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The word pafta is of Turkish origin and is used in almost identical forms in Romanian, Greek, Bulgarian, and Serbian languages and some Aromanian dialects, denoting clothing accessories of a functional and decorative use, which secure or catch one's girdle, sash or belt.
Such buckles are accessories of ceremonial and everyday costumes, they were worn by both prince's courtiers and commoners in the Romanian principalities during the reign of the Phanariots, when the influence of Greek culture increased.

Throughout the Balkan Peninsula, silversmiths' workshops produced buckles very different in size, alloys, technique, style, and decoration. Turkish buckles were usually lace-like, often gilded, with many stones, emphasizing opulence. At the Bulgarians and Aromanians, they are simpler, but have a specific model and symbolism. Greek buckles are mostly silver, elegantly shaped, decorated with corals and small coins. The difference between the West and the East in this regard lies in the ability of the Turks to combine other materials with precious stones. Another feature is the predominance of floral motifs over the representations of animals and birds. The peoples under Ottoman rule assimilated these features and integrated them into their own cultures.

The buckles exhibited testify to the presence of a jewelry workshop in the town of Orhei in Bessarabia in the second half of the 19th century, and the quality of workmanship, the fine processing of the details, the complex composition denote the mastery and skill of the craftsmen.

Similar in style, these three buckles are two-piece, germinating seed-shaped, with strongly pronounced tips. The border is decorated with a garland motif, which circumscribes floral decorative elements. Hook and loop fastening is covered with a decorative button. On the reverse side, both sides are equipped with two plus two vertical straps with which the belt was attached.

The buckles are made of silver, as evidenced by the metal fineness hallmark stamp "84", applied according to the regulations on both parts of the buckle, and the hallmark stamp of the jewelry workshop in Orhei - the symbol of oak in a stylized shield. The quality of the metal and workmanship is also certified by the stamp of the assayer, moreover, one of the buckles was expertized by Dmitry Tiunov and has a "ДТ" (DT) stamp on it. On both parts of the buckle, the year of manufacture 1858 and the stamp of the assayer "ПН" (PN) are stamped. The stamp on the second buckle, the initials "МИ" (MI), indicates only the craftsman who made the product. The third buckle, made in the Orhei workshop, does not have the hallmark stamps required by law on the back side, but retains the same hallmarks stamped on the side of the products: the symbol of oak, the metal fineness hallmark stamp "84", the year of manufacture - 1871, and the initials of the assayer "КС" (KS), identified as Klim Sergeev, who worked from 1868 to 1871.

Between the 1840s and 1870s, wearing buckles became obsolete, and women's fashion completely adopted Western cuts and colors. These accessories came back into fashion around 1870 thanks to Princess Elisabeth, the future Queen of Romania. She introduced at court the fashion for the Romanian national costume, decorated with buckles. Her example was followed by the female elite of that time until the eve of the First World War. And her successor, Queen Maria, with her usual elegance and refinement, continued this fashionable tradition with in the interwar period.

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Publications Journal „Tyragetia"   vol. X [XXV], nr. 2


Soviet propaganda posters of the Second World War in collections of the National Museum of History of Moldova
ISSN 1857-0240
E-ISSN 2537-6330

Soviet propaganda posters of the Second World War in collections of the National Museum of History of Moldova

Tyragetia, serie nouă, vol. X [XXV], nr. 2, Istorie. Muzeologie

Keywords: collection, heritage, poster, propaganda, war.

Abstract:
This article is the result of studying the collection of Soviet propaganda posters of the Second World War from NMHM. During the research it was found that they are very different in content, format and design. Typologically they can be divided into two categories: posters made by using a stencil technique and printed posters. The number of stencil posters in the museum's collection is small - 50 objects; their theme is dedicated to the events of 1945 - the last year of the war. Most of the collection consists of printed posters. There are originals and copies multiplied during the war and after its end by tens of thousands of exemplars. It was found that the informative message of the posters varied depending on the situation at the front and in the rear. In wartime, the sole purpose of the posters was a justification for the war and denigrating the enemy. Their role has resulted in the mobilization of society against the enemy. At the same time the posters were a form of manipulation of citizens by the Soviet authorities; they concealed crimes and ugly phenomena that accompanied the Soviet policy throughout its existence.

List of illustrations:
1. Poster "From the speech of Comrade I.V. Stalin", 1941.
2. Poster "Mercilessly crush and destroy the enemy" by the Kukryniksy (Mikhail Kupriyanov, Porfiry Krylov and Nikolai Sokolov), 1941.
3. Poster "The Motherland Calls!" by I. Toidze, 1941.
4. Poster "Death to fascism!" by V. Vlasov, N. Pevzin, and T. Shishmareva, 1941.
5. Poster "Across the country, from end to end, girls-comrades-in-arms at their posts stand" by A. Deineka, 1942.
6. Poster "Comrades! Donate warm clothes for the Red Army!" by N. Baskakov, 1942.
7. Poster "Let's produce and give warm clothes to the front! Let's help the Red Army to destroy the German invaders!" by V.Biryukov, 1942.
8. Poster "Let's help the front by the participation in the second money and clothing lottery!", 1942.
9. Poster "The history of many German divisions" by Pankratov, 1944.
10. Poster "Revenge for them!" by N. Batolina, 1944.
11. Poster "Demolish the hydra" by P. Sargsyan, 1945.
12. Poster "So it will be with the fascist beast" by A. Kokorekin, 1945.
13. Poster "Inglorious end to the fascist aggressors" by V. Deni (Denisov), 1945.
14. Poster "Victory Day!" by B. Muhin, 1945.

Vera Stăvilă
Movie posters from the collection of the National Museum of History of Moldova
Tyragetia, serie nouă, vol. VII [XXII], nr. 2, Istorie. Muzeologie
Vera Stăvilă
Post-war social poster as a means of public information (from the collections of the National Museum of History of Moldova)
Tyragetia, serie nouă, vol. XIV [XXIX], nr. 2, Istorie. Muzeologie
Vera Stăvilă
Playbills from the collection of the National Museum of Archaeology and History of Moldova
Tyragetia, serie nouă, vol. VI [XXI], nr. 2, Istorie. Muzeologie
Vera Stăvilă
A forgotten painter – Nicolae A. Coleadici (1906-1937)
Tyragetia, serie nouă, vol. III [XVIII], nr. 2, Istorie. Muzeologie
Vera Stăvilă
The history of the Bessarabian Belle Arte School and Society
Tyragetia, serie nouă, vol. II [XVII], nr. 2, Istorie. Muzeologie



 

 

Independent Moldova
Moldavian Soviet Socialist Republic
Bessarabia and MASSR between the Two World Wars
Bessarabia and Moldavian Autonomous Soviet Socialist Republic in the Period between the Two World Wars
Revival of National Movement
Time of Reforms and their Consequences
Abolition of Autonomy. Bessarabia – a New Tsarist Colony
Period of Relative Autonomy of Bessarabia within the Russian Empire
Phanariot Regime
Golden Age of the Romanian Culture
Struggle for Maintaining of Independence of Moldova
Formation of Independent Medieval State of Moldova
Era of the
Great Nomad Migrations
Early Middle Ages
Iron Age and Antiquity
Bronze Age
Aeneolithic Age
Neolithic Age
Palaeolithic Age

  
  
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#Exhibit of the Month

The word pafta is of Turkish origin and is used in almost identical forms in Romanian, Greek, Bulgarian, and Serbian languages and some Aromanian dialects, denoting clothing accessories of a functional and decorative use, which secure or catch one's girdle, sash or belt...

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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.
©2006-2022 National Museum of History of Moldova
Visit museum 31 August 1989 St., 121 A, MD 2012, Chisinau, Republic of Moldova
Phones:
Secretariat: +373 (22) 24-43-25
Department of Public Relations and Museum Education: +373 (22) 24-04-26
Fax: +373 (22) 24-43-69
E-mail: office@nationalmuseum.md
Technical Support: info@nationalmuseum.md
Web site administration and maintenance: Andrei EMILCIUC

 



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.
©2006-2022 National Museum of History of Moldova
Visit museum 31 August 1989 St., 121 A, MD 2012, Chisinau, Republic of Moldova
Phones:
Secretariat: +373 (22) 24-43-25
Department of Public Relations and Museum Education: +373 (22) 24-04-26
Fax: +373 (22) 24-43-69
E-mail: office@nationalmuseum.md
Technical Support: info@nationalmuseum.md
Web site administration and maintenance: Andrei EMILCIUC

menu
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.
©2006-2022 National Museum of History of Moldova
Visit museum 31 August 1989 St., 121 A, MD 2012, Chisinau, Republic of Moldova
Phones:
Secretariat: +373 (22) 24-43-25
Department of Public Relations and Museum Education: +373 (22) 24-04-26
Fax: +373 (22) 24-43-69
E-mail: office@nationalmuseum.md
Technical Support: info@nationalmuseum.md
Web site administration and maintenance: Andrei EMILCIUC