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.
Prince Mihail Sturdza and his relations with Russia
Tyragetia, serie nouă, vol. VIII [XXIII], nr. 2, Istorie. Muzeologie
Mihail Sturdza, prince of Moldavia from 1834 to 1849, was a controversial figure in the modern history of Moldova. Mihail Sturdza was not just a political instrument of Russia in Romanian principalities, nor a governor of an ordinary Russian guberniya that was in his administration. Russia had created sufficient means to exercise control over the principalities, especially through the Russian consuls, as well as through information services. Prince Mihail Sturdza managed to skillfully use the protectorate of Russia to create political ascendancy in Moldova.
Close cooperation with the tsarist authorities, services rendered to Russia in the war of 1828-1829, personal contribution to the development of the Organic Regulations constituted sufficient evidences of Mihail Sturdza’s loyalty to Russia for the protectorate. He was supported from Petersburg by his cousins Alexandru Sturdza (1791-1854), one of the greatest theologians of the time, one of former advisers of Tsar Alexander I, and Ruxandra Sturdza. During his reign, he was trying to get out from under Russian tutelage, which he failed. Despite this, he enjoyed the consideration of Russian officials.
Eugen-Tudor Sclifos
Great Britain and the issue of Southern Bessarabia in 1856-1857
Tyragetia, serie nouă, vol. XII [XXVII], nr. 2, Istorie. Muzeologie
Eugen-Tudor Sclifos
Documents on Bessarabia in the Archives of Foreign Aff airs in Paris (1856-1857)
Tyragetia, serie nouă, vol. XI [XXVI], nr. 2, Istorie. Muzeologie
Eugen-Tudor Sclifos
Bessarabian question reflected in the reports of the French ambassador in Petersburg Charles Auguste de Morny (1856-1857)
Tyragetia, serie nouă, vol. X [XXV], nr. 2, Istorie. Muzeologie
Eugen-Tudor Sclifos
The Peace Congress of Paris in 1856. Franco-Russian relations and the Romanian Question
Tyragetia, serie nouă, vol. IX [XXIV], nr. 2, Istorie. Muzeologie Chișinău, 2015
Eugen-Tudor Sclifos
Romanian- Russian relations and the Bessarabian issue in the Romanian press (1877-1878)
Tyragetia, serie nouă, vol. XVIII [XXXIII], 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.