This clay vessel was discovered in 1982 by archaeologist V. Sorochin during excavations of a burial mound (no. 1) located in the village of Speia, Dubăsari District. It originates from grave no. 5 and is dated to the 4th millennium BC, belonging to the Usatovo culture. The vessel was found in a child's grave. The burial pit had an oval shape, and the deceased was laid in a crouched position (similar to the fetal posture), on the left side. A total of five vessels were uncovered in this grave: three near the back, one at the feet, and one in the pelvic area. The cultural attribution of this funerary complex was determined based on the burial rite and grave goods. This culture is characterized by the specific construction of the burial pit, as well as the positioning and orientation of the deceased toward the east and northeast. The vessel is shaped from clay mixed with finely crushed shell. Its walls curve gradually toward the top, with the widest diameter at the shoulder area. It has a short neck, a slightly flared rim, and a flat base. The surface is carefully polished, in some areas to a lustrous finish. The interior is reddish-brown, while the exterior is yellowish-brown with gray spots. The rim features groups of perforations, three of which are preserved in their original state. The diameter of the holes is 0.35 cm. The space between the groups of perforations is decorated with cord impressions. The transition from the neck to the shoulder is adorned with three horizontal lines made with cord, from which, in five places, three vertical lines descend, each 5 cm long, executed using the same technique. At the time of discovery, these lines were filled with a white paste. The space between the groups of lines is decorated at the top with short vertical lines (0.5 cm long), and in the center with a meander ornament made of two parallel lines impressed with cord. The base of the vessel retains the imprint of a textile. Vessel dimensions: Height: 22 cm; Rim diameter: 15.7 cm; Maximum diameter: 22 cm; Base diameter: 10 cm.
The museum institution in the process of globalization
Tyragetia, serie nouă, vol. III [XVIII], nr. 2, Istorie. Muzeologie
The beginning of the millennium marked the dissolution of communication borders generated by the transition from a tightly governed political system to the democratization process, from planned economy to the market one, from the rapid development of technologies to the globalization phenomenon. The postindustrial economy had stimulated the mobilization of the intellectual capital and its use in production and service spheres.
It is in the period of impetuous transformations that appears the nostalgia of stability, originality and individuality. The identity of the person, of the community of origin, ethnicity and nationality had always been one of the essential points of each cultural dialog at local, national or universal scale.
In the context of changing social-political and cultural processes, the issue of keeping and affirming identity becomes an essential one; a fortiori it represents the only efficient way of combating the negative and obscured effects of globalization.
The globalization process had imposed the contemporary society with a cultural globalization by redefining the purpose of the museum institution which’s activity is determined by new factors: - the market holds the arbiter role, appreciating and determining the essence of values - the entertainment industry holds a considerable niche in the cultural sphere - reduction of the state role and the emergence of untraditional political formations - disappearance of intellectual borders - appearance and development of multicultural communities - as a result of developing new technologies appear new visions about notions of place, time, space etc.
Another aspect of the cultural globalization is the decentralization of big museums and the rapid museification of society. We are today the witnesses of a big museum revolution; we will be able to appreciate in time whether it is a positive or a negative factor. One of the immediate changes is building new systems of museums, or of a new system of museums. In other words, building a territorial network not only diversified spatially and territorially, but also on profiles, levels and functions in which the different unities complete and correlate among themselves, keeping the same educational and heritage preservation objectives.
Lucia Marinescu-Tonu
Creations of the House of Fabergé – between utility and refinement
Tyragetia, serie nouă, vol. XVIII [XXXIII], nr. 2, Istorie. Muzeologie
Lucia Marinescu-Tonu
Museum of Astronomy and Related Sciences in Rio de Janeiro - between science and public
Tyragetia, serie nouă, vol. VIII [XXIII], nr. 2, Istorie. Muzeologie
Lucia Marinescu-Tonu
Pedagogy of Cultural Heritage: between illusion and reality
Tyragetia, serie nouă, vol. V [XX], nr. 2, Istorie. Muzeologie
Lucia Marinescu-Tonu
Returning to the buckles...
Tyragetia, serie nouă, vol. XVII [XXXII], nr. 2, Istorie. Muzeologie
Lucia Marinescu-Tonu
The exhibition “In the World of Toys”
Tyragetia, serie nouă, vol. VII [XXII], nr. 2, Istorie. Muzeologie
This clay vessel was discovered in 1982 by archaeologist V. Sorochin during excavations of a burial mound (no. 1) located in the village of Speia, Dubăsari District. It originates from grave no. 5 and is dated to the 4th millennium BC, belonging to the Usatovo culture...
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
