The Transylvanian
Museum
of Ethnography

URBAN WORKSHOP

15.05.2022
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Cluj-Napoca has green visions for the future. The politicians have decided that Cluj-Napoca aims to be Romania’s greenest city within 2030 as part of the Green City Accord. More than 50 cities have signed the Green City Accord. This agreement sees local authorities committing to achieve ambitious environmental goals by 2030 on air, water, nature and biodiversity, circular economy and waste, and noise. From Romania 4 cities – Alba-Iulia, Bistrita, Cluj-Napoca and Tulcea, will benefit from financial assistance to become greener, cleaner, and healthier. URBAN defines mobility in new terms which follows up on the requirements set in The Green City Accord, and more. In normal context mobility is a vital part of city planning and currently an important accelerator for green transition. The intention with the URBAN Workshop 19th May 2022 is to provide partners in Cluj-Napoca an overview and
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Keepers of Tradition

100 years – 100 artifacts

22.04.2022
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  Registered with no. 379 in the collections of the Transylvanian Museum of Ethnography, the bead cincture from Uricani presented as the artefact of the week is an ornament worn by women from the Jiu Valley area, specific to the period between the 19th – 20th centuries. The local name is “lătițar” and it is made of glass beads usually bought from country fairs that coincided with villatic parties
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100 years – 100 artifacts

22.04.2022
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The negative on glass was made by Romulus Vuia, in 1923, in Uricani village, Hunedoara county and it presents the image of a woman dressed up in a folk costume specific to Jiu Valley, photographed in front of a wooden construction. The woman has her hair combed with a path on the middle, braided in two thick tails, wrapped under her ears, enriched with two artificial woolen tails (“pletari”), on
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100 years – 100 artifacts

15.04.2022
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The negative was made by Romulus Vuia in 1923, at the entrance in a village in Hunedoara county. In many villages, there were village fences and entrance gates, made of woven twigs or wooden strips / boards, being a way to defend the cultivated border, both against damages caused by wild animals and damages caused, intentionally or by chance, by domestic animals (cattle, sheep, pigs, horses, etc
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100 years – 100 artefacts

08.04.2022
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The negative on glass was made by Romulus Vuia in 1923, in a potter’s workshop from the ceramic centre Baru Mare or Baru Mic, Hunedoara county. Baru Mare early became the main center of household pottery for the villages in the Jiu Valley, as well as for those in Hațeg country, hence the name “Bar pots”. At the end of the 19th century, between 25-30 potters were active in Baru Mare and Baru Mic
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100 years – 100 artefacts

08.04.2022
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The plate with inventory no. 306 was inscribed in the patrimony of the Transylvanian Museum of Ethnography in 1923. The artefacts originates from Cerbăl village, Hunedoara county and it probably entered the museum patrimony following a research campaign initiated by professor Romulus Vuia, the museum founder. The ceramic plates were too often used in the peasant households from the first half of
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100 years – 100 artefacts

01.04.2022
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In the traditional village, agriculture played a central role in the life of the community, being one of the main occupations which developed in connection with the features and geographical position of the agricultural lands.   The negative on glass made by Romulus Vuia, in the period 1910-1923, in Hunedoara county, captures ploughlands in terraces, which represent a spectacular element of
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100 years – 100 artefacts

01.04.2022
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An emblematic and indispensable tool in the practice of traditional agriculture, the plough appears in the Mediterranean world, dating back from the Roman ploughing and later spreading to the rest of Europe. In the Romanian countries, it began to be used in the first centuries of early feudalism (10th - 11th centuries).   Given the importance of agriculture in most Transylvanian rural areas and
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100 years – 100 artefacts

25.03.2022
Keepers of Tradition
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The negative on glass was made by Romulus Vuia, 1910-1923, at the Văcăria sheepfold and shows a woman, standing on a wooden chair, pressing ewe-cheese, to squeeze out the buttermilk. The milk press is a tall installation, consisting of two round wooden pillars, fixed in the ground, each with an elongated vertical notch at the upper part. The pillars are joined by two horizontal wooden ledgers,
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100 years – 100 artefacts - negative 134

18.03.2022
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The negative on glass was made by Romulus Vuia, in the period 1910-1923, in the Părăginosu area, from the Parâng massif and presents, in the foreground, a mountain sheepfold, made up of a wooden construction - probably the sheepfold itself, where the shepherds lived, with a four-pitched roof, covered in shingles; the sheepfold, consisting of thin tree trunks and wooden sheepfold’s fenced place,
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A YEAR IN THE OLD VILLAGE

18.03.2022
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Book release A YEAR IN THE OLD VILLAGE - COLLECTION OF MEMORIES AND FOLKLORE FROM MORLACA   The Transylvania Museum of Ethnography, a public cultural institution that operates under the authority of the Cluj County Council, together with the Living Art Association, invites you to launch a book: A year in the old village - a collection of memories and folklore from Morlaca. The book includes
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100 years – 100 artefacts

25.02.2022
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The negative on glass was made by Romulus Vuia in 1913, in Clopotiva, Râu de Mori, Hunedoara county, Hațeg Country.  In the foreground, there is a woman dressed up in a folk costume specific to the area, carrying a child on her back, on a village street, in front of a wicker fence covered in straw, and in the background, two buildings can be distinguished. The woman’s folk costume is one of the
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100 years - 100 de artefacts

15.02.2022
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Șuba (long and wide coat, lined with fur and worn by men) is a clothing item whose practical and symbolic functions are equally important. For the cold period, it provides thermal comfort and protection against rain, snow or wind. On the other hand, “șuba” is a piece of clothing that communicates information about the social status of its wearer, while also providing an imposing look.   In Hațeg
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