#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.
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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#Exhibit of the Month

March 2024

The „askos” type vessel from Ciumai

The exposed object, an "askos" type ceramic vessel, comes from the tumulus necropolis near the village of Ciumai, Taraclia district. The vessel was discovered in 2015 in a cenotaph tomb attributed to the Jamnaja culture, dated to the early Bronze Age (ca. 3300-2600 BC).

The vessel, with an obviously asymmetrical configuration, is hand-moulded from quality clay paste, having a smooth brown surface with gray spots. The body of the vessel is provided with a pronounced protrusion and a truncated neck with a wider opening towards the mouth. The vessel has a stem and is ornamented with three pairs of symmetrically placed relief appliqués. The height of the bowl is 15.5 cm, the diameter of the mouth is 11.4 cm, the diameter of the body is 15 cm and the diameter of the base is 7.5 cm. Such vessels in the archaeological literature are known as "askos" vessels, the respective term being of ancient Greek origin, denoting one of the primitive containers of the period - the bellows made of animal skin.

In prehistoric times, among some peoples, the bellows was transposed into ceramics, in these cases the basic features of the archaic leather vessel were preserved, acquiring a prominent convex shape with a stem and a flat bottom. From the original appearance of the bellows, the asymmetric mouth corresponding to the animal's neck has been preserved, and sometimes three or four legs, corresponding to the appendages of the flayed skin from the animal's legs. These vessels have lost their original zoomorphic character, entering as a new form in the inventory of Neo-Eneolithic ceramics. The first vessels of this type are attested in Greece, in the early Neolithic (ca. 5000-4500 BC) having the shape of cups or cups. In the Neo-Eneolithic Carpatho-Balkan cultures, the type of Aegean askos of short or tall form, with or without legs and with a handle, is found. Less often, they are provided with two mouths (one for filling and one for emptying) or they are off-center and provided with strangely shaped mouths. In the space between the Carpathians and the Dnieper, only tall forms of simple askos, without zoomorphic elements, are known. Askos-type vessels are present in various prehistoric cultures, especially in Southeast Europe and Anatolia.

Being often discovered in association with cult inventory, askos vessels could be an important indicator of use in religious ritual practices. Along with the zoomorphic, anthropomorphic and rhyton-type vessels (roughly conical container from which, in some ceremonies, liquids were drunk or poured), the askos were included in the category of vessels intended for worship, being related to libations (ritual act that consisted of tasting and then pouring a cup of wine, milk, etc. as homage to the deity).

#Exhibit of the Month

Buckles Decorated in the Polychrome Enamel Technique

March 2024

The „askos” type vessel from Ciumai

#Exhibit of the Month