#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

May 2023

The rocking bowl from Grigoreuca

It is fascinating how over thousands of years, clay objects have not lost their charm and have adapted to each era, evolving with society. Such a modest material as clay, could be used in a variety of ways, among which the most ancient - the modeling of vessels. The multitude of shapes and decoration of ceramic vessels fascinates and represents a true art adjusted to the way of life and the spiritual level of communities from different historical periods. A separate category is represented by miniature vessels. They can represent from miniatures of kitchen utensils (pots, cups, glasses) to zoomorphic, anthropomorphic representations, models of chariots.

Such a vessel was discovered in 1989, during the research of a burial mound located on the territory of Grigoreuca village, Sîngerei district (excavation authors: E. Antipenco, V. Beilecci). It was deposited as a funerary inventory in a tomb attributed to the Jamnaja culture (early Bronze Age period, XXIII-XVIII centuries BC). The vessel is hand-shaped from clay paste mixed with crushed ceramic. It is rectangular in shape with rounded corners and trapezoidal in section, straight base and slightly raised walls. The mouth of the vessel is wide, with a straight lip, weakly highlighted. Below the lip is provided with 12 conical protuberances located three on each of the sides. Those on the long sides are provided with a longitudinal circular hole. The outer surface of the bowl, including its base, is decorated with string printing. The decoration is made in the form of radiating lines and overlapping triangles. It is yellowish-grey in color with brown spots on the outside and gray-brown on the inside.

Although it was discovered in a tomb attributed to the Jamnaja culture, at the moment, no other objects of this kind are known in the environment of this culture. The closest analogues are known in the dwellings and funerary complexes of the Catacombs culture that existed in the middle period of the Bronze Age, the XIX-XVIII centuries BC, in the North-Pontic steppes. Such pieces are also known in the environment of the North Caucasian culture (XX-XXIII centuries BC). Most likely, the vessel discovered at Grigoreuca represents an import object from the Catacomb culture environment.

Both the shape of the vessel and the side holes, which assume its suspension, allowed its interpretation to be the model of a swing, hence the name swing vessel. But according to other opinions such objects are chariot models. The presence of visible traces of burning (soot) inside some of them, does not exclude their use as an opiate or smoker.

Dimensions: H - 4.9 cm; L - 13.6 cm; W - 8.3 cm.

#Exhibit of the Month

Buckles Decorated in the Polychrome Enamel Technique

May 2023

The rocking bowl from Grigoreuca

#Exhibit of the Month