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.
Copper Age burials with “extended” skeletons in the Carpathian-Dniester region
Tyragetia, serie nouă, vol. IV [XIX], nr. 1, Arheologie. Istorie Antică
In the article the problem of cultural and chronological attribution of Copper Age graves with skeletons in extended position is discussed. Due to the almost complete absence of grave inventory in the burials the most reliable attribute for analysis is the shape of the grave chambers in combination with other elements (stratigraphic position, orientation of the dead, few items of grave goods, etc.). Three basic forms of chambers are distinguished: large oval pits, long narrow pits, and large rectangular pits. Graves with large oval pits posses the most archaic traits and probably can be recognized as the most ancient Copper Age contexts under barrows. The earliest graves can be dated to the second half of the 5th Millennium BC although all graves under barrows are, so far, dated from the 4th Millennium BC. The graves from this group in barrows always precede burials of the Pit-grave culture and some- times burials of the late Copper Age Usatovo culture. In some barrows they can follow other Copper Age graves. The graves in long narrow pits seem to be later and, according to kurgan stratigraphy, always precede graves of the Pit- grave culture, but sometimes follow late Copper Age graves or burials of the Usatovo culture. The extended graves in large rectangular chambers can be considered as a variant within the funeral tradition of the Pit-grave culture. Distinctions between the groups under consideration can be conditioned by their different origins. Whereas the graves from the first group can represent the development of a local tradition related to the Balkan-Carpathian cultural milieu, the graves from the second group can reflect connection with eastern European cultures. At the same time the graves from the third group are related to the Pit-grave culture.
Igor Manzura
Rare finds of the paleometal age from the Dniester-Prut interfluve
Tyragetia, serie nouă, vol. XVIII [XXXIII], nr. 1, Arheologie. Istorie Antică
Игорь Манзура
Дергачев В.А. О скипетрах. Этюды в защиту миграционной концепции М. Гимбутас. Revista arheologică. vol. I. Nr. 2. Chișinău, 2005, 166 стр. ISSN 1857-016X.
Tyragetia, serie nouă, vol. I [XVI], nr. 1, Arheologie. Istorie Antică
Николай Руссев, Михаил Фокеев, Игорь Манзура
Barrow of the Copper and Bronze Ages near the Village of Suvorovo, Odessa County
Tyragetia, serie nouă, vol. VII [XXII], nr. 1, Arheologie. Istorie Antică
Игорь Манзура, Владислав Петренко
The Usatovo kurgan cemetery II (excavation 1984)
Tyragetia, serie nouă, vol. XVI [XXXI], nr. 1, Arheologie. Istorie Antică, Chişinău, 2022
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.