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.
Late Scythian Settlements in the Lower Dnieper Region: chronology and attribution
Tyragetia, serie nouă, vol. I [XVI], nr. 1, Arheologie. Istorie Antică
The lower Dnieper region is usually regarded as a distinct territory of Scythian culture. In the 1980s and 1990s as a result of excavations in the lower Dnieper region the archaeological record has been expanded. The appearance of new information concerning archaeological monuments in the lower Dnieper Region begged attempts to offer its interpretation. Subsequently, new archaeological finds allowed addressing questions of chronology and the ethnocultural attribution of the population of the region.
For the period from the second quarter of the III c. to at least the second half of the II c. BC archaeological evidence for the population of the area, whether settled or nomadic, is lacking. In the II and I c. the situation in the lower Dnieper region stabilized and Late Scythian settlements started to appear. The chronological indicators from all the Late Scythian settlements in the region are analysed in the article, and the dating is based mainly on Greek imports. The most probable date for their foundation is the I c. BC with a single exclusion - Znamenskoe settlement was the earliest and was founded possibly in the second half of the II c. BC.
The comparison of data from different sites can help us to define similarities and differentiating features of the Late Scythian fortified settlements, Scythian monuments and the Olbian chora. It became possible to identify with certainty the barbarian type of the Late Scythian culture, and the syncretism of this culture has been demonstrated.
The possibility of development of Scythian sites into Late Scythian fortified settlements contradicts both the chronology and the types of culture. Similar elements in Scythian and Late Scythian settlements are the ramparts and ditches in fortification, some types of buildings, and iron workshops. Both groups of settlements are known for a large proportion of handmade pottery, also of Scythian forms. Small number of coins, predominance of stone articles and the use of ornaments are common. In both groups the main bulk of the ceramic material comprises amphorae and handmade pottery, but the percentage of the wheel-made pottery is different. Handmade pottery in the Late Scythian settlements is much more varied than in the earlier ones. Difference between Scythian and Late Scythian groups are observed in the emergence in the late stage of new features in fortification, the appearance of “zolniki” (large accumulations of ash which are connected with agricultural cults), building construction and handmade pottery, as well in the volume and nature of Greek imports, ritual objects, and fishing-gear.
The comparison of the northern groups of settlements demonstrates that the barbarian tradition displays no clear continuity in its development. While the early northern group of settlements belongs to the Scythian culture, in the sites of the later stage only isolated elements are specific. Indications of cultural impact from the west, particularly from the Geto-Dacian world, are striking.
As far as the theory of predominance of Greek culture in the Late Scythian culture has been revisited, it is important to compare Late Scythian settlements of the lower Dnieper region with the Olbian chora sites. There are differences in size, stratigraphy, building traditions, fortification, dwellings, workshops, pottery, coins, and in the range of crops and domestic animals. They also differ in the time of their appearance (the Late Scythian group is earlier) and in the period of their existence. In Late Scythian settlements barbarian features are predominant. One may see a trace of Greek influence in the finds of two terra cottae, but cult objects retain a barbarian character.
The absence of settlements on the banks of the lower Dnieper from the second quarter of the III to the second half of the II c. BC suggested that there were possibly Scythian migrations. This is contemporary with the crisis on the northern coast of the Black Sea in the III c. BC. Taking into account the revised chronology and the ethno-cultural attribution of the settlements we can now offer a new account of the situation with an emphasis on the interaction of different ethno-cultural groups. The disappearance in the III c. BC of Scythian graves and settlements from the lower Dnieper region coincides with the appearance of the Scythians in the Crimea and Dobrudja. In the latter their presence is traceable from the turn of the IV – III cc. BC. The final phase of Scythia Minor in this territory is dated from the last quarter of the II to the beginning of the I c. BC. The character and chronology of the Late Scythian culture in the lower Dnieper region suggest that it could be created as a result of migration of the population embracing different cultures and ethnic types from Dobrudja.
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.