Baru Mare in Hunedoara county was the main centre for the production of household pots for Hațeg Country and Jiu Valley. The pots produced here and in the surrounding villages (Baru Mic, Livadia de Câmp, Livadia de Coastă) were known as “Bar pots”, due to the fact that the clay used came from Baru Mare, being of very good quality. The main feature of Bar pottery is represented by the thin walls
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Ceramic pots, especially those with a decorative purpose, originating from prosperous centers, enjoyed a wide circulation on the Transylvanian territory, being distributed mainly through regional fairs. Thus, the piece we are presenting, although collected from Hațeg country, was made in the Turda pottery center.
The provenance of the vase is revealed by the configuration of the decoration
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The elegance, refinement and beauty of women’s clothing from Woodsmen Land are also highlighted by the adornment worn by girls and women, around neck and waist. Full of artistic individuality, the adornment represents a harmonious union between material, technique and functionality, creating an unlimited world of patterns and colors. Adornment worn during holidays marked the social status,
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The object that we propose for you this week is a belt/belt ornament that, in the ethnographic area of origin, has the folk name of “lătițar” and it was part of women’s clothing from Woodsmen Land (Lelese, Hunedoara). The beads which form “latițar” are made of glass and they were purchased at country fairs, usually at those that coincided with folk parties (“nedei”), from Slovak itinerant
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The richness of the peasant traditional costume from Hațeg Country surprised our great ethnographer, Romulus Vuia, when at the beginning of the 20th century, he systematically researched the area, and the variety of clothing elements makes the region not uniform, as it is, for example, in the case of the neighboring Pădureni Land. Sometimes, differences can be noticed even in the same village, in
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Men’s traditional garments from Hațeg Country, simple and practical, differ from women’s traditional garments by the sobriety of the decoration, its harmony being owed to the used materials. The cloth woven in-house from which the shirts were made, the chenilles applied to the corsage form a unitary, balanced and elegant ensemble. The negative on glass made by Romulus Vuia, in 1922, in Clopotiva
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The “horned” combing of the women from Hațeg Country was an element of social differentiation in women’s traditional costume, giving it a special note. The young married woman in the image made by Romulus Vuia, in 1912, in Răchitova village, Hunedoara county, seen from the profile, has her hair combed with a middle path. On each side of the head, the hair is twisted into 6 thin strands (“twists
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“Ceapsa” (a small bonnet or cap made of white cloth) is a component part of the headdress, worn by married women in some areas of Transylvania and Banat. The bonet (“ceapța”) in the picture is specific to the “horned combing” or “horned headdress” from Hațeg Country where the headdress gave a distinctive note to the female attire.
The bonnet, worn at the back of the head, had the purpose to cover
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Large wine mug (“canceu”)
The artefact presented to you this week is a large wine mug worked in a guild workshop in the Turda ceramic center.
The piece has a narrow, low base, a pyriform body with a splay neck, a round and flare lip. The handle is simple, curved, with insertion points at the neck and central part of the body. The interior is engobed and glazed. The decoration is organized on a
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The negative made by Romulus Vuia captures the image of Vadu Dobrii village, Bunila, Hunedoara county, Pădureni Land. The cliché was made in 1921.
Founded by mountaineers brought to Pădureni Land for “bocșărit” (burning charcoal), the village is located at an altitude of 1000 - 1100 m, in Poiana Ruscă Mountains. It is a village scattered on the smooth tops of the mountains, specific to the
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