Laura TROȘAN
Muzeul Etnografic al Transilvaniei
The workpiece approached in this paper is part of the category of port textiles (head adornment), with the purpose of emphasizing the social and economic status, but it also has a decorative role. The bonnet comes from the Odorheiul Secuiesc area and can be dated between 1880-1910. When the bonnet first entered the restoration laboratory it was
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Mioara-Mihaela SÎNTIUAN
Muzeul Etnografic al Transilvaniei
The paper describes the state of conservation of an oil painted icon on wooden support, with the theme “Mother of God of Sorrows”, from the collection of the Transylvanian Museum of Ethnography, presenting the degradations forms, and also describes the restoration stages,Troșan characterized by specific techniques and
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Ioan TOȘA
Cluj-Napoca
The author presents several archive documents regarding the relations between the Transylvanian Museum of Ethnography and the Kings of Romania, providing useful information for knowing the Museum’s history. The first document presented is Decision 7487 of December 21, 1922, signed by Prince Carol; this Decision, by appointing Professor Romulus Vuia as the institution’s
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Silvia SUCIU
Cluj-Napoca
Conçu comme une continuation de l’essaye „L’affaire de l’Art. Le Marché d’Art aux Pays Bas, au XVIIe siècle” (AMET 2018), cette étude suit la création artistique et le destinataire de l’œuvre d’art en France, aux XVIIe et XVIIIe siècles.
À la Cour du Roy Soleil, la possession d’un capital culturel (objets de luxe, tableaux, bijoux, calèches) était un moyen de
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Tudor SĂLĂGEAN
Muzeul Etnografic al Transilvaniei
The first year of the history of the Cluj Ethnographic Park was a difficult and complex one. It was marked by a promising start, followed by a period of dissapointment caused by the exclusion of Cluj from the list of the Union Celebration venues, which could have been an excellent way to promote the new museum and its goals. The documents kept
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Ion CHERCIU
Institutul de Etnografie și Folclor „Constantin Brăiloiu” al Academiei Române
In this work, the author analyses, from the perspective of the history of the Romanian folk costume and of the Court costume, a photograph from the Collection of the anthropologist Francisc Rainer, entered in the Iconographic Collection of the Romanian Ethnographic Atlas.
The clothing of the group of
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Laura Cristina POP
Muzeul Etnografic al Transilvaniei
The comic is interpreted considering the historical trajectory of its manifestations. Starting with the chroniclers, Hașdeu, Șăineanu, Ispirescu, Pamfile, tried to define the humour, to give name to different comic categories. Ovidiu Bîrlea was the one who classified the comic species of our literary folklore.
We have showed the
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Andrei Flavius PETRUȚ
Brad, jud. Hunedoara
The paper discusses the folk theatre rituals organized around Christmas in the village Luncoiu de Sus, Hunedoara County, Romania. The name of this type of theatre is ”Irod” or ”Irozi” which is derived from the name of the tyrant emperor Herod. Every year, nine teenagers aged between 15 and 24 wear specific costumes and play a series of religious
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Silvestru PETAC
Muzeul Etnografic al Transilvaniei
Being in an anniversary year (90 years since the National Ethnographic Park was founded that bears the name of its founder: Romulus Vuia) and we consider that a good way to render homage to the Romanian ethnographer's personality is to make some observations on a short study from his youth, published by Romulus Vuia in Dacoromania
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Mirela MIRON
Liceul Teoretic „Avram Iancu”, Cluj-Napoca
The field research in this rural community, Mărișel village, Cluj county, took place between 2013-2015, using visual means and structured transgenerational interviews, thus observing the process of oral transmission of narratives. I did not propose the identification of some other meanings to the researched facts, other than those
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