O FLOARE PENTRU VASILE PĂRVAN
...A fi arheolog e musai să mergi şi in Arcadia să pui o floare la picioarele magiştrilor care au jalonat, au deschis căi în această splendidă profesiune - arheolugia ...
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...A fi arheolog e musai să mergi şi in Arcadia să pui o floare la picioarele magiştrilor care au jalonat, au deschis căi în această splendidă profesiune - arheolugia ...
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Dans cete article l’auteur présente quelque ordres, médailles et des décorations relativement â la première guerre mondiale 1916—1918.
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O muncă neobosită de aproape o viaţă a întreprins profesorul Paul Ţarălungă din Prăjeşti, comuna Traian, judeţul Bacău în vederea colecţionării unor valoroase obiecte muzeaîe de arheologie, istorie, etnografie., ştiinţele naturii, cît şi realizării Grădinii Botanice ce cuprinde peste 300 de specii de plante, inclusiv exotice, cît şi a Parcului dendrologie cu arbori din aproape întreaga lume.
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Ultimii trei ani au însemnat pentru instituţia muzeală băcăuană o perioadă de reevaluare şi relansare a activităţii specifice în toate planurile, aceasta fiind marcată şi de aniversarea în anul 1992, a 35 de ani de existenţă a muzeului local.
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Ioan Andrieşescu (1888 - 1944), ancien professeur a la chaire d'archéologie et de préhistoire a la Faculté des Lettres et de Philosophie de l'Université de Bucarest et ancien membre correspondant de l'Académie Roumaine, avec des études a laşi et a Berlin, a été le plus proche collaborateur de Vasile Pârvan.
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La 31 octombrie 1920, Parlamentul ţării a adoptat după modelul altor ţări cu tradiţie în domeniu, Legea cu privire la înfiinţarea şcolilor româneşti de studii superioare la Paris şi Roma, iar în anul următor s-a şi trecut' la organizarea concretă a acestor instituţii sub conducerea unor ilustre personalităţi ale vremii şi anume: Nicolae lorga şi Vasile Pârvan.
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The article is devoted to the history of preservation of the archaeological monuments of the city of Mérida that keep the memory of the former greatness of the capital of the Roman province of Lusitania. The Archaeological Museum of Merida was founded under the Royal Decree of 1836. Subsequently, it transformed from a small collection of local artworks into the National Museum of Roman Art, i.e., it was recognized and declared as being of national importance. On July 10, 1975, the Royal Decree was adopted to open the National Museum of Roman Art in Mérida. The latter became the first museum to receive the national status outside the Spanish capital of Madrid. Its collections and activities revolve around the Roman period, to which a permanent exhibition in a new specially designed building is dedicated. The Visigothic collection is housed in a separate building of the Santa Clara Church, for which a new exhibition space is currently being planned. The history of the museum’s collections is inseparable from the work of people who made a great contribution both to the replenishment of the funds and to the evolution of the exposition discourse. The museum has embarked on a rich research program to study and popularize Roman history and culture. By continuing as the National Center for the Study of the Roman World, it remains true to the original research task. Therefore, the National Museum of Roman Art in Mérida can be defined as the largest cultural center of all aspects of the daily life of Augusta Emerita, one of the main cities on the western border of the Roman Empire.
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The concept of trial by water or water ordeal is best known to the wider public through European witch trials from the Late Middle Ages and the Early Modern Period, but the practice is first attested in near eastern texts from the Middle Bronze Age (2200–1550 BCE). The depiction of the medieval trials is largely folkloric, such trials were nonetheless known throughout the ancient world. The best evidence for ordeal by river is found in the letters from the clay tablet archives of Mari on the Upper Euphrates. A central site for divine arbitration among the Amorite kingdoms, the practice seems to have dwindled after the destruction of Mari and its cultic sites in 1759 BCE. Reviewing the ancient evidence for trial by water, this article demonstrates how the trials were used for a particular purpose: to verify the truth statements of compromised witnesses in legal cases that for lack of credible witnesses could only be solved by divine arbitration. The ancient background of the concept will help us better understand why the practice was later connected with witches in the European context.
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Anthropomorphic and zoomorphic plastics are often associated with complex manifestations of the spiritual life of Cucuteni communities. Therefore, knowledge and interpretation of anthropomorphic representations are necessary to have a better picture of the role played in the daily and spiritual life of prehistoric communities. The Cucuteni A-B settlement from Dâmbul Morii provides an important number of such pieces that will complete the data known so far. In this study, attention will be paid to plastic representations with painted, incised, and plastic decorations. Therefore, a batch of 27 anthropomorphic figurines was analyzed, some in a fragmentary state. Based on the decor analysis, a clear separation of figurines by gender was possible
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The exclusionary identities plaguing our contemporary times have strong linkages with the heritage and culture of communities. Heritage is a construct that not only records the past but is also created for contemporary social and political needs. Based on ethnographic fieldwork at two publicly contested heritage sites in Maharashtra, India, this paper seeks to understand, young people’s interactions with heritage and culture. These two sites are an ancient Buddhist monument combined with a Hindu temple and a museum articulating elitist narratives of Maharashtra’s past. We found that young people’s heritage conceptions are deeply rooted in inter-connected political identities of belonging to a region and a nation; and regionally popular symbols such as Shivaji and hill forts play a significant role in shaping them. Our fieldwork shows that the heritage represented by some institutions reproduces the broader social dominations and injustice. Worryingly, some of these projections are accepted by young people as their own heritage. This normalizes the partial representation of heritage. Some young people, however, contest some of those dominant projections and hold diverse ideas on heritage. These conceptions provide fertile ground for young people’s political engagement with the idea of heritage and are a call for them to participate in the current contest over India’s past. Diversity and contestations are hallmarks of heritage and culture in India. In that context, the paper enriches our understandings of those discursive and power laden processes that shape the formation of heritage and culture among youth, not only in the global South but also across the world.
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W wypowiedziach moich rozmówców przewija się przekonanie o bojkocie ze strony elit artystycznych, dla których Słowacki i Mickiewicz to „ramota i paździerz”. Ich zdaniem elity uznają naszą kulturę narodową za nudną, odwracają się do niej plecami.
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Higher education learning programs in folklore and ethnology should include training for the mastery of ICH and public folklore practices that are integrated with core curricula, grounded in theory and designed to build comprehensive professionalization of these disciplines. It should theorize practice and include engagement in actual projects with impacts beyond the classroom. A disjunction between theory and public practice which persisted for decades is now being addressed in graduate programs in ethnology and folklore, reaching towards what Bourdieu calls the “reconciling of theoretical and practical intentions”. The theories, issues and practices of public folklore currently and potentially taught in the United States suggest approaches that can be used for ethnology and ICH training. Topics can include cultural brokerage, intervention, heritage policies, cultural representation theories, dialogism, cultural sustainability, recontextualization, activism and advocacy, how community is defined, ethics and informed consent along with topics in heritage studies and the study of tourism. Practices taught can include multiple modes of presentation, media production, archiving, organizational and financial management, folklore in education and community engagement. Graduate training should include the intellectual history and contemporary dimensions of intervention in ongoing cultural practices transformative for communities and relationships of practitioners to their traditions. Folklore should be viewed as a practicing profession integrating comprehensive university training and reciprocal relationships between knowledge production in universities and the public sphere.
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One of the most relevant topics of the modernist heritage is the changing valuation of the examples that have a strong relationship with the historic surroundings. These variations come not only from different evaluations of the modernist heritage but also from the ever-changing approaches to the heritage. That is why it is worth examining the modernist cases that are directly connected to the historic part of the cities.
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The aim of this study is to present concisely the reflection of the cultural and artistic influence by means of fine arts and film creations which as a medium and through their activism establish an elaborate net and bridge of Serb-Romanian cooperation thus making an infinite contribution to filigree modeling and protection of centuries-long cultural and spiritual heritage of Serbs in Romania. The approach to the subject with regards to its cultural and artistic connotation provides a long list of all those who contributed to the preservation of the cultural heritage of Serbian people in Romania. Through their work that enable visual presentation of life characters, using this distinctive practice they concisely point out to the cultural meanings and thus become faithful “guardians” of material and spiritual cultural treasure eager to reveal their art on all social levels. The fact is that works of art and visual experience remain deeply imprinted in the minds of art consumers, and the images of past are passed down from generation to generation, all of which contribute to the preservation of the cultural heritage. Throughout this study I divided and explained the subject matters on three different levels: 1) Artists/painters – presentation of art, Romania – Serbia; 2) Film production – realization and presentation of documentary – ethnographic films; 3) Diversity, directions and guidelines of presenting artistic accomplishments as “guardians” of tradition of Serbs in Romania. There are many reasons for dealing with this subject, since artists through their works and instruments of visualization show everyday life and customs, shaping it every day, and thus stepping beyond the boundaries of aestheticism and becoming the carriers of solid cultural connotations. Over the past twenty years in Serbia and Romania, visible interests of exhibitions have been revealed through different events. Films that show structural discourse of everyday life and tradition give the ethnographic film the concept of cultural meaning. Magical power of the ethnographic film – the youngest branch among the centuries-old traditional forms of artistic expression- includes the images of culture-now and then. These images by using documented history and subjective memories, construct the history, the imperfect remembrance and identity performances. They actualize the active experience of images of past times into the horizon of present creating the narrative frame which gives us the permission to, through foundation of visual anthropology, say that we are the bearers and promoters of cultural heritage. The idea of this study is to offer a suggestion that, through the creation of virtual gallery, virtual material of artistic provenance can become the link between the center and the scattering.
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In the 18th century in Europe, aesthetics in architecture were connected to the beauty of nature, ornament, Antiquity and their research. The need of representation and interpretation of the visible reality impelled artists and architects to create sceneries with gradation of light, contrasts and “discovery” of nature. They also started to appreciate the value of ruins and to experiment with creating “temporary ones.” The concept that emerged and incorporated all these features was called “picturesque” and was explored mainly in England, Scotland and Wales. One of the architects that examined this domain to a great extent was the English architect Sir John Soane (1753-1837). In the works and lectures he delivered as a Professor of Architecture at the Royal Academy of Arts, he demonstrated that beautiful architecture is interwoven with Antiquity. This relationship blossomed when Soane created “narratives” in his buildings that represented picturesque landscapes.
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Three Centuries Since Baron Samuel von Brukenthal was Born (26th of July 1721 - 9th of April 1803). Baron Samuel von Brukenthal was an outstanding personality, a man of great erudition and refined taste, whose political career culminated with the dignity of Governor of Transylvania, a dignity he held between 1777 and 1787. Brukenthal was the only Transylvanian Saxon who enjoyed this great honor. Living for many years abroad, he got acquainted with Viennese cultural patterns he tried to implement in his own country. As a Transylvanian representative of the Enlightenment, Brukenthal became famous through his major creation, the first museum in the South Eastern part of Europe opened in 1790 to connoisseurs and foreign travelers and in 1817 to the large public. His fine art collection comprised about 1100 paintings belonging to the major European art schools. Besides paintings he also had a rich collection of etchings in copper, a library consisting of about 16000 volumes, rare archeological objects, as well as a numismatic collection and one of minerals. But his sphere of interest was much wider, including a large scale of sciences, the educational system, the musical life of Sibiu, the art of gardening.
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This paper aims to present facets of Romania’s image over the years. From monarchy and communism to EU membership, Romania remains one of the most relevant tourist destinations in Southeast Europe. Considering its history and cultural heritage, but also its economic, political and military roles, Romania needs to focus on the presentation of its country brand in the international and, particularly, in the European context. In this article we will see how Romania has promoted its country image, an analysis which is based on official documents that will give us an insight into the golden days of the 1930s and also into Romania’s current role in the 2020s, a new decade with its challenges and opportunities.
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The Göktürk goverment declared independence in 682 in the leadership of Kutlug and Tonyukuk after 40 years captivity following the collapse in 634 because Bilge Kağan and Kül Tigin were at small ages Kapgan Kağan’s ascended the throne after Kutlug Kağan’s death. Later İnel Kağan inherited the throne. Bilge Kağan and Kül Tigin came to power by staging a coup in 716. After Tonyukuk and Kül Tigin died, Bilge Kağan got poisoned and died in 734. The memorial lands were made for Kül Tigin and Bilge Kağan’s memory. Lumir Jisl dug Kül Tigin’s monument square and found note worthy information. But Bilge Kağan’s monument square has not been dug. Turks made a project about reperation and prevention of Orkun tablets and other Turkish masterpieces in Mongolia in 2000. To that end, twenty five scientists, deported from Turkey in 19th June 2000, arrived at Orkun. Archeolojical excavations in 2000 as a part of MOTAP Project were pursued by Turkish archeological excavators in Mongalia until 2004. It was searced mainly the surface in July and August. The sculptures depicting Bilge Kağan an his wife, and other sculptures except from the tablets around Kül Tigin’s monument site were put under protection by TİKA. Later in 2001, 2002, 2003 and 2004 the excavations were carried on and the baseline of the construction was unearthed. According to this, monument was constructed in around 36x72 cm rectangle site. The monument site of Bilge Kağan included an enterance gate with the marble sculptures of two bucks looking at each other’s face in a square land.
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There has been a lot of research on Pir Sultan and the Guild of Pir Sultan, his personality and his struggle. However, a part of his memorials has been handled by disconnecting them from the context of all other themes. These are the Guild of Pir Sultan in Tunceli/Dersim and the Pir Sultan Memorial Center in Azerbaijan. We have determined four important memorials while tracking Pir Sultan in the historical course. These are Sivas - Banaz, Tokat-Çambulak, Dersim-Hacılı and Ganja-Pir Sultan Memorial in Azerbaijan. There is sufficient literature on the first two of these memorials. However, our knowledge about the last two memorials is either limited or nonexistent. Pir Sultan was exiled before his execution and went to Iran-Ardabil, and after his return he lived in Dersim for 15 years in exile. The Domicile of Pir Sultan and the Guild of Pir Sultan, located today in Pülümür-Hacılı, dates back to his years of exile. Having a 500-year history, this Guild and Domicile constitute an important place in the culture of faith. The Pir Sultan Visitor Center, the Pir Sultan Mountains and the village of Pir Sultan, located in Azerbaijan-Ganja, also have a respected place in this region. These sacred places have their own creations, which are reflected in the Azerbaijani folk literature. Our research is based on the last two memorials. Commemorating Pir Sultan Abdal only within the surroundings of Sivas and Tokat will narrow down his space. Therefore, the research on Pir Sultan should be concentrated on the last two memorials as well. These last memorials are still untouched. Field research should be concentrated in this area. Archives should be re-examined in the context of these memorials.
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Considering the Neolithic Period when art began, pottery and symbolically terracotta art in particular, Anatolia, with its geography extending from Front Asia to Europe, the location which lived these periods earlier than their contemporaries, is an important area of pottery. Pottery, which has been able to continue in many parts of Anatolia without disturbing its archaeological features in terms of production style, is also an important intangible cultural heritage. Having been going on for thousands of years, this craft, unfortunately lost its existence in many centers within the process of extinction. In such a process, one of the pottery centers having the chance to be able to survive in Turkey is Avanos. Avanos, which is the district of Nevşehir province in Central Anatolia, is an important showcase of pottery producing both functional and craft / art terracotta for touristic purposes with the great support provided by its geographical advantages and the efforts of its masters as well as being an important tourism region. In this article, it is aimed to explain the historical characteristics of Avanos pottery, its contributions to contemporary art in its journey from traditional to contemporary and its economic and cultural achievements, including a critical perspective.
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