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Buckles (paftale) are an almost indispensable element of traditional women's dress in the Southeastern European area, particularly in the Balkans, and have been in use over a long period, from the 14th to the 20th century.
The word pafta is of Turkic origin-possibly entering the language via Iranian influence-derived from the Persian word bafta, meaning "woven," which evolved in Turkish to signify "plate." Today, the term is used in nearly identical forms in Romanian (pafta), Bulgarian (пафта), Serbian (пафте), and some Aromanian dialects (pafta), designating functional and ornamental clothing accessories used to fasten belts, girdles, or sashes, crafted from various materials and decorated using different techniques.
The three buckles decorated in the polychrome enamel technique, preserved in the collection of the National Museum of History of Moldova, belong to the South-Danubian tradition and are dated to the late 19th - early 20th century.

Each buckle consists of two identical trapezoidal parts, their surfaces divided into three roughly equal registers, adorned with stylized vegetal motifs forming a metal lattice into which enamel is poured. The two parts extend into sharp angles at the ends, forming a triangle with the edge of the last decorative register, similarly ornamented. The enamel used to fill the floral motifs is black, turquoise, white, orange, green, yellow, and burgundy. The entire decorative field is framed by a beaded border.

On the reverse, both components retain a copper band riveted along the edge, used to fasten the ends of the belt. The fastening system, made by interlocking the hinges of the two parts and secured with a movable pin attached by a chain to a clasp fixed on one of the buckle pieces, is concealed by a rectangular plate (riveted with three pins to the body of the piece), with narrow edges ending in sharp angles, decorated in the same style and technique. Additionally, it features three circular settings with notched edges bent inward to hold centrally placed red and green glass paste. These settings are framed by a radiant, notched band.

The symbolism of the color palette encodes meanings and symbols, chosen for their believed magical powers. Red has always represented love, affection, and protection against curses and the evil eye; white symbolizes purity and spiritual and physical cleanliness; blue is symbolically associated with infinity, morning, new beginnings, and transformation; green represents destiny, hope, prosperity, balance, and rebirth, being linked to nature's revival each spring and to life itself.

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Exhibitions

"Maria Cebotari: Life and Work"

June 3–13, 2025

The exhibition Maria Cebotari: Life and Work is a tribute to the renowned singer and actress of international stature, marking the 115th anniversary of her birth. It features approximately 140 photographs, documents, personal belongings, awards, books, artworks, and testimonies that reconstruct the most significant stages of the diva's artistic and personal life. A large portion of these items were collected by her friend Hanna Schliesser and donated to the National Museum of History of Moldova by Maria Cebotari's son, Fritz Curzon-Diessl. The exhibition's cultural value is further enriched by contributions from distinguished personalities such as academician A. Dănilă, artist L. Sainciuc, and S. Pilipețchi, a soloist at the Maria Bieșu National Opera and Ballet Theatre.

Born on February 10, 1910, in Chișinău, Maria Cebotari displayed vocal talent from an early age, singing in the choir of the Nativity Cathedral under the guidance of Father Mihail Berezivschi. Between 1924 and 1928, she studied at the Unirea Conservatory in Chișinău, training in vocal performance with M. Zlatova, A. Dicescu, and G. Afanasiu-Gabrielli. In 1928, together with her future husband, actor A. Vârubov, she moved to Europe, where she embarked on her career. Accepted into the Dresden Opera ensemble, she made her debut on April 15, 1931, in Puccini's La Bohème, and from 1934, she began performing at the Berlin State Opera. That same year, at just 24 years old, she was awarded the title of Kammersängerin, becoming the youngest recipient in vocal history, astonishing audiences with the breadth of her repertoire in terms of time periods, styles, and genres. 

Maria Cebotari also distinguished herself in cinema, appearing in ten films-most of them musicals-where she played leading roles or performed as a singer. On set, she collaborated with prominent figures such as director C. Gallone, actors G. Diessl and F. Giachetti, tenor B. Gigli, and others. 

In 1937, during the filming of Strong Hearts, Maria Cebotari starred alongside Austrian actor and former painter Gustav Diessl, who became her second husband. Their marriage resulted in two sons: Peter (born 1941) and Fritz (born 1946).  Maria Cebotari's performances graced the stages of Dresden, Berlin, Vienna, and Salzburg, as well as opera houses in Prague, Riga, Amsterdam, Brussels, Paris, Venice, Rome, Stockholm, and Basel. The final stage of her career was at the Vienna Opera. 

On June 9, 1949, Maria Cebotari passed away prematurely and was laid to rest in the Diessl family crypt at Döbling Cemetery in Vienna. 

Her extraordinary talent, unwavering determination, and thirst for life gave rise to the cultural phenomenon of Maria Cebotari, which remains a vital part of both national and European cultural heritage.


 




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

Buckles (paftale) are an almost indispensable element of traditional women's dress in the Southeastern European area, particularly in the Balkans, and have been in use over a long period, from the 14th to the 20th century....

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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.
©2006-2025 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.
©2006-2025 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

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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.
©2006-2025 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