The exhibited necklace of beads originates from Funerary Complex No. 6 of Kurgan No. 4, excavated in 1982 by Dr. Habil. Eugen SAVA near the town of Taraclia. The beads were found in the chest area of the deceased, indicating that they had been worn as a necklace and had remained in their original position within the funerary assemblage. The necklace consists of 11 elements made entirely of Egyptian faience. Eight of the beads are spherical and decorated with vertical incisions forming between 14 and 21 raised ribs. Their diameters range from 13 to 20 mm. Two additional elements are scarab representations measuring 23.5 × 19.5 mm, while the final component is a flattened cylindrical pendant bead featuring a central vertical groove and measuring 22 × 9 mm. The objects range in color from light blue to dark blue and violet hues, reflecting the natural deterioration and glaze variations characteristic of Egyptian faience. Egyptian faience is an artificial quartz-based material coated with an alkaline glaze, typically blue or blue-green in color. It was widely used in Ancient Egypt and later spread throughout the Mediterranean and Pontic regions through trade networks. During the first centuries AD, such objects served as important indicators of cultural and economic contacts between the Mediterranean world and the communities of the North Pontic region. Owing to its typological, technological, and symbolic characteristics, the Taraclia necklace is an exceptionally valuable artifact for the study of intercultural relations, the circulation of prestige goods, and the funerary practices of the Sarmatian communities during the first centuries AD (1st-2nd centuries AD).
The museum institution in the process of globalization
Tyragetia, serie nouă, vol. III [XVIII], nr. 2, Istorie. Muzeologie
The beginning of the millennium marked the dissolution of communication borders generated by the transition from a tightly governed political system to the democratization process, from planned economy to the market one, from the rapid development of technologies to the globalization phenomenon. The postindustrial economy had stimulated the mobilization of the intellectual capital and its use in production and service spheres.
It is in the period of impetuous transformations that appears the nostalgia of stability, originality and individuality. The identity of the person, of the community of origin, ethnicity and nationality had always been one of the essential points of each cultural dialog at local, national or universal scale.
In the context of changing social-political and cultural processes, the issue of keeping and affirming identity becomes an essential one; a fortiori it represents the only efficient way of combating the negative and obscured effects of globalization.
The globalization process had imposed the contemporary society with a cultural globalization by redefining the purpose of the museum institution which’s activity is determined by new factors: - the market holds the arbiter role, appreciating and determining the essence of values - the entertainment industry holds a considerable niche in the cultural sphere - reduction of the state role and the emergence of untraditional political formations - disappearance of intellectual borders - appearance and development of multicultural communities - as a result of developing new technologies appear new visions about notions of place, time, space etc.
Another aspect of the cultural globalization is the decentralization of big museums and the rapid museification of society. We are today the witnesses of a big museum revolution; we will be able to appreciate in time whether it is a positive or a negative factor. One of the immediate changes is building new systems of museums, or of a new system of museums. In other words, building a territorial network not only diversified spatially and territorially, but also on profiles, levels and functions in which the different unities complete and correlate among themselves, keeping the same educational and heritage preservation objectives.
Lucia Marinescu-Tonu
The exhibition “In the World of Toys”
Tyragetia, serie nouă, vol. VII [XXII], nr. 2, Istorie. Muzeologie
Lucia Marinescu-Tonu
Creations of the House of Fabergé – between utility and refinement
Tyragetia, serie nouă, vol. XVIII [XXXIII], nr. 2, Istorie. Muzeologie
Lucia Marinescu-Tonu
Museum of Astronomy and Related Sciences in Rio de Janeiro - between science and public
Tyragetia, serie nouă, vol. VIII [XXIII], nr. 2, Istorie. Muzeologie
Lucia Marinescu-Tonu
Pedagogy of Cultural Heritage: between illusion and reality
Tyragetia, serie nouă, vol. V [XX], nr. 2, Istorie. Muzeologie
Lucia Marinescu-Tonu
Museum institution in the „globalization trap”
Tyragetia, serie nouă, vol. IV [XIX], nr. 2, Istorie. Muzeologie
The exhibited necklace of beads originates from Funerary Complex No. 6 of Kurgan No. 4, excavated in 1982 by Dr. Habil. Eugen SAVA near the town of Taraclia. The beads were found in the chest area of the deceased, indicating that they had been worn as a necklace and had remained in their original position within the funerary assemblage...
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
