Buckles (paftale) are an almost indispensable element of traditional women's dress in the Southeastern European area, particularly in the Balkans, and have been in use over a long period, from the 14th to the 20th century. The word pafta is of Turkic origin-possibly entering the language via Iranian influence-derived from the Persian word bafta, meaning "woven," which evolved in Turkish to signify "plate." Today, the term is used in nearly identical forms in Romanian (pafta), Bulgarian (пафта), Serbian (пафте), and some Aromanian dialects (pafta), designating functional and ornamental clothing accessories used to fasten belts, girdles, or sashes, crafted from various materials and decorated using different techniques. The three buckles decorated in the polychrome enamel technique, preserved in the collection of the National Museum of History of Moldova, belong to the South-Danubian tradition and are dated to the late 19th - early 20th century.
Each buckle consists of two identical trapezoidal parts, their surfaces divided into three roughly equal registers, adorned with stylized vegetal motifs forming a metal lattice into which enamel is poured. The two parts extend into sharp angles at the ends, forming a triangle with the edge of the last decorative register, similarly ornamented. The enamel used to fill the floral motifs is black, turquoise, white, orange, green, yellow, and burgundy. The entire decorative field is framed by a beaded border.
On the reverse, both components retain a copper band riveted along the edge, used to fasten the ends of the belt. The fastening system, made by interlocking the hinges of the two parts and secured with a movable pin attached by a chain to a clasp fixed on one of the buckle pieces, is concealed by a rectangular plate (riveted with three pins to the body of the piece), with narrow edges ending in sharp angles, decorated in the same style and technique. Additionally, it features three circular settings with notched edges bent inward to hold centrally placed red and green glass paste. These settings are framed by a radiant, notched band.
The symbolism of the color palette encodes meanings and symbols, chosen for their believed magical powers. Red has always represented love, affection, and protection against curses and the evil eye; white symbolizes purity and spiritual and physical cleanliness; blue is symbolically associated with infinity, morning, new beginnings, and transformation; green represents destiny, hope, prosperity, balance, and rebirth, being linked to nature's revival each spring and to life itself.
Power, legitimization and propaganda in Imperial Rome
Tyragetia, serie nouă, vol. I [XVI], nr. 1, Arheologie. Istorie Antică Chișinău, 2007
Undoubtedly, the question of power and its legitimization is very important – both from theoretical and practical points of view. Certainly, the question of power and the process of its legitimization is worth of analysis and presentation not only on the examples of modern societies but also in case of societies in more or less distant past. And so, the prresent article deals with the question of power and its legitimization (especially by different means of propagandsa) on the example of ancient Rome – especially the so-called Principate, i.e. Early Roman Empire (27 B.C. – 284 A.D.). During the Empire, the main purpose of propaganda was to strenhten the position of emperor himself. During the empire all military victories were used also (or even first of all) to strengthen position of the emperor. Namely from such point of view is probably best to analyze such the monuments like the Trajan’s Column in Rome or the monument in Adamclissi (in modern Romania). Such the purposes served also triumphal arches, got instance the triumphal arch devoted to Septimius Severus and his family at Leptis Magna. Undoubtedly, the imperial propaganda proved itself to be a very successful tool of the imperial power, acting together with well trained and equipped Roman army and with very efficient Roman bureaucracy.
Janusz Skoczylas, Marek Żyromski
The stonemasons’ signs in the social and political context
Tyragetia, serie nouă, vol. II [XVII], nr. 2, Istorie. Muzeologie
Marek Żyromski
The patterns of promotion within the roman army and administration – patronage versus experience and specialization
Tyragetia, serie nouă, vol. III [XVIII], nr. 1, Arheologie. Istorie Antică
Jerzy Hatłas, Marek Żyromski
Protoierey Mihail Chakir – orthodox priest, gagauzian spiritual leader and historian (1861-1938) – and the question of emancipation of gagauzians as the independent nation
Tyragetia, serie nouă, vol. IX [XXIV], nr. 2, Istorie. Muzeologie Chișinău, 2015
Marek Żyromski
The army as an important factor of social mobility in Roman Empire
Tyragetia, serie nouă, vol. II [XVII], nr. 1, Arheologie. Istorie Antică
Buckles (paftale) are an almost indispensable element of traditional women's dress in the Southeastern European area, particularly in the Balkans, and have been in use over a long period, from the 14th to the 20th century....
The National Museum of History of Moldova takes place among the most significant museum institutions of the Republic of Moldova, in terms of both its collection and scientific reputation.
The National Museum of History of Moldova takes place among the most significant museum institutions of the Republic of Moldova, in terms of both its collection and scientific reputation.
The National Museum of History of Moldova takes place among the most significant museum institutions of the Republic of Moldova, in terms of both its collection and scientific reputation.
31 August 1989 St., 121 A, MD 2012, Chisinau, Republic of Moldova
