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Littérature scientifique sur le sujet « Romani Folk art »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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Articles de revues sur le sujet "Romani Folk art"

Apostol, Snejana. "Some characteristics of the development of choreographic art in Romania and the Republic of Moldova: the values and educational framework." Studia Universitatis Moldaviae. Seria Științe ale Educației, no. 5(165) (July 2023): 190–95. http://dx.doi.org/10.59295/sum5(165)2023_31.

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The given article presents an analytical approach to the evolution of choreographic art in Romania and the Re-public of Moldova. Emphasis is placed on analyzing the evolution of classical stage dance as well as folk dance. It should be noted that the development of choreographic art in Romania was strongly influenced by European choreography. The 19th and 20th centuries were the most significant for the development of Romanian ballet. The most famous classical ballets were staged: Zâna păpușilor, Lacul lebedelor, Priculiciul etc. The fame of Romanian ballet was brought by: Anton Romanowski, Fl

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Weatherhead, Fran. "Wooden churches and their paintings in the Maramureş region of Romania: a preliminary study." Antiquity 67, no. 255 (1993): 369–77. http://dx.doi.org/10.1017/s0003598x00045439.

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In Europe the tradition of building in wood, which has roots reaching back into antiquity, is now mostly lost. Wooden architecture does, however, survive in parts of Eastern Europe, particularly in Romania. In addition to their architectural interest, the buildings contain a rich legacy of folk-art.

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Toșa, Ioan, and Gabriela Rădoiu Leș. "Colecțiile Muzeului Etnografic al Transilvaniei, mesagere ale artei populare românești peste hotare (1924-1954)." Anuarul Muzeului Etnograif al Transilvaniei 32 (December 20, 2018): 266–300. http://dx.doi.org/10.47802/amet.2018.32.16.

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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 wa

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Constantiniu, Theodor. "Folklore and Dialectical Materialism. A Case Study of Ethnomusicological Research in Communist Romania." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (2020): 259–75. http://dx.doi.org/10.24193/subbmusica.2020.2.17.

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"Romanian ethnomusicology has a series of less discussed and, implicitly, less understood topics. One of them is the relatively vast literature that addresses the new folklore that appeared after the installation of the communist regime and the folk music of artistic ensembles performed on stage. Most of the texts written on these subjects display a strong political and ideological pressure. Consequently, they are either forgotten or superficially perceived as evidence of a repressive regime, adding to the general belief that the communist regime turned peasant art into an instrument of propag

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Scheianu, Marius Adrian. "Despre ultimul haiduc şi o piesă de pictură decorativă." Banatica 1, no. 34 (2024): 709–20. https://doi.org/10.56177/banatica.34.2024.art.35.

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Starting from the end of the Middle Ages, the myth of the heroic haiduc became widely spread in the Romanian space, as well as in other parts of Europe. As an inherently positive character, the haiduc was glorified in legends and folk songs, where the bold actions of these heroes were evoked as part of national folklore. In the dawn of the contemporary era, at the beginning of the 20th century, the myth remained alive in villages and semi-rural areas, even though modern Romania was very different from the era of national and social oppression in which the most well-known haiducs had fought. A

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Stelmashchuk, Halyna. "Prince Vsevolod Karmazyn-Kakovsky scientist, teacher, artist." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2022, no. 1 (2022): 137–52. http://dx.doi.org/10.33625/visnik2022.01.137.

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The article is devoted to the creative work of the Ukrainian Diaspora scientist, teacher, historian of art, architect and graphic artist, Prince Vsevolod Karmazyn-Kakovsky (1898–1988), about whom there is very little information in Ukraine. The study emphasizes his Ukrainian roots. The publication is based on materials from the home archive of Ph.D., sculptor and artist Kristina Kishakevich-Kachaluba from Switzerland. Prince Vsevolod Karmazyn-Kakovsky studied and lived in Ukraine until 1944. In 1944 he left Ukraine for permanent residence in Romania. As a teacher he organized faculties of land

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Theodorescu, Ana. "Theodor Vasilescu – The Dancer Who Took the Romanian Folklore all over the World." History of Communism in Europe 11 (2020): 215–31. http://dx.doi.org/10.5840/hce20201110.

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The main theme of the proposed paper concerns the professional training and artistic activity of Theodor Vasilescu, choreographer and dancer, specialized in folk dance, with a rich international activity during the communist regime. The analysis will focus on illustrating how the artist’s biography was influenced by a new trend in the satellite states of the U.R.S.S., namely that of transforming traditional dance into art with a political substratum. Also, the main thread of the article will consist in revealing the specific type of relationship between the artist and the regime, dominated by

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Koteterova-Dobreva, Binka. "THE BULGARIAN FOLKLORE SONG - MODERNITY, TRANSFORMATION AND VIEW TO THE FUTURE." KNOWLEDGE INTERNATIONAL JOURNAL 31, no. 6 (2019): 1803–9. http://dx.doi.org/10.35120/kij31061803k.

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The last decades are time of dynamic changes in folk music, which is a part of contemporary Bulgarian musical culture. Singer's performing art related to Bulgarian musical folklore is the part of Bulgarian culture that makes it recognizable and valued in the world. Thus, the Bulgarian folk song presented by its contemporary performers is perceived simultaneously as one of the oldest and most local manifestations of art in the cultural world, and as well as an artefact and a value, one of the most modern and global manifestations of the shared cultural heritage of humanity. The Bulgarian folklo

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Babin, Yuliana. "Folk Theater from Moldova and Ukraine in the context of valorization of the common ethno-cultural heritage." Revista de Etnologie şi Culturologie XXVI (December 15, 2019): 112–18. https://doi.org/10.5281/zenodo.3595162.

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A special component of Moldovan art and intangible cultural heritage is the folk Theatre. Several scientific researchers from the three countries (Moldova, Romania and Ukraine) are dealing with the analysis of this cultural phenomenon. In the XIX–XX centuries the phenomenon of folk Theatre is mentioned by K. Negruzi, V. Alexandri, T. Burada, G. Botezatu, P. Dulfu, G. Spataru, G. Bostan, N. Bayeshu and others. The complex of traditions and rites of Malanka on the Moldovan-Ukrainian border is represented by modern researchers: А. Kozholyanko, O. Kharchishin from Ukraine, E. Kozhuhari, V. K

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Watts, Dorothy J. "Circular Lead Tanks and their Significance for Romano-British Christianity." Antiquaries Journal 68, no. 2 (1988): 210–22. http://dx.doi.org/10.1017/s0003581500069341.

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SummaryAt least sixteen whole or partial circular lead tanks have been found in Roman Britain, several of them decorated with Christian symbols. Over the past fifty years different uses have been ascribed to these vessels, some secular, some religious. The objective of this paper is two-fold: to examine the motifs used in the decoration of the tanks and to attempt to discover the purpose of the vessels. It is proposed that the tanks are all Christian objects and that they were used in the baptismal ceremony for the footwashing rite, a practice carried out in various parts of the Christian worl

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Thèses sur le sujet "Romani Folk art"

Beissinger, Margaret H. "The art of the lăutar : the epic tradition of Romania /." New York : Garland, 1991. http://catalogue.bnf.fr/ark:/12148/cb371466593.

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Dorcey, Peter F. "The cult of Silvanus : a study in Roman folk religion /." Leiden ; New York ; Köln : E. J. Brill, 1992. http://catalogue.bnf.fr/ark:/12148/cb35584734s.

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Fröberg, Gudmund. "Inifrån det svenska : studier i Heidenstams roman Folke Filbyter /." Stockholm : Carlssons, 1994. http://catalogue.bnf.fr/ark:/12148/cb36964498m.

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Stewart, Katie Lynn. "A Reduction in Structural Specificity by Polar-to-Hydrophobic Surface Substitutions in the Arc Repressor Protein: A Romance of Three Folds." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/311174.

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Most amino acid sequences are predicted to specify a single three-dimensional protein structure. However, the identification of "metamorphic" proteins, which can adopt two folds from a single amino acid sequence, has challenged the one sequence/one structure paradigm. Polar-to-hydrophobic substitutions have been suggested computationally as one mechanism to decrease structural specificity, allowing the population of novel folds. Here, we experimentally investigate the role of polar-to-hydrophobic substitutions on structural specificity in the homodimeric ribbon-helix-helix protein Arc repre

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PŮBALOVÁ, Ludmila. "Přístupy k smrti a k pohřbívání v různých historických epochách lidstva." Master's thesis, 2008. http://www.nusl.cz/ntk/nusl-49584.

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Dissertation .. The approaches towards death and burial in different historical epochs of mankind dealing with a view of death in intellectual conceptions during the history. People have been engaged in the question of life and deaths for ages. It is one of the oldest, the hardests and the most fundamental questions which are asked. We can think of the death in two levels: a general and a personal. The comprehension of deaths was developing in history. Thesis traces, what affected and how it is possible, that the today`s subject of personal death states taboo, even if masmedia floods us with d

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Livres sur le sujet "Romani Folk art"

Bódi, Zsuzsanna. Magyarországi cigány mesterségek. Cigány Népművészek Országos Egyesülete, 2001.

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Skonda, Mária, Mária Völgyi, and Miklós Péti. Naivok 2018: Naív és autodidakta magyar és cigány művészek : válogatás a Völgyi-Skonda gyűjteményből. Völgyi-Skonda Gyűjtemény, 2018.

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Balas, Edith. Brancusi and Romanian folk traditions. Columbia University Press, 1987.

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Beissinger, Margaret H. The art of the lăutar: The epic tradition of Romania. Garland, 1991.

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Balas, Edith. Brancusi and Rumanian folk traditions. East European Monographs, 1987.

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Suba, László. Torda és környéke fazekassága. Kriza János Néprajzi Társaság, 2005.

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Stoica, Georgeta. Dicționar de artă populară. Ed. Enciclopedică, 1997.

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Stoica, Georgeta. Dicționar de artă populară. Editura Ştiințifică și Enciclopedică, 1985.

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Suba, László. Torda és környéke fazekassága. Kriza János Néprajzi Társaság, 2005.

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Dancu, Dumitru. Icoane pe sticlă din România. Editura Meridiane, 1998.

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Chapitres de livres sur le sujet "Romani Folk art"

Morales-Harley, Roberto. "5. Sanskrit Authors Adapting Greco-Roman Texts." In The Embassy, the Ambush, and the Ogre. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0417.05.

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Lastly, Chapter 5 discuses two main conclusions. On one hand, general influences appear as plausible, particularly regarding the adaptation techniques (the ways in which each tradition turns their epic into theater). Therefore, “Greco-Roman motifs” (literary motifs from the Greco-Roman world that would have made it into India) must at least be considered – alongside “Folk motifs” and “Indo-European motifs” – when comparing these literatures. On the other hand, specific borrowings would have also been possible for the adapted elements (the themes coming to the theater from each epic), consideri

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Urdea, Alexandra, and Magdalena Buchczyk. "Folk Art Reassessed." In The Oxford Handbook of Slavic and East European Folklore. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780190080778.013.38.

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Abstract This chapter critically reassesses Romanian collections of “folk art” or “folklore” through the the lens of material culture studies. While it is conventional to think about rural artifacts as indicators of regional ethnographic zones, scholars of rural objects in Romania rarely reflect on the social role of these collections. Against this background, the chapter recognizes that such objects are constantly produced, acquired, displayed, and deployed to mark a range of complex practices of representation and identity formation in heritage and vernacular contexts. Based on anthropologic

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Mackey, Jacob L. "The “Folk Theology” of Roman Prayer." In Belief and Cult. Princeton University Press, 2022. http://dx.doi.org/10.23943/princeton/9780691165080.003.0009.

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This chapter shows how public representations in the form of spoken prayers—with their requests, expressions of gratitude, and so on—not only arise from but also produce private representations in the form of beliefs. It addresses the two questions of belief and commitment in the content and context of Roman prayer. Speech acts derive their discursive Intentionality from the psychological Intentionality of their speakers, that is, from speakers' beliefs, desires, intentions, and other mental episodes, which are about states of affairs and objects in the world. Prayer expresses these mental epi

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Csonka-Takács, Eszter, Dóra Pál-Kovács, Boglárka Debrődi, and Fruzsina Arrkhely. "Communities and Their Pasts." In Advances in Linguistics and Communication Studies. IGI Global, 2023. http://dx.doi.org/10.4018/978-1-6684-6217-1.ch015.

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The rich floral patterns of Kalocsa's embroideries and wall paintings have come to represent Hungarian folk art throughout the world. The folk art of Kalocsa is in fact the art form of the traditional peasant culture of the villages established around the town of Kalocsa in the eighteenth and nineteenth centurie,s and the twenty-five or so farmsteads and minor satellite villages tied to them. This peasant culture is rooted in the traditions of the people who have inhabited this region and comprise their own ethnic group: they speak their own dialect of Hungarian, are Roman Catholic, have maint

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Taylor, Christin Marie. "Introduction Black Folk Work." In Labor Pains. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496821775.003.0001.

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In the 1930s there was a sharp uptick in the reference to and articulation of an American working class. This surge was in no small part because the New Deal–era Popular Front relied on the idea and the romance of the worker. This working class became the centerpiece of a range of artistic expressions. New Deal–era images are perhaps the clearest examples of a national focus on everyday people at work. Representations of laborers appeared in a variety of mediums, at times to signal a united nation on the brink of a brighter tomorrow, and at other times to challenge the nation....

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Plotnikova, Anna, and Natalia Golant. "The Beginning and End of Life as a Single Complex of Ideas (Based on Ethnolinguistic Materials of the Beginning of the 21st Century)." In Semiotics in the Past and Present. Institute of Slavic Studies, Russian Academy of Sciences, 2023. http://dx.doi.org/10.31168/7576-0488-6.08.

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The article explores lexical and ritual-magical parallels from two ritual spheres - native and funeral-commemorative - on the basis of field material collected by the authors in two different archaic regions: Slavic and Romanesque. Important fragments from both spheres of ritual, accompanying the beginning and end of a person's life, are considered on the basis of information gleaned from the Russian Old Believers in Romania (Dobruja) and the Vlachs (Romanians) in eastern Serbia (the vicinity of Zajecar). Lexical, etymological, phraseological and paremiological data are involved to confirm the

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Miholca, Amelia. "Between Zurich and Romania: A Dada Exchange." In Narratives Crossing Borders: The Dynamics of Cultural Interaction. Stockholm University Press, 2021. http://dx.doi.org/10.16993/bbj.f.

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In 1916, a group of ambitious artists set out to dismantle traditional art and its accompanied bourgeois culture. Living in Zurich, these artists—among them the Romanians Marcel Janco and Tristan Tzara, and the Germans Emmy Hennings and Hugo Ball—formulated the new Dada movement that would awaken new artistic and literary forms through a fusion of sound, theater, and abstract art. With absurd performances at Cabaret Voltaire, they mocked rationality, morality, and beauty. Within the Dada movement in Zurich, I would like to focus on the artists whose Romanian and Jewish heritage played a centra

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Scheid, John. "Epigraphy and Roman Religion." In Epigraphy and the Historical Sciences. British Academy, 2012. http://dx.doi.org/10.5871/bacad/9780197265062.003.0003.

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An abundance of Latin votive inscriptions adds much to the knowledge of religious belief in the Roman World. Several major cults of Roman (e.g. emperor worship) and foreign (e.g. Mithras) origin, and the identification of local deities with classical gods, would be little understood were it not for the survival of inscriptions. Similarly, inscriptions alone furnish many details of the ritual and ceremonial of sacrifice, most notably in the case of the archival dossier of the Arval Brethren near Rome, not mentioned in any literary source. The hopes and fears of ordinary folk are revealed in the

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Agapitos, Panagiotis. "‘Words Filled With Tears’: Amorous Discourse as Lamentation in the Palaiologan Romances." In Greek Laughter and Tears. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474403795.003.0020.

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This chapter examines a particular way in which feelings of love are expressed in the Palaiologan romances (c. 1250–1350). This manner of expression is presented through the systematic use of an imagery and vocabulary of lamentation, that incorporates into these highly artful poetic narratives a discourse deriving from folk poetry. These amorous laments (moirologia), as they are sometimes called by the narrators or even the characters, are not direct quotations of actual folk laments or songs as folklorists in the early twentieth century believed. They are a way of presenting amorous feelings

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Grinevich, Olga. "Polemika s usadebnym tekstom. L.N. Tolstogo v romane M. Stepnovoj Sad." In Tożsamość (w) przestrzeni: Studia dedykowane Profesorowi Wasilijowi Szczukinowi. Ksiegarnia Akademicka Publishing, 2022. http://dx.doi.org/10.12797/9788381387316.16.

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The article deals with the polemic with the ideas of Leo Tolstoy in the novel by Marina Stepnova Garden in the context of the estate text of Russian literature. This controversy is associated with the crisis of literary centrism, characteristic of the literary process of the late 20th – early 21st centuries and touches upon a complex of key themes and problems for Tolstoy’s works: the problem of personality formation, the theme of ancestral memory, “family thought” and “folk thought”. On the one hand, through the entire novel, the thought about the falsity of those ideas, attitudes, traditions

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Actes de conférences sur le sujet "Romani Folk art"

Adascalița-Crigan, Lucia, and Viorica Cazac-Scobioala. "Perpetuating the rhombus in traditional Romanian art." In Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.01.

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The rhombus as an ornamental motif of traditional art can be found both among the signs sewn on popular costumes or in interior textiles, on household objects, and among the shapes found in traditional cuisine. Being a geometrical motif with an archaic symbolic charge, characterized by perpetuity and cosmic sacredness, it was exploited and integrated into all the daily, celebratory and ceremonial circumstances of man. In this context, the objective of the study was directed towards the presentation of the multicriteria interpretation of this motif. On the one hand, the Rhombus carries a specia

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Ploşniţă, Elena. "Folk art gallery — an eff ective means of promoting traditional culture." In Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.12.

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Traditional culture is an important element of the Romanian identity. Th ere are dozens of concepts and defi nitions for traditional culture; even any culture can be considered traditional. No matter how we defi ne it, one thing is certain: in the era of globalization, it must be protected, because traditional culture, with its inherent changes, continues to exist, and society is called upon to promote it. In this article, the author touches upon the issue of promoting traditional art by organizing folk art galleries in the form of sales exhibitions. Art galleries are a modern solution for pro

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CHERECHEȘ, Roxana. "Romanian and international folk fairy tales." In Învățământul superior: tradiţii, valori, perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.29-30-09-2023.p261-270.

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The most important romanian fairy tales literatures are Ion Vlasiu and Octav Pancu – Iași which develop a kind on interesting stories, well written by children of all ages, but the most fasinating thing is the power to imagine things that could change our lives, such as the ability to do well, to be different, to be very strong, to believe in things that you can see. As George Calinescu once said: „Childhood never disappears inside of us, it continues to be the source of our magic life.” Never give up reading books because those are our pixie dust of our existence.

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Brihunet, Maria. "The relationship between theatre and folklore in the stage art of the Republic of Moldova (1950-1980)." In „Cultura şi arta: cercetare, valorificare, promovare”, conferinţă ştiinţifică naţională. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2025. https://doi.org/10.55383/ca2025.08.

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The article serves as an introduction to the topic concerning the relationship between the oral folk creation and theatrical performance, with some references to the history of the emergence of the Romanian national theatre, but especially to the theatrical art in the Republic of Moldova. The main research method for this subject is the cultural-historical approach, along with analysis and synthesis. We highlight the importance of traditional folk creation in shaping the theatre in Moldova and its manifestations in the performing arts at different stages of national theatre development. A spec

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Șchiopu, Constantin. "THE TEXTS OF THE ROMANIAN FOLK SONGS: POETICITY AND ARTISTIC DILETTANTISM." In Conferinţa ştiinţifică internaţională „Învăţământul artistic – dimensiuni culturale“ 2023. Academy of Music, Theater and Fine Arts, 2024. http://dx.doi.org/10.55383/iadc2023.17.

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The article addresses several issues related to the Romanian folk songs. Initially, the texts of several Romanian folk songs from the perspective of poetics are analyzed. The author, through concrete analyzes, shows that authenticity is the defining feature of folk songs, implicity of their texts. What characterizes the texts of these folk songs are errors of expression, poetic poverty, lack of affectivity, of the force of suggestion, of musicality, of the ambiguity of the word. Keeping the spirit of partying, of total joy, characteristic of the period of socialist construction, a large parte

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Verebceanu, Galaction. "Suffixal Derivation in the Sandipa Folk Novel Manuscript." In Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.16.

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Among the three means of forming words known to the modern/ Contemporary literary language (derivation, composition and conversion, however differentiated by the degree of productivity), the first method, and namely the suffixal derivation, has the highest yield in the text of the folk novel Sandipa (Romanian manuscript 824, copied in 1798 in the North of historical Moldova and kept nowadays at the State Library of the Russian Federation). Therefore, the derivative suffixes are analyzed, rendered, as a rule, in the form recorded in the manuscript, with selective references ordered as follows:

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Munteanu, Angela. "Times and the interior and exterior architectural stylistic character of the Romanian-Moldovan traditional dwelling, incontestable museum decoration." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.09.

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Every nation has a history of multiple cultural, ethnic, linguistic interferences, which complement each other from one century to another. The Romanian people have a tumultuous past, with periods of Ottoman occupation, the liberation and unification of Greater Romania, but also the separation from the mother country after the Second World War. Currently, the political and national development path of the Republic of Moldova is struggling between the East and the West. Romanian traditional stylistics represents us through culture, tradition, and customs. We have a valuable cultural heritage in

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Cazac, Radu. "Trio for violin, clarinet and piano by Oleg Negruța: characteristic aspects of language." In Cultura și arta: cercetare, valorificare, promovare. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2024. https://doi.org/10.55383/ca2024.08.

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The author’s aim is to study some structural and language elements applied in the work Trio for violin, clarinet and baritone by Oleg Negruța. Following the detailed analysis of the creation Trio for violin, clarinet and piano by O. Negruța, we point out that the given work consists of three contrasting parts according to the tempo Allegro con fuoco-Andante cantabile-Allegro vivace, in which the author is based on the tradition of classical and romantic music harmoniously combined with elements of the folkloric musical language. We can say that in part I, the direction of classical music preva

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Malcoci, Vitalie. "Semantic approaches of rural architectural decor from the south of Moldova." In Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.10.

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Traditional artistic creation, manifested through customs, traditions, folklore, is the basic substratum of the knowledge about a civilisation and its culture. Th roughout the entire process of its constitution, the Romanian people produced a huge substratum of archaeological cultures and mythic-folkloric structures that constitute the essence of folk creation. Folk architecture is one of the most impressive material forms from the past of any civilization. Evolving over time, it shaped some of the traditions and practices in peasant constructions, in the evolution of architectural forms, and

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Munteanu, Angela. "Contemporary interior space in promoting national identity of traditional Romanian stylistics." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.05.

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Th e traditional Moldovan-Romanian style represents the history traveled through cultural inferences, identity and tradition, with a valuable potential approached in the stylistics of the contemporary rural and urban space. Since ancient times, the Romanian people have built and decorated their home with handmade ornaments, both pieces of furniture and textiles ornamented with symbols transmitted from generation by generation. Today we have a valuable cultural heritage inherited from our ancestors, which is kept with holiness in peasant dwellings, traditional-vernacular architecture in the Mol

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