Pub Date : 2018-12-20DOI: 10.47802/amet.2018.32.16
Ioan Toșa, Gabriela Rădoiu Leș
The authors aim to present to the interested public some moments of the valorification activity of the folk heritage by organising some exhibitions abroad in the period 1924-1956. From Brussels to Prague, from London to Vienna, Frankfurt or Geneva, from Paris to Sweden, the collections and artefacts of the Romanian folk culture have crossed and impressed the world. In addition, the article contains brief presentations of the events to which the Transylvanian Museum of Ethnography contributed with artefacts of its collections, and also part of the papers, correspondence, briefly minutes, the way of work in the mentioned period. The organisation, the way of cooperation between institutions and the responsibility of the ones involved in the transport of the artefacts are presented in this article. Not least, the paper presents information about the collections and artefacts lost, disappeared or damaged during the period they were abroad. We think that the topic can be an example of good practice nowadays through the interest, concern and seriousness with which the ethnographic collections were treated by the specialists and also the paper is a proof of the fact that the collections and artefacts of the Transylvanian Museum of Ethnography have been recognised abroad.
{"title":"Colecțiile Muzeului Etnografic al Transilvaniei, mesagere ale artei populare românești peste hotare (1924-1954)","authors":"Ioan Toșa, Gabriela Rădoiu Leș","doi":"10.47802/amet.2018.32.16","DOIUrl":"https://doi.org/10.47802/amet.2018.32.16","url":null,"abstract":"The authors aim to present to the interested public some moments of the valorification activity of the folk heritage by organising some exhibitions abroad in the period 1924-1956. From Brussels to Prague, from London to Vienna, Frankfurt or Geneva, from Paris to Sweden, the collections and artefacts of the Romanian folk culture have crossed and impressed the world. In addition, the article contains brief presentations of the events to which the Transylvanian Museum of Ethnography contributed with artefacts of its collections, and also part of the papers, correspondence, briefly minutes, the way of work in the mentioned period. The organisation, the way of cooperation between institutions and the responsibility of the ones involved in the transport of the artefacts are presented in this article. Not least, the paper presents information about the collections and artefacts lost, disappeared or damaged during the period they were abroad. We think that the topic can be an example of good practice nowadays through the interest, concern and seriousness with which the ethnographic collections were treated by the specialists and also the paper is a proof of the fact that the collections and artefacts of the Transylvanian Museum of Ethnography have been recognised abroad.","PeriodicalId":373761,"journal":{"name":"Anuarul Muzeului Etnograif al Transilvaniei","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122234740","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-20DOI: 10.47802/amet.2018.32.15
S. Suciu, Art House Gallery Cluj-Napoca
The art market is a system by which the artwork reaches the public - collectors, museums, public institutions. Thus, the artwork becomes “merchandise” and its journey begins in the artist’s workshop and ends by being shown to the public. During centuries, the art market has registered many changes, according to different factors, such as: political regimes, economical and social crises, artistic tastes of the collectors. Until the 16th century, the public of the artwork was the church, the royal families or the aristocracy; in time, the work of art gained a wider audience. At the beginning, the transactions on the art market were made between the artist-producer and the commissioner-buyer. The market evolved and between the artist and the commissioner have interfered other persons or institutions such as the merchant, the dealer, auction houses, galleries. There are collectors in the history of art that started from the idea of making their own collections, building up powerful empires that promote and sell artists and their works. Depending on centuries or historical moments, the “rules of the game” have changed, and the evolution of the art market has led to the evolution of collective and individual perception of the artwork. As the rules and principles of the actual art market begun in Netherlands, in 16th-17th centuries, this article intends to study the historical context that has led to the evolution of the art market.
{"title":"Afacerea artei. Piața de artă în Țările de Jos în sec. al XVII-lea","authors":"S. Suciu, Art House Gallery Cluj-Napoca","doi":"10.47802/amet.2018.32.15","DOIUrl":"https://doi.org/10.47802/amet.2018.32.15","url":null,"abstract":"The art market is a system by which the artwork reaches the public - collectors, museums, public institutions. Thus, the artwork becomes “merchandise” and its journey begins in the artist’s workshop and ends by being shown to the public. During centuries, the art market has registered many changes, according to different factors, such as: political regimes, economical and social crises, artistic tastes of the collectors. Until the 16th century, the public of the artwork was the church, the royal families or the aristocracy; in time, the work of art gained a wider audience. At the beginning, the transactions on the art market were made between the artist-producer and the commissioner-buyer. The market evolved and between the artist and the commissioner have interfered other persons or institutions such as the merchant, the dealer, auction houses, galleries. There are collectors in the history of art that started from the idea of making their own collections, building up powerful empires that promote and sell artists and their works. Depending on centuries or historical moments, the “rules of the game” have changed, and the evolution of the art market has led to the evolution of collective and individual perception of the artwork. As the rules and principles of the actual art market begun in Netherlands, in 16th-17th centuries, this article intends to study the historical context that has led to the evolution of the art market.","PeriodicalId":373761,"journal":{"name":"Anuarul Muzeului Etnograif al Transilvaniei","volume":"113 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122438073","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-20DOI: 10.47802/amet.2018.32.05
Pamfil Bilțiu, Maramureș Baia Mare, Maria Bilțiu
Our work is based on the material provided by the answers to Ion Muşlea's questionnaires on the funeral in Maramureş, which raises a special interest to the researcher due to the rich ritual and ceremonial acts, beliefs and superstitions that give complexity, individuality and also the status of regional variant to the funeral in this area. After brief general considerations about the funeral, in which we emphasized its characteristic traits, especially the historical evolution of this custom, we proceeded to synthesize and systematize the information obtained in the localities Vadu Izei, Rona de Jos, Hărniceşti and Giuleşti, following the succession of the sequences in the funeral ceremony. The first part of our paper was reserved for the signs of death, then we talked about the period before the agony, and finally about the agony of the dying person. The largest part of our work concerns the burial itself, as it is the basic sequence of the funeral ceremony and it has a very rich repertoire, made up of all kinds of ritual-magical acts related to different sequences of the custom, some of them complex - such as the wake ceremony. We included information about the post-burial sequence, where the ritual funeral repasts are predominant. Our work ends with the beliefs and superstitions that once circulated intensely during the funeral, the emphasis being on the superstitions - reproduced separately by the investigator - about male or female ghosts; then the beliefs related to the soul, to the afterlife, to apparitions and to death. In the context of using the material investigated by Ion Muşlea's correspondents, we have made some interpretations focusing on decoding the symbols of some magical instruments or vegetal elements used in the magical practices and ritual acts of the funeral in Maramures. Our guidelines throughout the work was our concern to show the entire complexity, richness and variety of the funeral habits in this area.
我们的工作是基于Ion mulea对马拉穆雷伊葬礼问卷的回答所提供的材料，这引起了研究者的特别兴趣，因为丰富的仪式和仪式行为、信仰和迷信赋予了该地区葬礼的复杂性、个性和区域变体的地位。在对葬礼进行了简要的总体考虑之后，我们强调了它的特点，特别是这种习俗的历史演变，我们开始综合和系统化在Vadu Izei, Rona de Jos, hurrnice和giule等地获得的信息，按照葬礼仪式的顺序进行继承。我们论文的第一部分专门讨论了死亡的迹象，然后我们讨论了痛苦之前的一段时间，最后讨论了垂死之人的痛苦。我们的大部分工作都是关于葬礼本身，因为它是葬礼仪式的基本顺序，它有一个非常丰富的剧目，由各种与不同顺序的习俗相关的仪式魔法行为组成，其中一些很复杂，比如守丧仪式。我们纳入了关于埋葬后顺序的信息，其中仪式葬礼的晚餐占主导地位。我们的工作以曾经在葬礼上广为流传的信仰和迷信结束，重点是关于男鬼或女鬼的迷信——由调查者单独复制;然后是与灵魂，来世，鬼魂和死亡有关的信仰。在使用Ion mu记者调查的材料的背景下，我们做了一些解释，重点是解码一些魔法乐器或植物元素的符号，这些符号用于马拉穆列斯的魔法实践和葬礼的仪式行为。我们在整个工作中的指导方针是我们关注展示该地区葬礼习惯的复杂性，丰富性和多样性。
{"title":"Înmormântarea în Maramureș după răspunsurile la chestionarele lui Ion Mușlea","authors":"Pamfil Bilțiu, Maramureș Baia Mare, Maria Bilțiu","doi":"10.47802/amet.2018.32.05","DOIUrl":"https://doi.org/10.47802/amet.2018.32.05","url":null,"abstract":"Our work is based on the material provided by the answers to Ion Muşlea's questionnaires on the funeral in Maramureş, which raises a special interest to the researcher due to the rich ritual and ceremonial acts, beliefs and superstitions that give complexity, individuality and also the status of regional variant to the funeral in this area. After brief general considerations about the funeral, in which we emphasized its characteristic traits, especially the historical evolution of this custom, we proceeded to synthesize and systematize the information obtained in the localities Vadu Izei, Rona de Jos, Hărniceşti and Giuleşti, following the succession of the sequences in the funeral ceremony. The first part of our paper was reserved for the signs of death, then we talked about the period before the agony, and finally about the agony of the dying person. The largest part of our work concerns the burial itself, as it is the basic sequence of the funeral ceremony and it has a very rich repertoire, made up of all kinds of ritual-magical acts related to different sequences of the custom, some of them complex - such as the wake ceremony. We included information about the post-burial sequence, where the ritual funeral repasts are predominant. Our work ends with the beliefs and superstitions that once circulated intensely during the funeral, the emphasis being on the superstitions - reproduced separately by the investigator - about male or female ghosts; then the beliefs related to the soul, to the afterlife, to apparitions and to death. In the context of using the material investigated by Ion Muşlea's correspondents, we have made some interpretations focusing on decoding the symbols of some magical instruments or vegetal elements used in the magical practices and ritual acts of the funeral in Maramures. Our guidelines throughout the work was our concern to show the entire complexity, richness and variety of the funeral habits in this area.","PeriodicalId":373761,"journal":{"name":"Anuarul Muzeului Etnograif al Transilvaniei","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128155464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.47802/amet.2018.32.03
Teofil Ivanciuc
The semantron (“toaca” in Romanian language), the oldest musical instrument being in use since Neolithic and documented 4000 years ago, has entered in the Christian Church during the first centuries A.D., surviving in the Orthodox Church until today. In the Romanian History, the semantron is clearly attested since 17 century. About the semantron are preserved many myths, the most important being the stories related to Noah, the Patriarch, who has used it during the building of the Ark, as a powerful remedy for chasing away the Devil who has repeatedly destroyed the vessel. This particular tale is depicted also on a unique 1806’s fresco preserved on Bârsana-Jbâr (Maramureş, Romania) wooden church’s walls. There are three types of classic semantrons: fixed, movable and metallic ones, but the paper presents also the sophisticated semantrons from Rouen Cathedral (France), built in the year 1571 and restored recently, respectively the complex instruments from Matyijovo respectively Pidvinohragyiv villages of Transcarpathia (Ukraine), photographed in the 1920’s. Both last examples have the same operating principle: a horizontal axe equipped with paddles, is twisted with the crank, seting in motion several upstanding mallets, which are strucking the wooden plank. The most special semantron is actually the one from Strâmtura (Maramureş, Romania), identified recently by the author in the village wooden church’s attic: on the horizontal axe is rooted a round disk provided with six mobile round mallets which, when the crank is twisted, are strucking the wooden board positioned bellow the assembly. This absolutely singular semantron, remembering the solar disk, whose age and source of inspiration remain unknown (perhaps it was influenced by the simple or even by the astronomical church clocks), it deserves to be restored and preserved in the original place where it was found: the 17 century wooden church from Strâmtura, a valuable National Historic Monument.
{"title":"O toacă unicat din Maramureș - România. Note despre istoria acestui instrument la români","authors":"Teofil Ivanciuc","doi":"10.47802/amet.2018.32.03","DOIUrl":"https://doi.org/10.47802/amet.2018.32.03","url":null,"abstract":"The semantron (“toaca” in Romanian language), the oldest musical instrument being in use since Neolithic and documented 4000 years ago, has entered in the Christian Church during the first centuries A.D., surviving in the Orthodox Church until today. In the Romanian History, the semantron is clearly attested since 17 century. About the semantron are preserved many myths, the most important being the stories related to Noah, the Patriarch, who has used it during the building of the Ark, as a powerful remedy for chasing away the Devil who has repeatedly destroyed the vessel. This particular tale is depicted also on a unique 1806’s fresco preserved on Bârsana-Jbâr (Maramureş, Romania) wooden church’s walls. There are three types of classic semantrons: fixed, movable and metallic ones, but the paper presents also the sophisticated semantrons from Rouen Cathedral (France), built in the year 1571 and restored recently, respectively the complex instruments from Matyijovo respectively Pidvinohragyiv villages of Transcarpathia (Ukraine), photographed in the 1920’s. Both last examples have the same operating principle: a horizontal axe equipped with paddles, is twisted with the crank, seting in motion several upstanding mallets, which are strucking the wooden plank. The most special semantron is actually the one from Strâmtura (Maramureş, Romania), identified recently by the author in the village wooden church’s attic: on the horizontal axe is rooted a round disk provided with six mobile round mallets which, when the crank is twisted, are strucking the wooden board positioned bellow the assembly. This absolutely singular semantron, remembering the solar disk, whose age and source of inspiration remain unknown (perhaps it was influenced by the simple or even by the astronomical church clocks), it deserves to be restored and preserved in the original place where it was found: the 17 century wooden church from Strâmtura, a valuable National Historic Monument.","PeriodicalId":373761,"journal":{"name":"Anuarul Muzeului Etnograif al Transilvaniei","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125433504","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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