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.
Considerations regarding the opportunity of Căpriana Monastery’s historic heritage museum valorization
Tyragetia, serie nouă, vol. III [XVIII], nr. 2, Istorie. Muzeologie
The monastic complex Căpriana is among the most important historic and cultural monuments from the territory of the Republic of Moldova and it is considered a complex of medieval and modern religious architecture having a unique value. Its history is indissolubly connected to the history of Ţara Moldovei and the greatest personalities of the country: Alexandru cel Bun, Ştefan cel Mare și Sfânt, Petru Rareș, Alexandru Lăpușneanu, Metropolitan Gavriil Bănulescu-Bodoni etc. From this viewpoint the scientific and museographic valorization of this monument has become an imperative of the time, an honorable obligation before the history and the memory of our predecessors.
The identification of the ways for resolving this problem has become the subject of some aroused debates between the museographers and the central authorities of the Republic of Moldova, the governmental project „Regarding the creation of the National Museum „The monastic complex Căpriana”, subsidiary of the National Museum of Archaeology and History of Moldova” being qualified by the specialists as imaginative and illegal, as, according to them, it contravenes the legislation in force, including the Constitution of the Republic of Moldova.
The author proposes the initiation of a new national project for the valorization of the Monastery Căpriana heritage that would enable, among others, the museification of the Church Assumption of Holly Virgin and of the two medieval architecture objectives from the church vicinity (the medieval wall and the foundation of the tour-belfry) or the creation of an independent museographic institution with a museum-monastery statue.
Elena Postică
The famine of 1946-1947 from Moldova in official documents and testimonies of survivors
Tyragetia, serie nouă, vol. XIV [XXIX], nr. 2, Istorie. Muzeologie
Elena Postică
Documentary photography exhibition “War after the War”
Tyragetia, serie nouă, vol. XIII [XXVIII], nr. 2, Istorie. Muzeologie
Elena Postică
Oak from Caracui. Exhibition dedicated to the 100th anniversary of Academician Nicolae Corlăteanu
Tyragetia, serie nouă, vol. IX [XXIV], nr. 2, Istorie. Muzeologie Chișinău, 2015
Elena Postică
Independent Moldova seen through a museum exhibition
Tyragetia, serie nouă, vol. I [XVI], nr. 2, Istorie. Muzeologie Chișinău, 2007
Elena Postică
Lawsuits initiated against participants of resistance movement from postwar Moldova
Tyragetia, serie nouă, vol. IV [XIX], nr. 2, Istorie. Muzeologie
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 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.
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.
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.
31 August 1989 St., 121 A, MD 2012, Chisinau, Republic of Moldova
