUNESCO world heritage list.
Este o ctitorie din anii 1581-1601a fra]ilor Movil~: vornicul Ieremia [ipaharnicul Simion, viitori domni, [iGheorghe, mitropolit al Sucevei.M~n~stirea este alc~tuit~ dintr-ospa]ioas~ incint~ \n form~ depatrulater, \nconjurat~ de ziduri \nalte,
\nt~rite cu masive turnuri de col] [i cuturnul por]ii, \n care se afl~ paraclisuldin cl~dirile monastice [i din biseric~.
Cu un plan alungit, comparti-mentat \n naos triconc, gropni]~,pronaos [i pridvor \nchis (cu alte dou~
pridvoare deschise ad~ugate la intr~rilede nord [i sud), biserica se remarc~ prinelegan]a formelor arhitectonice [ibog~]ia picturilor care \mpodobesc attinteriorul ct [i exteriorul s~u; ele aufost realizate de zugravul Ion [i frateles~u Sofronie, \nainte de 1596.M~n~stirea Sucevi]a este inclus~ deUNESCO \n lista patrimoniului culturalmondial.
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Vedere panoramic~ a m~n~stirii
Panoramic view of the monastery
Biserica M~n~stirii Sucevi]aPictur~ mural~ pe absida de nord.
Church of the Sucevita Monastery
Mural painting on the northern apse.
The Sucevita MonasteryM~n~stirea Sucevi]a
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Pictur~ mural~: C~rturarii, detaliu
Mural painting: The Scholars, detail
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Pictur~ pe fa]ada de nord
Scara Virtu]ilor (Scara Sfntului Ioan Climax),
iar \n registrul superior scene din Genez~.
Picture on the northern faade
The Ladder of Virtues (Ladder of St. John
Climax) and in the upper register scenesfrom Genesis.
Pridvor deschis pe fa]ada de sud
Open veranda on southern faade
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Fragment din fa]ada de nord a altarului [i a absidei naosului
Cinulcu cele [apte trepte (de jos \n sus): Martirii, Ierarhii, Arhanghelii [i
Apostolii, Profe]ii, ngerii, Serafimii.
Fragment of the northern faade of the altar and of the naos apse
The Orderwith the seven levels (from bottom up): the Martyrs, the
Hierarchs, the Archangels and the Apostles, the Prophets, the Angels, the
Seraphims.
Fragment din fa]ada de sud-est,
cu cinci registre din Cin
Fragment of the southeastern faade with
five registers of the Order
Fa]ada absidei principale
Trei registre din Cin: Ierarhii, Arhanghelii [i
Apostolii, Profe]ii.
Main apse of the church faadeThree registers of the Order: Hierarchs,
Archangels and Apostles, Prophets.
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Turla bisericii
The turret of the church
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Iisus Hristos cel Vechi de Zile
Bolta stng~ a pronaosului.
Jesus Christ the Ancient of Days
Left vault of the pronaos.
Ospitalitatea lui Avraam (Sfnta Treime)
Bolta dreapt~ a pronaosului.
Abrahams hospitality (The Holy Trinity)
Right vault of the pronaos.
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Am fugit [i am ajuns la Mn~stirea Bistri]a [i
intrnd am c~zut la p~mnt \naintea sfintelor
icoane [i mult am plns, a[i[dere [i egumenul [i
tot soborul plngea \mpreun~ cu mine, cufierbin]i lacrimi...(Document de danie a lui
Petru Rare[,1538).
I ran away and I got to Bistrita Monastery, and
upon entering I fell to the floor before the holy
icons and I cried, and the Father Superior was
also crying and with him the entire group ofpriests were crying bitter tears...(Donation
parchment of Petru Rares, 1538).
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M~n~stirea are patru ctitorivoievozi mu[atini: Alexandru cel Bun,tefan cel Mare, Petru Rare[ [iAlexandru L~pu[neanu. A fost
\ntemeiat~ \nainte de 1407, iar \ntre1541 [i 1546 Petru Rare[ a consolidatbiserica lui Alexandru cel Bun. Aceastaa fost reconstruit~ integral \n 1554.Pictura \n ulei dateaz~ din 1814.M~n~stirea a fost restaurat~ \ntre anii1969 [i 1983, aducndu-i-se multe [iimportante \mbun~t~]iri; numaipridvorul p~streaz~ fragmente dinpictura original~. Incinta are form~p~trat~, fiind protejat~ de ziduriputernice de piatr~ [i o \n~l]ime ini]ial~de aproximativ 4m, prev~zute cumetereze [i drum de straj~. Intrareaprincipal~ este situat~ pe latura sudic~.La nord se afl~ turnul clopotni]ei ziditde tefan cel Mare \n 1498, dup~victoria din Codrii Cosminului.
The monastery was founded byfour princes of the Musat dynasty:Alexander the Kind, Stephen the Great,Petru Rares and Alexandru Lapusneanu.Founded before 1407, between 1541and 1546 Petru Rares consolidated thework of Alexander the Kind. In 1554,the whole abode was built anew. The oilpainting dates to 1814. The monasterywas restored between 1969 and 1983,when several important improvementswere made. Only the porch preservessome original paintings. Rectangular inshape, the monastery precincts areprotected by strong stone walls, initiallyfour meters high, provided withbattlements and a sentry path. The mainentrance is situated on the southernside. The belfry tower stands on thenorthern side, and it was erected byStephen the Great in 1498, after thevictory at Codrii Cosminului.
Biserica M~n~stirii Bistri]aVedere dinspre sud.
The Church of the Bistrita Monastery
View from the south.
M~n~stirea Bistri]a v~zut~ dinspre sud-vest
Fotografie din perioada interbelic~.
The Bistrita Monastery seen from southwest
Interbellum photo.
The Bistrita MonasteryM~n~stirea Bistri]a
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Este ctitoria [i necropolavoievodului Alexandru L~pu[neanu,care este reprezentat, \mpreun~ cu
\ntreaga familie, \n tabloul votiv dinpronaosul bisericii.
M~n~stirea a fost construit~ deme[teri locali [i din Transilvania, fiindsfiin]it~, conform cronicaruluiGrigore Ureche, la 14 octombrie1558, dar lucr~rile au continuat [idup~ acesast~ dat~, cnd s-au ziditcasa domneasc~, chiliile, zidurile [iturnurile de ap~rare. Pictura, opera
unor zugravi moldoveni din secolul alXVI-lea, a fost complet ref~cut~ \nsecolul al XIX-lea.
n biseric~ [i al~turi de ea se afl~mormintele familiei domnitoruluiprecum [i mormntul mitropolituluic~rturar Veniamin Costache. Dup~cum se poate citi pe piatra demormnt a domnitorului AlexandruL~pu[neanu acesta s-a c~lug~rit \nultimul an al vie]ii sale (1568) subnumele de Pahomie.
M~n~stirea a avut un important
rol cultural, ctitorul \nfiin]nd aici o[coal~ de muzic~ [i o bibliotec~ cuc~r]i [i manuscrise.
Asemeni altor a[ez~mintebiserice[ti din Moldova, M~n~stireaSlatina a fost jefuit~ \n mai multernduri.
Ruler Alexandru Lapusneanu,represented with his entire family in thevotive painting on the church narthex,founded it, and was also buried here.
Erected by local Transylvaniancraftsmen, the monastery washallowed, according to chroniclerGrigore Ureche, on October 14, 1558.After that date, works continued onthe princely house, the cells, thedefense walls, and towers. Painted byMoldavian artists in the 16 th century,the decoration was completely remade
in the 19th century.In the church and close to it stand
the tombs of the princely family and ofscholar and metropolitan VeniaminCostache. As indicated on thetombstone of Ruler, AlexandruLapusneanu, the sovereign became amonk in the last year of his life (1568),taking the name of Pahomie.
The monastery played aremarkable cultural role, as the founderalso set up here a music school and alibrary featuring various books and
manuscripts.The Slatina Monastery, just like
other religious abodes in Moldavia,suffered frequent and severedespoliation.
The Slatina MonasteryM~n~stirea Slatina
Biserica v~zut~ dinspre sud-vest
The church seen from the southwest
Vedere general~ a m~n~stirii dinspre sud
General view of the monastery seen from south
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M~n~stirea Galata a fost ctitorit~de domnitorul Petru chiopul [i arehramul \n~l]~rii Domnului, fiind sfin]it~
\n 1584.Biserica m~n~stirii este o
remarcabil~ realizare arhitectonic~, cumulte elemente de noutate [i totodat~o sintez~ a influen]elor bizantino-muntene [i a elementelor tradi]ieimoldovene[ti. Caracteristice pentruGalata sunt: \nlocuirea peretelui dintregropni]~ [i naos cu trei arcade sus]inutede coloane, apari]ia turlei secundarepeste pronaos, brul median care
\mparte fa]ada \n dou~, iluminareaabsidelor cu trei ferestre. Picturaoriginal~ a bisericii, inclusiv fresceleinterioare, nu s-a p~strat, fiind distrus~laolalt~ cu catapeteasma \n incediul din1762. S-a p~strat totu[i tabloul votivcare \l \nf~]i[eaz~ pe Petru chiopul.
Casa domneasc~ a fost zidit~, deasemenea, de domnitorul Petruchiopul (\n secolul al XVIII-lea i s-aad~ugat etajul). Ast~zi cl~direa este
restaurat~ [i ad~poste[te muzeulm~n~stirii.
Galata Monastery was founded byRuler Peter the Lame, was dedicated tothe Ascension of the Lord, and washallowed in 1584.
The monastery church is anoutstanding architectural feat, withmany novel elements, and at the sametime a synthesis of Byzantine, Wallachianinfluences, and Moldavian traditionalelements. Characteristic for Galata is thereplacement of the wall between themortuary and the naos with threearcades supported by columns, thesecondary turret over the pronaos, themiddle girdle that separates the faadeinto two, and the illumination of theapses by three windows. The originalpaintings of the church, the interiorfrescoes included, have not beenpreserved, being destroyed alongside thealtar screen in the 1762 fire. A votiveportrait has come down to us featuringPeter the Lame.
Ruler Peter the Lame also erectedtthe princely house (another floor was
added in the 18th
century). Today thebuilding has been restored and it housesthe museum of the monastery.
Biserica m~n~stiriiVedere dinspre est.
The monastery church
View from east.
Vedere aerian~ dinspre sud-est
Birds eye view from southeast
The Galata MonasteryM~n~stirea Galata
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Este o ctitorie din 1606-1609 amitropolitului Anastasie Crimca.Biserica Mare (datnd din 1609), \nform~ de nav~, uime[te prin bog~]iadecora]iei sculptate. Puternica incint~fortificat~, cu ziduri \nalte [i turnurimasive, a fost construit~ de domnitorulMiron Barnovschi \n 1627.
Silueta bisericii demonstreaz~ o cutotul alt~ vrst~ a arhitecturii religioase
\n Moldova. Caracteristic ile stiluluimoldovenesc sunt p~strate, dar apardiferen]e notabile fa]~ de bisericile desecol XVI; planul nu mai este triconc,dreptunghiul naosului este prelung [ise continu~ cu absida principal~ la est.Biserica prezint~ cteva elementespecifice, care nu se mai reg~sesc la niciun alt monument: brul a[ezat la
jum~tatea \n~l]imii bisericii , caresubliniaz~ zvelte]ea construc]iei,folosirea pietrei brute, a pietrei netede[i a celei sculptate \n zone diferen]iateale paramentului.
It was built between 1606 and1609 by metropolitan bishop AnastasieCrimca. The big nave-shaped church(dating from 1609), has an amazingsculptural decoration. Ruler MironBarnovschi built these powerful fortifiedprecincts, with tall walls and massivetowers, in 1627.
The silhouette of the church pointsto an entirely different age of religiousarchitecture in Moldavia. Thecharacteristics of the Moldavian style arestill visible, but with notable differencesas to the 16th century monasteries. Thechurch design is no longer trefoiled, thenaos rectangle is long and continued bythe main apse to the east. The churchfeatures several specific elements not tobe found in any other monument: thegirdle at mid height, which furtheraccentuates the tallness of theconstruction, the use of raw stone, ofsmooth and sculpted stone in differentareas of the wall facing.
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M~n~stirea Dragomirna la 1857
Gua[~ de Knapp Franz Xavier.
The Dragomirna Monastery at 1857
Gouache by Knapp Franz Xavier.
The Dragomirna MonasteryM~n~stirea Dragomirna
Turla bisericii, supl~, \mpodobit~cu sculpturi \n piatr~
The slender turret with sculpted
stone
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Vedere aerian~ a m~n~stirii dinspre nord-vest
Birds eye view of the monastery seen from the northwest
Biserica m~n~stirii,
v~zut~ dinspre est
The monastery church,
seen from east
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A fost ctitorit~ de domnitorulMiron Barnovschi, \n 1626-1629, fiindfinalizat~ de Eustratie Dabija Voievod(\nainte de 1665), \nmormntat aici.
Biserica m~n~stirii, construit~ \n\ntregime din piatr~ f~]uit~, este oreplic~ mai sever~ a celei de laDragomirna. Incinta fortificat~ [i caseledomne[ti, ruinate, acum sunt \nrestaurare.
La ridicarea bisericii s-a folositpiatr~, \n~l]ndu-se ziduri groase de
peste 1 m, ornamentate cu lespezi depiatr~ cioplit~. Planul bisericii estetreflat, construc]ia este masiv~,dominnd peisajul aproape cu for]aunei cet~]i.
Founded by Ruler Miron Barnovschi,between 1626 and 1629, it wasterminated by Ruler Eustratie Dabija(before 1665), who is also buried here.
The monastery church, a moresevere replica of the DragomirnaMonastery, is constructed only inpolished stone. The ruined fortifiedprecincts and the princely house arebeing restored.
Stone was used for the thick wallsof the church (more than one meter),decorated with slabs of carved stone.The design of the church is trefoiled, theconstruction is massive, towering overthe neighborhood like a mighty citadel.
Fragment din fa]ada
nordic~ a bisericii
Fragment of the northern
faade of the church
Biserica m~n~stirii
Vedere general~ dinspre nord-vest.
Se remarc~ masivul turn de ap~rare
deasupra pridvorului bisericii.
The monastery church
General view from the northwest.
The massive defense tower above
the porch of the church should be
noticed.
The Barnova MonasteryM~n~stirea Brnova
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Este o bijuterie a secolului al XVII-lea moldovenesc, fiind ctitorit~ dedomnitorul Vasile Lupu [i construit~
\ntre 1635 [i 1639. n 1641-1642 pictoriiru[i Lidor Popeev, Iakov Gavrilov, DeikoIakovlev, Pronka Nikitin, precum [izugravi romni decoreaz~ Sfin]ii TreiIerarhi. n 1646, m~n~stirea este
\nchinat~ c~lug~rilor greci de la MunteleAthos.
Biserica, monument unic \n artamedieval~ romneasc~, este ocapodoper~ arhitectural~: construit~ \n
\ntregime din piatr~, are fa]adeleacoperite de o fastuoas~ decora]iesculptat~ ca o minu]ioas~ dantel~, ini]ialaurit~. Interiorul impresioneaz~ [i el prinbog~]ia decora]iei [i a concep]ieiarhitecturale. Avariat~ de-a lungulsecolelor de incendii [i cutremure,biserica a fost restaurat~ \n 1882-1890de arhitectul Lecomte de Nouy, care aadus l~ca[ului o serie de modific~ri.Biserica ad~poste[te moa[tele CuvioaseiParaschiva (aduse pentru prima dat~ la
13 iunie 1641) iar \n ni[ele sepulcrale seafl~ osemintele lui Dimitrie Cantemir,mare c~rturar [i domnitor al Moldovei(1710-1711) [i ale lui Alexandru IoanCuza, primul domnitor al PrincipatelorRomne Unite (1859-1866).
Biserica m~n~stiriiO broderie de piatr~ sculptat~ acoper~
\n \ntregime cl~direa.
The church of the Monastery
An embroidery of sculpted stone covers
the building entirely.
Biserica m~n~stirii
Vedere dinspre nord.
The monastery church
View from the north.
The Holy Three Hierarchs is a gemof the Moldavian 17th century art. This isa foundation of Ruler Vasile Lupu, builtbetween 1635 and 1639. Between1641 and 1642, Russian painters LidorPopeev, Iakov Gavrilov, Deiko Iakovlev,and Pronka Nikitin, as well as Romanianartists finished the decoration of theHoly Three Hierarchs. In 1646, themonastery was dedicated to the Greekmonks on Mount Athos.
The church, a unique monument ofRomanian medieval art, is a masterpieceof architecture. Built entirely in stone, itsfaades are covered with a majesticembroidery in stone, initially gilded. Theinterior is also impressive by its richdecoration and the architectural design.Damaged over the centuries byearthquakes and fires, the monumentwas restored between 1882 and 1890by architect Lecomte de Nouy, whomade several modifications to theconstruction. The church shelters therelics of the Holy Paraschiva (brought
here for the first time on June 13, 1641).In the sepulchral niches, there rest RulerDimitrie Cantemir, a great scholar Rulerwho ruled Moldavia between 1710 and1711, and of Alexandru Ioan Cuza, thefirst ruler of the United RomanianPrincipalities (1859-1866).
The Holy Three Hierarchs MonasteryM~n~stirea Sfin]ii Trei Ierarhi
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Vedere aerian~ dinspre sud-vest
Birds eye view from southwest
Aceast~ m~n~stire este unic~ [i
preafrumoas~; seam~n~ cu o cetate [i
este \nconjurat~ cu ziduri de piatr~...
Sfnta biseric~ se afl~ \n mijlocul
mn~stirii; ea este cl~dit~ \n \ntregime
din piatr~ f~]uit~, iar pe dinafar~ estetoat~ sculptat~ cu o m~iestrie artistic~
ce uime[te mintea privitorului. Nu este
nici ct un deget care s~ nu fie acoperit
cu sculpturi; [i sub strea[in~ corni[ele
de piatr~ neagr~ sunt de asemenea
sculptate... Toat~ lumea spune \ntr-un
glas c~ nici \n Moldova, nici \n ]ara
Romneasc~ [i nici la cazaci nu este
vreo biseric~ comparabil~ cu aceasta,
nici prin podoabe, nici prin frumuse]e,
c~ci ea minuneaz~ mintea celor ce o
viziteaz~...Paul din Alep
This monastery is unique and
extremely beautiful. It resembles a
citadel and is surrounded by stone
walls. The holy church sits in the
middle of the monastery, is made of
fully-fashioned stone, and on theoutside is sculpted with extreme
craftsmanship that spellbinds the eye.
There is not a single inch left
unadorned, and the black cornices
under the eaves are also carved.
Everybody says in one voice that not in
Moldavia, not in Wallachia, nor in the
land of the Cossacks can you find a
church comparable by its beauty or
ornaments that fascinate the mind of
visitorsPaul of Aleppo
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Ancadrament de fereastr~ bogat \mpodobit
Richly adorned window frame
Detaliu de motive florale [i
geometrice sculptate \n piatr~
Floral and geometric motifs, sculpted
in stone, detail
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Portretul doamnei Tudosca, so]ia voievodului
Vasile Lupu
Broderie specific~ secolului al XVII-lea, realizat~
pe catifea ro[ie. Portretul este pe deplin laic,
realizat cu elegan]~ [i deosebit rafinament.
Costumul oglinde[te fastul Cur]ii lui Vasile Lupu.
Portrait of Princess Tudosca, wife of Ruler Vasile
Lupu
Embroidery specific for the 17th century, on red
velvet. The portrait is fully lay, achieved with
extreme elegance and refinement. The ladys
costume evinces the splendor at Vasile Lupus
Court.
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Portretul pictat al
doamnei Tudosca
Fragment de fresc~ prelevat
de la Sfin]ii Trei Ierarhi.
The painted portrait of
Princess Tudosca
Fragment of a frescoetaken out of the Holy Three
Hierarchs Church.
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M~n~stirea Sfin]ii Trei Ierarhi
Cromolitografie de Carol Popp de Szathmari,
secolul al XIX-lea.
The Three Ierarchs Monastery
Chromolitography by Carol Popp de Szathmari,
19th century.
M~n~stirea Sfin]ii Trei Ierarhi
Vedere general~ dinspre sud-est (imagine
de la sfar[itul secolului al XIX-lea).
The Three Ierarchs MonasteryGeneral view from south-est (photo
from the end of 19th century).
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M~n~stirea Cet~]uia
Vedere aerian~ dinspre sud-est.
The Cetatuia Monastery
Birds eye view from the southeast.
M~n~stirea Cet~]uiaVedere dinspre sud-est.
The Cetatuia Monastery
View from southeast.
It was built between 1668-1672 atRuler Gheorghe Ducas initiative. Thetrilobate church, with turrets on thenaos and the pronaos, features on thefaades simplified decorative elementsinspired from the Holy Three HierarchsChurch of Iasi. Two turrets on a starfoundation, specific for the Moldavianstyle, rise above the pronaos and thenaos. In point of architecture, theCetatuia is a sober copy of the HolyThree Hierarchs, founded by RulerVasile Lupu in 1639.
The painting of Cetatuia is special,its authors being Mihai, Gheorghe andDima of Janina, together with localartists who had also worked on theHoly Three Hierarchs. It is the lastimpressive complex of Moldavianmurals of the post-Byzantine tradition.The interior wall painting was altered inthe 18th and 19th centuries.
Protected by a strong girdle of tallwalls, with a stone tower, the religiouscompound also features a two-level
princely house, an ecumenical housewith a Gothic hall, a row of cells, and aTurkish bath.
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A fost construit~ \n 1668-1672 dininitia]iva domnitorului Gheorghe Duca.Biserica, de plan trilobat, cu turle penaos [i pronaos, reia pe fa]ade, \nforme simplificate, unele motivedecorative ale bisericii Sfin]ii TreiIerarhi. Deasupra pronaosului [inaosului se ridic~ dou~ turle cu baz~ \nform~ de stea, specific~ stiluluimoldovenesc. Sub raport arhitectural,Cet~]uia este o copie sobr~ a M~n~stiriiSfin]ii Trei Ierarhi, ctitoria domnuluiVasile Lupu de la 1639.
Pictura de la Cet~]uia este ocrea]ie artistic~ deosebit~, avndu-i caautori pe Mihai, Gheorghe [i Dima dinIanina, al~turi de pictori autohtonicare lucraser~ [i la Sfin]ii Trei Ierarhi.Acesta este ultimul mare ansamblu depictur~ mural~ din Moldova \n liniatradi]iilor postbizantine. Picturamural~ interioar~ a suferit interven]ii
\n secolele al XVIII-lea [i al XIX-lea.Protejat de o puternic~ centur~ de
ziduri \nalte, cu turn de piatr~,
complexul monastic mai cuprinde: casadomneasc~, cu dou~ niveluri, casaecumeneasc~, dotat~ cu o sal~ gotic~,corpul de chilii [i baia turceasc~.
The Cetatuia MonasteryM~n~stirea Cet~]uia
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Biserica m~n~stirii v~zut~ dinspre sud-vest
Dreapta:
Imagine de la \nceputul secolului al XX-lea.
Stnga:
Imagine actual~.
The Monastery Church seen from southwest
Right:
Photograph from the beginning of 20th century.
Left:
Nowdays photograph.
Incinta m~n~stirii, col]ul de nord-est
The northeastern corner of the monastery
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A fost ctitorit~ de hatmanulGavriil, fratele lui Vasile Lupu, \n 1642-1644, [i \[i trage numele de la schitulconstruit de sihastrul Agapie, \n secolulal XIV-lea.
Construc]ia Bisericii Mari de laAgapia a \nceput la 16 octombrie 1642[i s-a \ncheiat la 3 septembrie 1644.Hatmanul Gavriil a apelat la arhitectulEnache Ctisi, n~scut [i crescut laConstantinopol. Biserica este construit~
\n plan triconc, pe temelie de piatr~brut~. Absidele au form~ semicircular~,cele centrale fiind \mbr~cate la exterior
\n rezalite dreptunghiulare. n 1859-1862 s-au ad~ugat proscomidiarul,diaconiconul [i un nou pridvor, celvechi fiind integrat pronaosului. F~r~ aavea o arhitectur~ cu un stil specific,biserica este valoroas~ prin pictura ei,executat~ de Nicolae Grigorescu \n1858-1861.
A[ez~mntul a fost restaurat demai multe ori: \ntre 1848 [i 1858, cndbiserica a suferit mai multe
transform~ri, \n 1882 [i \n 1903, cnds-a re\nnoit toat~ incinta [i s-au f~cutcl~diri pentru ateliere. M~n~stirea are ocolec]ie de art~ [i obiecte biserice[ti.
Erected by War Minister Gavriil,brother of Ruler Vasile Lupu, between1642 and 1644, it gets its name fromthe skete constructed by recluseAgapie, in the 14th century.
The construction of the big churchof Agapia started on October 16, 1642and ended on September 3, 1644. Forthe purpose Minister Gavriil hiredarchitect Enache Citisi, born and raisedin Constantinople. The church has atrefoil structure, on a raw stonefoundation. The apses are semicircular,the central one being adorned byrectangular projections. A prothesis,and a diaconicon were later added, aswell as a new porch, the old one beingintegrated into the pronaos. While notin a specific style, the church is valuableby its painting, the work of NicolaeGrigorescu between 1858 and 1861.
The abode was restored severaltimes between 1848 and 1858, whenthe church underwent varioustransformations, in 1882, and in 1903,
when the entire precincts wererenewed, and workshops were set up.The church boasts a collection of artand religious items.
Incinta M~n~stirii Agapiav~zut~ dinspre sud-est
The precincts of the Agapia Monastery
seen from the southeast
Latura de vest a incintei:
st~re]ia [i chiliile
The western side of the precincts:
the abbey and the cells
Bolta naosului: Iisus Hristos Pantocrator
Pictur~ mural~ de Nicolae Grigorescu.
The vault of the nave: Jesus Christ Pantocrator
Mural painting by Nicolae Grigorescu.
Naosul bisericii: Sfnta Ecaterina
Pictur~ mural~ de Nicolae Grigorescu.
The nave: St. Ecaterina
Mural painting by Nicolae Grigorescu.
The Agapia MonasteryM~n~stirea Agapia
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M~n~stirea V~ratec la \nceputul
secolului al XX-lea
The Varatec Monastery at the
beginning of 20th century
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Biserica m~n~stirii, v~zut~ dinspre est
The monastery church, seen from east
M~n~stirea a fost ctitorit~ \n 1785de fiica unui preot din Ia[i, c~lug~rit~ subnumele Olimpiada, sub \ndrumareafaimosului c~lug~r-c~rturar PaisieVelicicovski, stare] al M~n~stirii Neam].
Biserica actual~ a fost construit~ \n1808-1812 pe locul celei vechi [i a fostpictat~ \n 1841. Biserica AdormireaMaicii Domnului din mijlocul incintei, \nfa]a c~reia se afl~ statuia \n bronz a SafteiBrncoveanu, realizat~ \n 1935 de IonJalea, \mbin~ formule tradi]ionalemoldovene[ti cu elemente neoclasice.Biserica este construit~ din piatr~ [ic~r~mid~, avnd dou~ turle rotunde [izvelte. Intr~rile, situate pe laturile de sud[i de nord sunt str~juite de dou~pridvoare mici cu acoperi[ bulbat [iprofile greoaie, ce contrasteaz~ cu liniaelansat~ a edificiului.
M~n~stirea are o bogat~ colec]iemuzeal~.
The daughter of a priest from Iasi, anun called Olimpiada, founded it in 1785under the supervision of the famousscholar monk Paisie Velicicovski, abbot ofNeamt Monastery.
The present church was builtbetween 1808 and 1812 on the spot ofan older one, and it was painted in 1841.The Dormition of the Virgin Church sits inthe middle of the precincts, facing thestatue of Safta Brancoveanu, sculpted in1935 by Ion Jalea. The church, built instone and brick, with two round, svelteturrets blends traditional Moldavian andneo-classic elements. The entries on thesouthern and northern sides are guardedby two small porches with bulbous roofand heavy profile, contrasting to theslender line of the edifice.
The monastery has a rich museumcollection.
The Varatec MonasteryM~n~stirea V~ratec
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Maica Domnului cu Pruncul
Icoan~ pe lemn, Moldova, prima jum~tate a
secolul al XVI-lea (Muzeul M~n~stirii V~ratec).
The Madonna with the Child
Icon on wood, Moldavia, the first half of the
16th century (Museum of Varatec Monastery).
M~n~stirea V~ratec
Vedere aerian~.
The Varatec Monastery
Birds eye view.
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Statuia de bronz a Saftei Brncoveanu,
realizat~ de Ion Jalea
Bronze statue of Safta Brancoveanu
by Ion Jalea
Cas~ monahal~ din incinta m~n~stirii
Monk house within the monastery precincts
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A fost ctitorit~ \n anul 1602 dec~tre marele vornic Nestor Ureche(tat~l cronicarului Grigore Ureche),pe locul unui schit datnd din secolulal XVI-lea.
Biserica m~n~stirii marcheaz~ odat~ important~ \n istoria arhitecturiidin Moldova prin influen]amunteneasc~ profund~ \n construc]iaedificiului. Ea reflect~ o puternic~influen]~ arhitectural~ munteneasc~,iar \n timp ea a fost augmentat~ cuun pridvor (secolul al XVIII-lea) [i un
diaconicon (secolul al XIX-lea). n1850 a fost pictat~ \n \ntregime.Frumoasa incint~ fortificat~ este
\nt~rit~ cu turnuri, corpuri de cl~direpe patru laturi [i dou~ paraclise.Ansamblul a fost restaurat \ntre 1966[i 1976.
Justice Chief Nestor Ureche (fatherof chronicler Grigore Ureche) erected itin 1602 in the place of a skete datingto the 16th century.
The monastery church marks animportant date in the history ofMoldavian architecture owing to thecategorical Wallachian influencemanifest in the entire construction. Thechurch evinces a strong Wallachianinfluence. In time, a porch was added(the 18th century) as well as adiaconicon (the 19th century). In 1850, it
was entirely painted. Towers, four-sidesquare buildings, and two chapelsenhance the beautiful fortifiedprecincts. The ensemble was restoredbetween 1966 and 1976.
The Secu MonasteryM~n~stirea Secu
Biserica v~zut~ dinspre nord-vestn luneta de deasupra intr~rii, Sfntul
Ioan Botezatorul, patronul m~n~stirii.
The church seen from the northwest
Above the entrance, St. John the
Baptist, the patron of the monastery.
Col]ul de nord-est a incintei, cu chiliile [i
paraclisul Sfntul Nicolae(1824)
The northeastern side of the precincts, with the
cells and the Saint Nicholas Chapel (1824)
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Vedere general~ dinspre sud-est
a incintei fortificate
General view from southeast of
the fortified monastery
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Incinta m~n~stirii, cu biserica [i
aghiazmatarul
Vedere dinspre sud-vest.
The courtyard of the monastery,
with the church and the holy
waterfont
View from southwest.
Incinta m~n~stirii, cu biserica,turnul por]ii, aghiazmatarul [i o
parte din chilii
Vedere dinspre sud-est.
Inner court of the monastery,
with the church, the baptistery
and a number of cells
View from southeast.
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Epitaful lui Silvan (1437)
Realizat la M~n~stirea Neam], compozi]ie perfect echilibrat~,
dominat~ de monumentalitate [i de o armonie extraordinar~ a
culorilor, figurilor, gesturilor [i propor]iilor. Epitaful lui Silvan
inaugureaz~ seria broderiilor monumentale, devenind un
model clasic al epitafelor moldovene[ti.
Silvans liturgical veil (1437)
Achieved at Neamt Monastery, the composition is perfectly
balanced, with an air of monumentality and a fantasticharmony of the colors, figures, gestures and proportions.
Silvans liturgical veil inaugurated the series of monumental
embroideries, remaining a classic of Moldavian liturgical cloths.91
Dvera Adormirii Maicii Domnului
(10 august 1510)
Aceea[i monumentalitate a epitafului moldovenesc, cu o
extraordinar~ [tiin]~ a compozi]iei, a echilibrului interior al
scenei, cu figuri monumentale [i gesturi rituale perfect
echilibrate.
Altar curtain featuring the Dormition of the Virgin
(10 August 1510)
The same monumentality as in all Moldavian liturgical veilblends here with an extraordinary science of the composition,
of poised scenes, gorgeous figures, and perfectly balanced
ritual gestures.
Broderia epocii lui tefan cel Mareeste la nivelul realiz~rilor picturii murale[i al manuscriselor miniate, stndm~rturie pentru existen]a unei [coli depictur~ cu tradi]ie \n Moldova. Printreepitafele, dverele, epitrahilelemoldovene[ti se g~sesc adev~ratecapodopere, unele dintre acesteademonstrnd o des~vr[it~ m~iestrie acompozi]iei [i a coloristicii.
The embroideries dating to thereign of Stephen the Great stand proudlynext to the illuminated manuscripts ofthe time, attesting to a school ofpainting of long tradition in Moldavia.There are genuine masterpieces amongthe Moldavian liturgical veils, the altarcurtains, and the stoles all of whichevince a perfect mastery of thecomposition and of the colors.
Moldavian embroideriesBroderii moldovene[ti
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Acoper~mntul de mormnt al Mariei deMangop
Broderie cu fir de aur, argint [i m~tase
colorat~ pe un fond de atlaz ro[u dublat
cu pnz~ de in \n culoare natural~.
n chenar, o inscrip]ie comemorativ~ \n
limba slavon~, brodat~ cu fir de aur [i
argint aurit: Acesta este acoper~mntul
roabei lui Dumnezeu, binecredincioasa [i
de Hristos iubitoarea doamn~ a lui Io
tefan Voievod, domnul ]~rii Moldovei,
Maria, care a trecut la ve[nicul l~ca[ \n
anul 6985 (1477), luna decembrie 19, \n
ceasul al cincilea din zi.
Portretul funerar al Mariei de Mangop este
o capodoper~ a artei moldovene[ti a
secolului al XIV-lea, o compozi]ie de un
rafinament des~vr[it, totodat~
monumental [i plin de fragilitatea
omenescului pieritor, impresionnd
privirea prin puritate [i str~lucire princiar~.
G. Oprescu numea broderia o
capodoper~ ce poate sta al~turi de opera
lui Drer sau Holbein.
Tomb cloth of Maria of Mangop
Embroidery in gold, silver, and colored silk
thread on a background of red Indian
satin doubled by linen. All around, the
border carries a commemorative
inscription in Old Church Slavonic, in gold
and silver thread: This is the tomb cloth
of Maria, Gods servant, the true believer
and God-loving spouse of His Royal
Highness Ruler Stephen, who went to
glory in the year 6985 (1477), December
19, at the fifth hour of the day.
The funerary portrait of Maria of Mangop
is a masterpiece of 14th century Moldavian
art. It is a highly refined composition,
monumental and yet fragile like
everything that is mortal, and it catches
the eye by its princely purity and
resplendence.
G. Oprescu said that the embroidery was
a masterpiece that could vie with works
by Durer or Holbein.
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R~stignirea, broderie (1500)
Detaliu reprezentnd portretul lui tefan cel Mare.
Crucifixion, embroiderie (1500)
Detail representing the portrait of Stephen the Great.
R~stignirea, broderie (1500)
Detaliu reprezentnd portretul Doamnei Maria Voichi]a.
Crucifixion, embroiderie (1500)
Detail representing the portrait of Princess Maria Voichita.
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Acoper~mntul de mormnt al lui
Simion Movil~
Compozi]ia p~streaz~ canonul pozei
funerare [i sobrietatea necesar~ unui astfel
de portret.
Tomb cloth of Simeon Movila
The composition obeys the rigors offunerary poses and the sobriety appropriate
to such portraits.
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Caracteristic~ pentru broderia de secol XVII
este folosirea catifelei ro[ii ca fundal pentru
imaginile figurative [i pentru motivele
ornamentale cusute cu fir de aur.
Seventeenth-century embroideries
characteristically used red velvet as
background for figurative images and forthe ornamental motifs sewn with golden
thread.
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Dvera de la Slatina (1561)
A fost d~ruit~ de Alexandru L~pu[neanu ctitoriei sale.
Voievodul apare \n postura de donator \mpreun~ cu
so]ia sa, Doamna Ruxandra. n centrul imaginii, Sfin]ii
Petru [i Pavel sus]innd un templu cu cupol~ [i coloane.Doi \ngeri sunt a[eza]i \n spatele donatorilor [i doi
serafimi stau deasupra lor.
The Slatina altar curtain (1561)
Presented by Ruler Alexandru Lapus