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COSTUMUL TRADIIONAL N ROMNIA

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THE TRADITIONAL COSTUME IN ROMANIA

dr. Georgeta Rou dr. Maria Magiru (Aromnii i colaborare la capitolele Ttarii, Turcii) (colaborare la capitolul Evreii) Cuvnt Inainte/Foreward: dr. Ioan Opri
i fototecile
Muzeului rii Criurilor din Oradea, Muzeului Naional al ranului Romn din Bucureti , Muzeului Maramureului, Uniunii Croailor din Romnia, Uniunii Cehilor i Slovacilor din Romnia, Liubomir Stepanov (foto srbi)

Daniel Mihail Constantinescu Argentina Firu Hedwig-Maria Formagiu Cori Simona Ion Corina Firu, Cori Simona Ion, Daniel Mihail Constantinescu Corina Firu, Cori Simona Ion
Descrierea CIP a Bibliotecii Naionale a Romniei Costumul tradiional n Romnia = The traditional costume in Romania / text: Rou Georgeta, Magiru Maria ; pref.: Opri Ioan ; foto.: Simionescu Viorel, Ion Cori Simona ; ed.: Firu Corina, Ion Cori Simona. - Bucureti : Alcor Edimpex, 2010 Bibliogr. ISBN 978-973-8160-39-2 I. Rou, Georgeta (text) II. Magiru, Maria (text) III. Opri, Ioan (pref.) IV. Ion, Cori Simona (foto.) V. Simionescu, Viorel (foto.) VI. Palcu, Ana-Maria (trad.) VII. Firu, Corina (ed.) VIII. Ion, Cori Simona (ed.) 39(498)

Harta Romniei: Recepionat ANCPI/25.03.2011

Toate drepturile rezervate / All rights reserved S.C. ALCOR EDIMPEX S.R.L. ed_alcor@yahoo.com, www.editura-alcor.ro

COSTUMUL TRADIIONAL N ROMNIA

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THE TRADITIONAL COSTUME IN ROMANIA

CUVNTUL EDITORULUI

THE EDITORS NOTE

Dup publicarea volumului editura Alcor Edimpex ofer cititorilor un nou album, privind costumele tradiionale de srbtoare ale romnilor i etnicilor care convieuiesc de veacuri pe teritoriul Romniei. Lucrnd la aceste cri am avut sentimentul unei miraculoase cltorii de-a lungul istoriei, prin spaiile locuite de romni i celelalte etnii conlocuitoare, de apropiere ntre oameni i cunoatere a unor valori perene, nscute din bucuria creaiei, din prietenie i solidaritate. Ne-am propus s transmitem aceste valori i sentimente, care ne definesc n esen viaa, tuturor celor care doresc s-i cunoasc pe locuitorii Romniei, indiferent de etnie. Totodat, considerm c la o analiz atent a costumelor populare, pe detalii - estur, croi, motive, cromatic, motive ornamentale -, se pot aduce noi argumente pentru a evidenia procesul continuu de care a avut loc n timp, ct i pentru nelegerea trecutului i prezentului tradiiilor din ara noastr. O astfel de carte de sintez privind portul popular pe teritoriul Romniei nu s-a mai scris n literatura de specialitate. Cum era i firesc, am apelat pentru nceput la Muzeul Naional al ranului, din Bucureti, unde doamna dr. Georgeta Rou, director al Muzeului, a avut bunvoina de a accepta coordonarea lucrrii i de a prezenta cea mai mare parte a costumelor. Trebuie s menionm, de asemenea, c am gsit o mare disponibilitate la toate conducerile muzeelor din ar, crora ne-am adresat. Doamna director al Muzeului de Art Popular Constana, dr. Maria Magiru, a avut amabilitatea de a ne permite s fotografiem piese din patrimoniul Muzeului, scriind textul de specialitate despre costumele aromnilor, turcilor i ttarilor. Domnul director al Muzeului Maramureului, dr. Mihai Dncu, a colaborat la elaborarea capitolului despre evrei, completndu-l cu imagini de arhiv, iar domnul director dr. Aurel Chiriac, al Muzeului rii Criurilor, din Oradea, ne-a primit cu ospitalitate, dei muzeul se afla n renovare, i ne-a pus la dispoziie cteva imagini din fototeca Muzeului, pentru costumele maghiarilor

After it published the volume The Romanian Heritage Costume (2008), Alcor Edimpex Publishers now offers the readers a new album featuring the festive traditional costumes of Romanians and people belonging to ethnic groups, who have been living together on Romanias territory for centuries. Working at those books, I had the feeling of a miraculous historical journey across the areas inhabited by Romanians and people belonging to ethnic groups, of rapprochement among people and of knowledge of perennial values, born out of the joy of creation, of friendship and solidarity. We have aimed to make known those values and feelings which basically define our life to those who want to meet the inhabitants of Romania, irrespective of the ethnic group they belong to. Moreover, we believe that a thorough analysis of folk costumes taking into account various details fabrics, tailoring, motifs, chromatics, decorative designs can put forth further arguments to back the continued process of cross that have occurred over time, as well as in terms of understanding the past and present traditions in our country. Such a book of synthesis about the folk wear on Romanias territory has not been written in the specialized literature before. As only natural, in the beginning, we applied to the National Romanian Peasant Museum in Bucharest, where dr. Georgeta Rou, director of the Museum, kindly accepted to coordinate the book and to present most of the costumes. We must also point out that all boards of the museums across the country we had applied to stated their readiness to assist us. The director of the Folk Art Museum in Constana, dr. Maria Magiru was kind enough to allow us to take pictures of pieces in the Museum patrimony, writing an expert text about Macedo-Romanians, Turks and Tatars. The director of the Maramure Museum, dr. Mihai Dncu contributed to the chapter featuring the Jews, adding archive pictures and the director of the Museum of the Cri Land in Oradea, dr. Aurel Chiriac received us with hospitality, though the Museum was being renovated and made available to us a few pictures from the

i slovacilor din zon. Doamna dr. Ligia Fulga, director al Muzeului Etnografic Braov, ne-a vorbit despre costumul ssesc i ne-a permis fotografierea exponatelor din filiala de la Rupea, iar domnul director dr. Ionel Cndea, de la Muzeul Etnografic i de Art Popular Brila, ne-a pus la dispoziie un costum de arnut albanez, deosebit de valoros, i piese ale unor costume lipoveneti. Prin amabilitatea autoarelor primului album menionat mai sus, dr. Doina Ifanoni i dr. Paula Popoiu, am folosit cteva imagini cu costume romneti de patrimoniu din Muzeul Naional al Satului Dimitrie Gusti. Cu toate acestea, in cazul unor etnii, ne-am aflat n situaia de a nu avea imagini ale costumelor tradiionale, fapt ce ar fi fcut textul, i implicit albumul, mult mai srac. De aceea am apelat la Uniunile etniilor respective din Romnia, care ne-au sprijinit cu solicitudine. Este vorba despre Uniunea Armenilor, Uniunea Albanezilor, Teatrul Evreiesc de Stat din Bucureti, Uniunea Italienilor, filiala din comuna Greci - Tulcea, Uniunea Elenilor, filiala din comuna Izvoarele - Tulcea (unde am gsit piese de mbrcminte vechi de peste un secol) i Uniunea Elenilor, filiala din Brila. Am solicitat i am primit imagini de la Uniunea Cehilor i Slovacilor, din Arad, Uniunea Srbilor, din Timioara i Uniunea Croailor, din Caraova. De asemenea, am fotografiat i reproducem n album cteva ansambluri folclorice, cu permisiunea acestora. Am considerat c, dei imaginile obinute astfel sunt, cu unele excepii, ale unor costume contemporane, acestea sunt realizate dup modelul celor tradiionale i ilustreaz n mod semnificativ pstrarea tradiiei fiecrei etnii, respectul pentru stilul de via specific i buna convieuire. Pentru a prefaa albumul, ne-am adresat domnului dr. Ioan Opri, care a acceptat cu amabilitate solicitarea noastr. O versiune de mare acuratee n limba englez a realizat doamna Ana Maria Palcu, iar domnul Daniel Mihail Constantinescu a elaborat coperta i ne-a consiliat n ceea ce privete punerea n pagin a crii. O meniune special o facem pentru bunvoina doamnei Hedwig-Maria Formagiu, binecunoscut specialist n domeniu, de a citi ntreaga carte i de a face observaii pertinente. Mulumim cu respect i recunotin tuturor colaboratorilor numii n aceste rnduri, pentru sprijinul i deosebita nelegere acordate.

Museum photo archive, for us to illustrate the costumes of ethnic Hungarians and Slovaks in that area. Dr. Ligia Fulga, director of the Ethnographic Museum in Braov told us about the Saxon costume and allowed us to take pictures of the exhibits in the Rupea branch and the director of the Ethnographic and Folk Art Museum in Brila, dr. Ionel Cndea made available to us a highly valuable costume of an Albanian mercenary and pieces of Lippovan costumes. The authors of the former above-mentioned album, dr. Doina Ifnoni and dr. Paula Popoiu were kind enough to allow us to use pictures of Romanian heritage costumes of the Dimitrie Gusti National Village Museum. Nevertheless, in the case of certain ethnic groups, we did not have pictures of traditional costumes, which would have made the text and implicitly the album much poorer. That is why, we applied to the Unions of the respective ethnic communities in Romania, which sympathetically assisted us. I am referring to the Union of Ethnic Armenians, the Union of Ethnic Albanians, the State Jewish Theatre in Bucharest, the Union of Ethnic Italians, the branch from the Greci commune Tulcea, the Union of Ethnic Greeks, the branch from the Izvoarele commune Tulcea (where we found over one century-old garments) and the Union of Ethnic Greeks, the branch from Brila. We asked for and received pictures from the Union of Ethnic Czechs and Slovaks in Arad, the Union of Ethnic Serbs in Timioara and the Union of Ethnic Croats in Caraova. Also, we took pictures of a few folk ensembles, which we have included in the album, with their agreement. We thought that, although with a few exceptions, there were pictures of contemporary costumes, they were made after the model of traditional costumes, significantly illustrating the conservation of the tradition of each and every ethnic community, the respect for its specific life style and the good coexistence. We asked dr. Ioan Opri to write the Foreword and he kindly complied with our request. Mrs. Ana Maria Palcu is the author of an accurate English version of the book and Mr. Daniel Mihail Constantinescu made the cover and counselled us as to the page layout of the book. We would also like to point out that Mrs. Hedwig-Maria Formagiu, a well-known expert in the field was kind enough to read the book and make pertinent observations. We thank the above-mentioned contributors with esteem and gratitude for their particular support and understanding.

CUVNT NAINTE
Drag cititorule, aceast carte este rezultatul unor cercetri muzeografice desfurate de autori cu mare vocaie, pentru cunoaterea tezaurului cultural tradiional. Experiena dobndit n organizarea expoziiilor i a depozitelor de art, documentarea sistematic i cunoaterea direct a satelor i a meterilor populari au permis aceast sintez. Ea este realizat n spiritul cercetrilor unor reputai specialiti precum Tancred Bneanu, Gheorghe Foca, Hedwig Formagiu, Olga Horia, Milcana Pauncev i Gheorghe Nistoroaia, Elena Secoan, Paul Petrescu, Georgeta Stoica, Maria Boce, Maria Btc, Cornel Irimie, Roswith Capesius, Kos Karoly. Costumul popular tradiional prezentat n carte este cel pe care l cunoatem de peste dou secole, purtat ndeobte la srbtori i ocazii festive i influenat doar n mic msur de tendinele modernitii. Din orice perspectiv citim costumul tradiional, nu poate s ne scape legtura sa cu sursele primare de via i cu ocupaiile ancestrale: agricultura, creterea animalelor, schimburile comerciale, precum i cu diferitele meserii practicate de-a lungul timpului de locuitorii meleagurilor romneti. n acest sens, exist mrturii valoroase despre portul popular, unele forme i reprezentri fiind desluite de unii autori ca datnd nc din neolitic i epoca bronzului. Mai trziu, cercettorii au identificat pe Columna lui Traian i pe metopele monumentului triumfal de la Adamclisi veminte asemntoare cu cele purtate i azi n zona carpato-danubin. Puine culturi europene pot s invoce asemenea origini pentru continuitatea lor! Deseori costumul tradiional a fcut obiectul admiraiei strinilor, care au sesizat racordul su la geografia i clima Romniei, caracterul practic i valoarea sa artistic. Astfel, primii cltori care au venit n contact cu locuitorii rilor Romne au descris costumul localnicilor n documente, imagini grafice i literatur - surse valoroase de cunoatere a trecutului istoric. Interesul i preocuparea pentru cunoaterea i conservarea costumului tradiional s-au intensificat ncepnd cu mijlocul veacului al XIX-lea numit i secolul naiunilor. Ca urmare, costumul popular a fost cercetat i din perspectiva identitar, nu doar artistic i pitoresc. Costumul tradiional este diferit la sat i la ora, sub raport economic i social, dup starea material i poziia social, evident stratificate. n ciuda acestor diferene, se poate constata o surprinztoare unitate a costumului tradiional n cadrul fiecrei categorii sociale.

FOREWORD
Dear reader, this book is the outcome of museographic research conducted by the authors with a great vocation, for the knowledge of the traditional cultural treasury. The experience acquired in staging art exhibitions and laying out art storerooms, the systematic research and direct knowledge of villages and crafts people have allowed for this survey to be made. It is made in the spirit of the research done by such reputed experts as Tancred Bneanu, Gheorghe Foca, Hedwig Formagiu, Olga Horia, Milcana Pauncev and Gheorghe Nistoroaia, Elena Secoan, Paul Petrescu, Georgeta Stoica, Maria Boca, Maria Btc, Cornel Irimie, Roswith Capesius, Kos Karoly. The traditional costume presented in the book is the one we have known for over two centuries, being worn particularly on holidays and festive occasions and being influenced by modern trends only to a small extent. Regardless of the perspective from which we look upon the traditional costume, we cannot miss its link with the primary sources of life and the ancestral occupations: farming, cattle breeding, trade exchanges, as well as with various trades practiced by the inhabitants on Romanian soil over time. In this respect, there are valuable testimonies about the folk wear, certain authors finding that some traditional costumes date even from the Neolithic Age and the Bronze Age. Later on, researchers found garments similar to the ones worn in the Carpathian-Danube area on Trajans Column and on the metopes of the triumphal monument in Adamclisi. Few European cultures can boast such origins for their continuity! The traditional costume has often been admired by foreigners who have noticed its connection with Romanias geography and climate, its practical character and artistic value. So, the first travellers who came into contact with the inhabitants of the Romanian provinces described the natives costume in documents, pictures and literature valuable sources of knowledge of the historical past. The interest in and preoccupation with the knowledge and conservation of the traditional costume gained ground starting with the mid-19th century, also called the nations century. Consequently, the folk costume has also been studied from the identity perspective, not just the artistic and picturesque one. The traditional costume is different in villages and towns, from an economic and social viewpoint, according to the wearers material condition and social status, which are obviously stratified. Despite those differences, one can note a surprising unity of the traditional costume within each social category.

nelegem costumul tradiional ca rezultat al , iniial fiind confecionat n mod exclusiv n gospodria rneasc. Lucrtura n cas s-a bazat pe resursele primare: ln, cnep, in i abia trziu pe mtase i bumbac. Coloranii folosii tradiional erau de origine natural. Armonia ntregului, proporia componentelor i un desvrit echilibru cromatic al pieselor le fac cu att mai valoroase. Firete c existau i meteugari specializai croitori, cojocari, abagii, gitnari dar acetia erau puini la numr, lucrnd de regul n trguri i orae. De ei au fost legai trgoveii i orenii, identificai frecvent sub raport etnic, n anumite zone, ca maghiari, sai, vabi, evrei etc. ncepnd cu veacul al XVIII-lea, dinamica noilor veminte arat o implacabil modernizare a societii romneti. Aceast schimbare este evident i n costumaia personajelor din pictura bisericilor de sat cele ale monenilor din Oltenia (la Vioreti ori la Urani), din cuprinsul Maramureului.1 Trgoveii, boiernaii, ranii nstrii au preluat n mod eclectic modelul de a se mbrca al celor de sus, dar i-au confecionat costume din materiale modeste, asamblate cu gust. Pe msura ptrunderii capitalismului, modernizarea societii a ajuns i n comunitile steti i a influenat vestimentaia, fcnd loc unor detalii de sorginte occidental n dauna celor orientale.2 Tipologic vorbind, costumul tradiional prezint - prin form, modele, tehnici i ornamentaie - toate elementele reprezentative pentru diferitele etnii care triesc n Romnia. Lucrarea prezint costumul tradiional prin ansambluri care aparin muzeelor sau unor uniuni etnice, cele mai multe piese provenind din colecii vechi, existente la nceputul secolului al XX-lea. Costumul tradiional difer dup zona geografic i apartenena la grupul etnic. Menionm c n Romnia contemporan toate comunitile etnice sunt organizate n cte o Lig sau Uniune, fiecare dintre acestea fiind reprezentate n Parlamentul rii. Prin Constituie, toi etnicii au dreptul de a-i pstra confesiunea religioas, de a-i organiza nvmnt n limba matern n localitile n care sunt majoritari, de a avea publicaii n limba proprie, de a-i pstra tradiiile, obiceiurile i de a purta costumul propriu la srbtori. Importana costumului popular a fost intuit de nvatul Alexandru Odobescu, care, n 1875, a sprijinit decizia ministerial luat de Titu Maiorescu, de a
1

The traditional costume is a result of the being initially made exclusively in the peasant household. The home-made costume was based on primary resources: wool, hemp, flax and only later, on silk and cotton. The traditional dyes were natural. The harmony of the outfit, the proportion of the component parts and an exquisite chromatic balance of the garments make them all the more valuable. Of course, there were also specialized crafts people tailors, furriers, drapers, braid makers but they were quite few, working as a rule in small and big towns. Townsfolk were linked to them, frequently identified from an ethnic point of view in certain areas as Hungarians, Transylvanian Saxons, Swabians, Jews, etc. Starting with the 18th century, the dynamics of the new clothing indicates the relentless modernization of the Romanian society. That change is also evident in the characters costumes in the village church painting those of freeholders in Oltenia (in Vioreti or Urani), in Maramure1 . Townsfolk, country squires, well-off peasants eclectically took over the clothing model of the upper classes, but they had costumes made of cheap materials, yet tailored in good taste. With the penetration of capitalism, the modernization of society also reached the village communities and influenced the clothing, making room for Western details to the detriment of the Oriental ones2 . Typologically speaking, through its shape, models, techniques and decorative design, the traditional costume has all elements representative for various ethnic groups living in Romania. This work features the traditional costume through outfits belonging to museums or ethnic unions, most garments coming from old collections of the early 20th century. The traditional costume is different according to the ethnographic zone and the membership of the ethnic group. Let us point out that in contemporary Romania all ethnic communities are organized within a League or Union, each of them being represented in the countrys Parliament. According to the Constitution, people belonging to all ethnic groups have the right to keep their religion, to organize their tuition in their mother tongue in the localities where they are the majority, to have periodicals in their own language, to preserve their traditions and customs and to wear their own costume on holidays. The importance of the folk costume was intuited by scholar Alexandru Odobescu, who in 1875 backed the

Vezi, cu detalii, la Rzvan Theodorescu, Despre prima modernitate a romnilor Les

anciennes communautes villageoises roumains. Asservissement et pnetration capitaliste

individualiza o secie special a porturilor naionale n cadrul Muzeului de Antichiti. 3 Ca urmare, costumului popular tradiional i-a fost confirmat valoarea i printr-un act juridic. Totodat, el a primit susinerea unei elite care era la curent cu tendina european de conservare i expunere a mrturiilor culturii i civilizaiei rneti. Dup numeroase participri cu piese etnografice i de art la expoziiile regionale i la cele europene, Romnia a fost reprezentat la , exclusiv prin costume tradiionale. Cu aceast ocazie patrimoniul etnografic a devenit o categorie de specializare deosebit de important. Arheologia costumar, prefigurat odat cu aceast expoziie, a provocat mediile colecionarilor i ale muzeografilor din epoc. Interesul pentru costumul popular, al reginei Elisabeta (Carmen Sylva), ca i al principesei Maria, dar i al unor intelectuali sai i maghiari, a condus la recuperarea portului tradiional concomitent cu sporirea ateniei fa de creatorii i purttorii si, ndeobte ranii. Elita feminin a dat aadar un semnal cultural, doamnele purtnd costumul rnesc i ca un semn al romnizrii. n Transilvania i Banat, identitatea etnic a fost marcat astfel i de sai, secui, unguri i vabi, fapt ce a artat preuirea i preocuparea mediilor artistice i literare pentru viaa satului i a locuitorilor si. Coleciile de costume i esturi populare au oferit cercettorilor posibilitatea de a revizui anumite prejudeci, atitudini i concepii elitiste, fa de calitile native ale rnimii. Astfel, i imortalizai 4 de penelul grigorescian sau de literatura semntorist n manier romantic, au putut fi apreciai direct, nu doar ca lucrtori ai satului, ci i ca talente native i creatori de art popular. Asemenea convingeri au fost confirmate odat cu deschiderea impresionantului muzeu al ASTREI i cu trnosirea, la 29 aprilie 1905, a catedralei mitropolitane din Sibiu. Cu acea ocazie, a fost expus public valoroasa colecie a lui Dimitrie Coma (450 esturi i custuri, 260 de costume populare ntregi), prezentndu-se totodat i realizat de acesta spre uluirea intelectualitii vremii. 5 La 2 august 1905, Ella Em. Savopol, artist binecunoscut, a propus Ministerului Cultelor i Instruciunii Publice o galerie retrospectiv a portului femeiesc din rile romneti ncepnd cu secolul al XIV-lea i pn n zilele noastre.6

ministerial decision made by Titu Maiorescu to set up a special section of folk wear within the Museum of Antiques3. As a result, the value of the traditional costume was confirmed by a legal document too. Moreover, it was backed by an elite that was familiar with the European tendency of preserving and displaying the testimonies of peasant culture and civilization. After having participated with ethnographic and art items in regional and European exhibitions, Romania was represented exclusively by traditional costumes at the (1897). On that occasion, the ethnographic heritage became a highly important specialized category. The costume archaeology foreshadowed by that exhibition challenged the collectors and museographers of the time. The interest taken in the folk costume by Queen Elisabeth (Carmen Sylva), and by princess Marie as well as by some Saxon and Hungarian intellectuals brought back to the fore the traditional wear while increasing attention started to be paid to its creators and wearers, particularly the peasants. The female elite thus gave a cultural signal, ladies putting on and wearing the peasant costume also as a sign of Romanian identity. In Transylvania and Banat, the ethnic identity was marked in this way also by Saxons, Szecklers, Hungarians and Swabians, which showed the appreciation for and preoccupation of the artistic and literary milieux with the life of the village and its residents. The collections of folk costumes and textiles gave the researchers the possibility of reconsidering certain prejudices, elitist attitudes and concepts with regard to the peasants native qualities. So, and immortalized by Grigorescus brush or by literature under the influence of semanatorism4 in a romantic manner could be appreciated directly not only as rural workers but also as native talents and folk art creators. Such beliefs were confirmed with the opening of the impressive ASTRA Museum and the consecration of the th metropolitan cathedral in Sibiu on April 29 1905. On that occasion, the valuable collection of Dimitrie Coma was exhibited (450 textiles and pieces of needlework, 260 complete folk costumes), which the latter made to the amazement of the intellectualls of the time being also presented5 . On August 2nd 1905, Ella Em. Savopol, a well-known artist, proposed to the Ministry of Religious Denominations and Public Education a retrospective gallery of the female wear in the Romanian

ASTRA 1861-1950. 125 de ani de la nfiinare

n 1906, cu ocazia organizat n Bucureti, n Parcul Carol I - manifestare excepional la care au participat romni i strinii venii n mare numr, att din regat ct i din afara lui -, au fost apreciate realizrile dobndite de romni sub domnia de patru decenii prosper i glorioas a regelui Carol I. 7 Atunci, n Palatul Artelor i la Arenele Romane, precum i la defilrile de pe strzile capitalei, cu conducturi etnografice impresionante, costumul tradiional a fcut senzaie. Participarea masiv la acest eveniment a colilor, parohiilor, a primriilor, instituiilor i comunitilor romneti din toate provinciile istorice a oferit prima ocazie de a fi ntrunite dovezile etnografice ale unei societi unite. Expoziia din 1906 a stimulat n mod radical prezervarea costumului autentic, comisarul general Dr. C. Istrati publicnd dup nchiderea ei un (1907), cu sugestii i propuneri pentru valorificarea tezaurului popular. Acesta a fost completat de arhitectul George Sterian, autor al lucrrii (Institutul de Arte Grafice Carol Gbl, Bucureti, 1907), lucrare de lucid analiz asupra strii muzeografiei romneti. n urma expoziiei, cu numeroasele obiecte trimise aici, s-a ntemeiat (azi Muzeul Naional al ranului Romn), ocazie cu care Al. Tzigara Samurca cerea .8 Dup Primul Rzboi Mondial societatea romneasc a fost confruntat cu un amplu proces de modernizare, care a avut ca efect mutaii radicale n raportul sat-ora. Schimbrile n plan economic s-au datorat ndeosebi capitalului, care a transformat structural societatea arhaic, impunnd industrializarea i modernizarea infrastructurii odat cu civilizaia urban. Dup reforma agrar (1921), care a determinat schimbri economice i sociale n statutul, rolul i starea rnimii, aceast nou i corect atitudine fa de portul popular s-a manifestat i la nivel instituional. Societatea etnografic romn, coala istoric i cea sociologic au dezvoltat strategii i programe ce aveau ca obiectiv satul, rnimea i evoluia acestora spre modernitate. Intelectuali grupai n jurul unor savani de renume ca Nicolae Iorga, Simion Mehedini, George Vlsan, Dimitrie Gusti, Tache Papahagi, Romulus Vuia, Grigore Antipa .a. au atras atenia asupra excepionalelor transformri ce aveau loc n viaa satului,

Provinces starting with the 14 century to date6 . In 1906, on the occasion of staged in the st Carol 1 Park in Bucharest, an exceptional event attended by a large number of Romanians and foreigners coming both from the kingdom and outside it, the achievements obtained by Romanians under the 40 year-long prosperous st and glorious reign of King Carol 1 7 were appreciated. Then, in the Arts Palace and at the Roman Arenas, as well as at the parades of impressive ethnographic outfits in the streets of the capital, the traditional costume caused a stir. The large participation in that event of Romanian schools, parishes, town halls, institutions and communities from all historical provinces was the first occasion for the ethnographic proofs of a united society to be brought together. The 1906 exhibition radically stimulated the preservation of the authentic costume; after the exhibition was closed, Dr. C. Istrati, who was in charge of the park lay out, published a (1907) including suggestions and proposals to make best use of the folk treasury. The latter was completed by architect George Sterian, author of the work (The Carol Gbl Institute of Graphic Arts, Bucharest, 1907), a lucid analysis of Romanian museography. After the exhibition, the (the presentday Romanian Peasant Museum) was set up with the numerous items sent there. On that occasion, Al. Tzigara Samurca asked that After World War I, the Romanian society was confronted with a large-scale modernization process, which triggered sweeping mutations in the village-town relationship. The economic changes were due particularly to the capital, which structurally transformed the archaic society, imposing industrialization and the upgrading of infrastructure with the penetration of urban civilization. After the land reform (1921), which sparked economic and social changes in the status, role and condition of the peasantry, that new and correct attitude towards the folk wear was manifest institutionally too. The Romanian Ethnographic Society, the historical school and the sociological one developed strategies and programmes whose goal were the village, the peasantry and their evolution towards modernity. Intellectuals rallying around such renowned scientists as Nicolae Iorga, Simion Mehedini, George Vlsan, Dimitrie Gusti, Tache Papahagi, Romulus Vuia, Grigore Antipa and so on drew attention
Un parc centenar. Parcul Carol I

th

n cultura i creaia popular. Portul tradiional mai era nc purtat de o covritoare parte a populaiei Romniei, fenomen care marca n mod definitoriu identitatea comunitilor steti i a indivizilor. n expoziiile postbelice, costumul i are locul su privilegiat: la (Parcul Carol, 11 septembrie - 2 octombrie 1921), panoul central cuprindea portretul a lui Grigorescu, anturat de o suit de costume populare purtate de rani n Istria, Macedonia, Banatul srbesc i chiar n SUA! La de la Monza-Italia (mai 1923), George Murnu a cerut ca din pavilionul romnesc s nu lipseasc scoarele i costumele istorice. Prezena costumelor n pictur, sculptur i grafic, la toate expoziiile universale din perioada interbelic bineneles i la cea de la New York, din 1939 ca i n ocaziile oficiale a devenit o regul, cu att mai mult cu ct Regina Maria i familia regal le purtau cu mndrie. Coleciile importante le numim pe cele iniiate de Lucia, Minerva i Hortensia Cosma, Ana Lahovary, Andrei Orosz, Florica Berindei, Sabina Cantacuzino, Eliza Brtianu, Aglae Istrati, Maria Ghibu .a. deveniser repere pentru creatorii de art popular. n toate liceele din ar, asemenea colecii au constituit obiective ale procesului educativ, iar la serbrile publice existau prezentri ale costumului tradiional. ncepnd cu mandatul lui Octavian Goga (1919) i n cele repetate ale lui Alexandru Lapedatu, Ministerul Cultelor i Artelor a acordat sume importante pentru achiziionarea de colecii i piese de port popular romnesc i ale diferitelor etnii, pentru muzeele din toate provinciile istorice. n acest context, elita rural a cutat s salveze i s tezaurizeze ceea comunitatea steasc avea mai durabil i semnificativ. Echipe interdisciplinare, coordonate de profesorul Dimitrie Gusti, au constituit i dezvoltat valoroase colecii de port popular, n urma cercetrilor de teren. Ca urmare a interesului manifestat fa de cultura popular, au aprut lucrri de referin n domeniu, semnate de Nicolae Iorga ( ), Olga Greceanu, George Oprescu ( ), Elisa Brtianu ( ) .a. Artiti valoroi C. Baba, I. Jalea, I. Iser, D. Ghia, Tr. Biliu Dncu, Vida Geza, Nagy Imre .a. au ilustrat n opera lor costumul popular. Dup cel de al Doilea Rzboi Mondial transformarea satului a ieit din matca unei evoluii fireti. Odat cu modelul strin, sovietic, comunismul a instituit un nou regim al proprietii asupra pmntului, colectivizarea forat i educaia ateist. Aceste schimbri au avut efecte

to the exceptional changes taking place in the village life, in the folk culture and creation. The traditional wear was still worn by a large part of Romanias population, a phenomenon which marked the identity of the village communities and people in a defining way. The costume holds a privileged place in the post-war exhibitions: at the (The Carol Park, September 11th- October 2nd 1921), the central panel featured Grigorescus portrait , surrounded by a string of folk costumes worn by peasants in Istria, Macedonia, the Serb Banat and even in the USA! At the in Monza Italy (May 1923), George Murnu demanded that carpets and historical costumes be also displayed at the Romanian pavilion. The presence of costumes in painting, sculpture and graphic art, at all world exhibitions in the inter-war period of course at the New York exhibition of 1939 too as well as on formal occasions became a rule, all the more so as Queen Marie and the royal family were proud to wear them. The important collections those initiated by Lucia, Minerva and Hortensia Cosma, Ana Lahovary, Andrei Orosz, Florica Berindei, Sabina Cantacuzino, Eliza Brtianu, Aglae Istrati, Maria Ghibu and so on had become landmarks for folk art creators. In all high schools in the country, such collections were the target of the educational process and at public festivals there were presentations of the traditional costume. Starting with the mandate of Octavian Goga (1919) and with the recurrent ones of Alexandru Lapedatu, the Ministry of Religious Denominations and the Arts spent large sums of money on the purchase of folk wear collections and garments of Romanians and of various ethnic groups for museums in all historical provinces. In this context, the rural elite tried to save and amass all lasting and significant artefacts that the village community had. Interdisciplinary teams coordinated by professor Dimitrie Gusti put together and developed valuable folk wear collections in the wake of field research. As a result of the interest taken in folk culture, reference works in the field came out, signed by Nicolae Iorga ( , Olga Greceanu, George Oprescu ( ), Eliza Brtianu ( ), etc. Outstanding artists C. Baba, I. Jalea, I. Iser, D. Ghia, Tr. Biliu Dncu, Vida Geza, Nagy Imre and so on illustrated the folk costume in their works. After World War II, the transformation of the village was no longer subject to a natural evolution. After the Soviet model, communism put in place a new regime of land

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dezastruoase pentru viaa tradiional. Ca urmare, a avut de suferit i costumul popular, care i-a pierdut poziia i rangul de reprezentare n comunitile rurale. Portul popular a rmas doar apanajul unor grupuri conservatoare, mai ales al locuitorilor din aezrile de deal i munte n Maramure, Bucovina, Oa, Munii Apuseni, nordul Olteniei i Banatul montan , acolo unde colectivizarea i industrializarea forat nu au reuit s ptrund. Portul popular a continuat s fie meninut i promovat prin cooperaia meteugreasc i preferat n serbrile colare, la concursuri i festivaluri, iar din anii 60 prin televiziune. Fenomenul i-a adus uneori servicii, dar i deformri stilistice, interpretri neprofesioniste i greeli vdite, care i-au alterat autenticitatea. Treptat costumul tradiional i-a pierdut poziia ntro competiie inegal a uniformizrii vestimentare, accentuat de curente, mode i gusturi, care au schimbat mentalitile oamenilor. Doar muzeele au reuit n ultimele decenii s salveze o parte important din tezaurul costumului tradiional, punndu-l la adpost pentru conservarea memoriei istorice, ca mrturie a unei arte excepionale. Lucrarea de fa este remarcabil prin efortul asumat de autori, de a restitui caracteristicile specifice diferitelor costume. Fiecare grup etnic are parte de o corect prezentare n principalele momente de via, cnd se folosete costumul tradiional. Sigur c n acest demers pot fi identificate diferene de fond i de detaliu , preferinele fiecrui grup pentru anumite forme, materiale, culoare, croi. De asemenea, se fac remarcate multe influene i mprumuturi, n ceea ce privete similitudinile ntre diferite componente ale costumului popular romnesc i ale altor etnii. Convieuirea romnilor cu celelalte minoriti, de-a lungul timpului, a fost nsoit de un proces firesc de interculturalitate. Creatorii populari au mprumutat unii de la alii tipuri de croi, cromatic, broderie, motive i simboluri de ornamentaie a costumelor. n acelai timp, ei au pstrat caracteristicile tradiionale ale propriului costum: specificitatea, originalitatea i autenticitatea. Plecnd de la suita de piese reprezentative cu care este ilustrat lucrarea, cei interesai pot gsi noi argumente pentru corecta evaluare a splendidului port tradiional sau pentru diferite forme de valorificare cultural. Drag cititorule, cartea de fa reprezint un dar preios pe care ni-l fac autorii, privind bogia culturii populare strvechi, exprimat n portul popular din Romnia. Dr. Ioan Opri

ownership, forced collectivization and atheistic education. Those changes had a disastrous impact on traditional life. They also had a negative effect on the folk costume, which lost its position as a landmark in the rural communities The folk wear remained only the appanage of conservative groups, mainly of inhabitants in the hilly and mountainous localities in Maramure, Bukovina, Oa, the Apuseni Mountains, Northern Oltenia and the mountainous Banat - , where forced collectivization and industrialization had not been carried out. The folk wear continued to be maintained and promoted through the handicraft cooperative system, being preferred at school feasts, competitions and festivals and in the 1960s, on TV. Sometimes, the phenomenon proved beneficial to it, but it also brought about stylistic distortions, unprofessional interpretations and obvious mistakes, which altered its authentic character. The traditional costume gradually lost its position in an unequal competition of clothing standardization, enhanced by trends, fashions and tastes, which changed peoples mentalities. In the last few decades, only museums have managed to save an important part of the traditional costume treasury, placing it in safety for the conservation of historical memory, as a testimony of an exceptional art. This work is remarkable through the effort assumed by the authors to restore the characteristics of various costumes. A correct presentation of each ethnic group is made in the main moments of life when the traditional costume is used. Certainly, one can identify differences in this undertaking fundamental and detail-related ones the preferences of each group for certain forms, materials, colours, tailoring. One can also note a lot of influences and borrowing in terms of similarities between various components of the folk costume of Romanians and the ethnic groups. The Romanians coexistence with the minorities over time has been accompanied by a natural process of interculturalism. Folk artists have borrowed from one another types of tailoring, chromatics, embroidery, motifs and symbols of decorating costumes. Moreover, they have preserved the traditional characteristics of their own costume: specificity, originality and authenticity. Starting from the series of representative garments illustrating the work, those concerned can find new arguments for the correct evaluation of the splendid traditional wear or for various forms of cultural capitalization. Dear reader, this book is a precious gift which the authors give us regarding the wealth of the old folk culture featured by the folk wear in Romania. Dr. Ioan Opri

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Mrturiile arheologice atest c teritoriul actual al Romniei a fost locuit nentrerupt din paleolitic pn n prezent. Cu mai bine de dou mii de ani din urm, erau cunoscui ca locuitori ai acestui pmnt daco-geii, care au ntemeiat un stat condus de regele Burebista. Ca urmare a politicii sale dinamice, acesta era considerat de Strabon c ajunsese s fie temut i de romani. Istoria consemneaz un alt mare rege, Decebal, care a consolidat statul dac i a purtat stindardul cu cap de lup al dacilor n rzboaiele daco-romane din anii 101-102 i 105106, rzboaie ce au marcat antichitatea. Monumentul ridicat de mpratul Traian la Roma este mrturia cea mai important a vitejiei locuitorilor din inuturile Romniei de azi. Pe coloan sunt cioplite nu numai chipuri de daci n atitudini de lupt i arme, dar este nfiat i portul populaiei locale. Bluzele femeilor dace sunt la fel cu iile rncilor romnce, iar cmile i iarii brbailor sunt asemntoare cu cele purtate i astzi la ar. Se susine c n anii de sub ocupaia Imperiului Roman (106-275), n sudul rii a nceput cretinarea populaiei, 1 primele predici fiind inute chiar de ctre Apostolul Andrei. n izvoarele scrise sunt menionai muli martiri i clerici locali care s-au jertfit pentru credina ntru Hristos. Au urmat secolele grele n care aceste pmnturi au

Archaelogical finds testify that the present-day territory of Romania has been inhabited uninterruptedly from the Paleolithic Age to date. More than two thousand years ago, the GetaeDacians were the inhabitants of this land, who founded a state led by King Burebista. As a result of his dynamic policy, Strabo wrote that he ended up by being feared by the Romans too. History mentions another great king, Decebalus, who consolidated the Dacian state and carried the Dacian flag with the wolf head in the Dacian-Roman wars of 101-102 and 105-106, wars that marked the ancient times. The monument raised by Emperor Trajan in Rome is the most important testimony to the bravery of the inhabitants on the places of todays Romania. Scenes on the column feature not only Dacians in combat positions and their weapons, but also the folk wear of the local population. The Dacian womens blouses are the same as the ii1 of Romanian women peasants and the mens shirts and iari2 are similar to the ones worn in the countryside today too. They say that the Christianization of the population started in the South of the country during the occupation of the Roman Empire (106-275), the first sermons being preached by Apostle Andrew himself. Written sources mention many local martyrs and clerics who sacrificed themselves for their faith in Jesus Christ. There followed hard years when these lands were invaded by migratory tribes: the Goths around the year 300, the Huns and the Visigoths in 376, the Slavs in the 6th century, the Avars in 576, the Bulgarians in the 7th century, the Petchenegs in 890, the Hungarians in the 9 th-12th centuries, the Cumans in the 11 th century, the Tatars, starting with 1241. Some of them moved on, others settled in some of the Dacian territories, but most of them merged with the locals, disappearing from history. The Romanian traditional communities were well-

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fost invadate de migratori: goii n jurul anului 300, hunii i vizigoii prin 376, slavii n secolul VI, avarii n 576, bulgarii n secolul VII, pecenegii pe la 890, ungurii n secolele IX-XII, cumanii n secolul XI, ttarii ncepnd cu 1241. Unii dintre acetia au plecat mai departe, alii s-au aezat ocupnd pri din teritoriile dace, dar cei mai muli au disprut din istorie integrndu-se printre localnici. Comunitile tradiionale romneti au fost structuri bine nchegate, care funcionau pe baza unor reguli clar stabilite, ansamblul de norme i obiceiuri reprezentnd esena identitii lor etnice. Limba romn, unitar n toate inuturile locuite de romni, dovedete vechimea i vigoarea unui popor greu ncercat de istorie, care a rezistat prin timp. Limba, miturile, tradiiile, obiceiurile i portul arat unitatea de cultur a romnilor. Conform recensmntului din 2002, numrul romnilor este este de 19399597 (89,5% din populaia rii). Obiceiurile de munc practicate n satul romnesc tradiional sunt prezente nc n satul contemporan, ndeosebi cele legate de creterea oilor alctuirea turmei, plecarea n transhuman sau la stn i ntoarcerea n sat. Sensul iniial al acestor obiceiuri era unul economic i normativ asocierea cresctorilor de oi asigurndu-le acestora anumite drepturi. Momentele plecrii i ntoarcerii oierilor erau marcate de petreceri la care participa ntreaga comunitate. Se preparau mncruri tradiionale, dintre care nu lipsea balmoul - mmliga fiart n lapte i unt sau mieii fripi la proap. Srbtoarea, numit i , i pstreaz i azi funcia social, dar i pe cea magic, diversitatea bucatelor pregtite invocnd viitoarea abunden a produselor pastorale (miei, lapte, brnz, carne, ln). Rmnnd n continuare n domeniul vieii pastorale amintim , forme de petrecere cmpeneasc popular, pomenite n documente nc din anul 1373 (cnd s-a consemnat muntele Nedeii). La aceste nedei se adunau locuitorii de pe versanii Carpailor, prilej cu care se realizau schimburi economice i culturale, iar tinerii pstori puteau s cunoasc fete pentru a se cstori. n timpul petrecerii oamenii luau contact cu portul, obiceiurile i cntecele celor de peste munte, ceea ce a asigurat pn astzi, cnd satele i in nc srbtorile lor, conservarea unitii economice, culturale i etnice a poporului romn. Legat de ocupaiile pastorale, unul dintre obiceiurile foarte vechi, care se pstraz i astzi n Carpaii Meridionali este , ce cunoate o diversitate de manifestri de la o zon la alta a rii. Aprut iniial ca form de organizare a oierilor, cu funcii precise de iniiere a tinerilor, aprare, disciplinare i de jude, aceasta a cptat n timp caracteristicile unei

defined structures functioning according to c l e a r l y established rules, the package of norms and customs representing the essence of their e t h n i c identity. T h e Romanian language, which was 2 unitary in all Romanian-inhabited lands, proves the old age and vigour of a nation hard tried by history, that has resisted over time. The language, myths, customs and folk wear point to the Romanians cultural unity. According to the 2002 census, there are 19,399,597 Romanians (89,5%). The labour customs practiced in the Romanian traditional village are still present in the contemporary village, mainly those related to sheep breeding, flock formation, the moving of flocks to alpine pastures or to the sheepfold and their return to the village. The initial meaning of those customs was an economic and normative one the association of sheep breeders, which provided them with certain rights. The shepherds departure and return were marked by parties in which the entire community participated. Traditional dishes were prepared, always including balmoul polenta boiled in milk and butter- or spitted lamb. The festival called keeps its social function even today, as well as the magical one, the diversity of the food cooked invoking the future abundance of pastoral products (lambs, milk, cheese, meat, wool). Hanging on to pastoral life, let us mention , pastoral festivals documented as early as 1373 (when Nedeia Mount was mentioned). The would rally inhabitants from the slopes of the Carpathian Mountains, an occasion for economic and cultural exchanges and for young shepherds to meet eligible girls. During the party, people got to know the folk wear, customs and songs of the mountain people, which has ensured the conservation of the Romanian peoples

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organizaii militare populare. Astzi srbtoarea se manifest mai ales ca parad clare a costumelor populare. Cea mai cunoscut este cea a (foto 2), activ n preajma Bunei Vestiri, a Floriilor i a Patilor. Costumul tradiional era format dintr-o cma alb pn deasupra genunchilor, fr guler, cu mnecile lungi i largi. Junii purtau cioareci albi strni pe picior i erau nclai cu opinci sau cisme. La bru aveau erpare late, ghintuite, n care ineau pistoale. Pe cap purtau plrii cu borul larg i calota rotund. Pe timp friguros mbrcau sarici i sumane. Printre obiceiurile de peste an, de asemenea foarte vechi, (foto 1) este semnificativ i deosebit de spectaculos. Juctorii (n numr de 7, 9 sau 11) se adunau i jucau ntre nlare i Rusalii, dansul lor avnd funcia magic de a-i nsntoi pe cei bolnavi, a alunga bolile i a-i proteja pe oameni de forele malefice. Costumai cu plrii negre cu borurile late, cmi albe i cioareci pe picior, tivii cu iret negru sau albastru, ei purtau n talie un bru lat cu ciucuri iar n picioare opinci legate cu nojie. Deosebit de variate, dar foarte importante pentru simbolistica lor sunt obiceiurile legate de ciclul vieii , , (foto 3) i , momente n care individul se afl n centrul ateniei ntregii comuniti, n cadrul unor ritualuri specifice. n marea lor majoritate cretini-ortodoci, romnii prznuiesc cu deosebit credin i . Srbtoarea , 25 decembrie, semnific naterea lui Iisus, fiind n primul rnd o srbtoare a familiei. Credincioii in post cu ase sptmni nainte, casa este curat, se taie porci iar gospodinele pregtesc mncruri tradiionale: crnai i caltaboi, tob i lebrvurst, colaci i cozonaci. Cete de colindtori trec din cas n cas, urnd gospodarilor sntate i belug i rostind un repertoriu impresionant de cntece nchinate naterii lui Iisus.

economic, cultural and ethnic unity up to now, when the village festivals are held. Related to pastoral occupations, one of the very old customs, still preserved in the Southern Carpathians today is the including a diverse range of events from one zone of the country to another. Initially conceived as a form of the shepherds organization, with precise functions of initiation of young men, defense, accustoming to discipline and judgment, over time, it has acquired the characteristics of a peoples military organization. Today, the festival is mainly a parade of young men on horseback dressed in folk costumes. The best-known is the festival of the (photo 2), held prior to Annunciation, Palm Sunday and Easter. The traditional costume was made up of a white longer than knee length shirt, without a collar, with long and large sleeves. They would wear white cioareci 3 tight on the legs and would put on opinci 4 or high boots. They were girdled with broad, studded money belts, in which they kept their pistols. As headdress, they would wear hats with broad brims and a round calotte. In winter, they would put on sarici5 and sumane6 . Of the customs practiced over the year, the (photo 1), which is also very old, is significant and quite spectacular. Dancers (7, 9 or 11) would get together and dance between Ascension and Whitsuntide, their dance having the magical function of curing the sick, warding off diseases and protecting people against evil forces. Wearing black broadbrimmed hats, white shirts and cioareci tight on the legs, hemstitched with black or blue string, they were girdled with a broad belt with tassels and they had opinci with laces tied around their feet. The customs linked to the cycle of life (photo 3) , are quite varied and very important for their symbols, as moments when a person is in the centre of the entire community, as part of specific rituals. Being predominantly Orthodox Christians, the Romanians celebrate and with a great faith. Christmas Day, December 25 th, signifies Jesus Christs birth, being primarily a family holiday. Believers fast for six weeks before Christmas, the house is cleaned, pigs are killed and housewives prepare traditional dishes: sausages and black pudding, thick sausages and liver sausages, knot-shaped bread and pound cakes. Groups of carolers go from house to house, wishing the masters of the houses good health and abundance and singing an impressive repertoire

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Zilele sfinte de Crciun sunt urmate de srbtorile cnd grupuri de copii i tineri umbl pe la gospodari cu (foto 5) i cu (foto 4), pentru a le ura ca anul s fie panic i roditor. Odat cu venirea primverii, credincioii se pregtesc pentru Pati, srbtoare cu dat mobil, care cade ntotdeauna ntr-o zi de duminic n care este lun plin. Patii reprezint esena credinei ortodoxe: Iisus s-a jertfit pentru mntuirea oamenilor, iar nvierea Lui ne d sperana n propria noastr nviere spiritual. Pentru a sublinia importana i solemnitatea momentului, credincioii merg la slujba de Inviere i i aprind lumnrile la miezul nopii, de la preoi. Aceast lumin din lumin adus de la Mormntul Sfnt este dus acas, trecut prin toate ncperile, stins apoi de tocul uii, unde se face semnul crucii. Acest ritual va proteja n momentele de cumpn pe cei care triesc n cas. Pentru a cinsti srbtoarea Patilor gospodinele coc pasc, cozonaci i pregtesc mielul. n unele sate din Bucovina i Transilvania se coace un miel din aluat, ntr-un vas n form de miel, care mpreun cu pasca i oule roii reprezint n imaginarul colectiv pe Domnul Nostru Iisus Hristos. (n Europa este nc vie aceast tradiie a mielului pascal din coc n Frana, Germania, Olanda, Polonia). n unele locuri, n noaptea nvierii, se fcea un foc mare n curtea bisericii, pe care oamenii l vegheau cu sperana c cerul se deschide i le mplinete dorinele. n prima zi de Pati, femeile pun ntr-un co (dup obiceiul locului) pscue, sare, ou roii sau ncondeiate, o bucat de slnin, crnai, o sticl cu vin rou i o lumnare, acoperite cu un tergar, cu care se duc la biseric pentru a fi sfinite i aezate apoi pe masa de prnz. Prin tradiie, se spune c Maica Domnului, dup nviere, a fost prima care a druit un ou rou i o pscu, zicnd: . Urarea, la care se rspunde: 4

of songs devoted to Jesus Christs birth. The holy Christmas days are followed by the New Year celebrations, when groups of children and youths go to peoples houses with (photo 5) and the (photo 4) to wish them a peaceful and fruitful year. With the coming of spring, believers get ready for Easter, a 5 holiday whose date is flexible, always celebrated on a full moon Sunday. Easter is the essence of the Orthodox faith: Jesus Christ sacrificed himself for peoples salvation and His Resurrection gives us hope in our own spiritual resurrection. To highlight the importance and solemnity of the moment, believers light candles from the priests at midnight. This light from light brought from the Holy Tomb is carried back home, taken to all rooms and then put out on the doorframe, where the sign of the cross is made. This ritual will protect those living in the house at hard times. To honour Easter, housewives bake pasc9 , pound cakes and cook the lamb. In some villages in Bukovina and Transylvania, they bake a lamb of dough, in a lamb-shaped pot, which together with the pasc and the red-painted eggs stands for our Lord Jesus Christ in the collective imagination. (In Europe, this tradition of the Easter lamb of dough is still alive in France, Germany, Holland, Poland). In some places, on Resurrection night, they would make a big fire in the churchyard, and people would watch over it in hopes that the sky will open and will fulfil their wishes. On Easter Sunday, (according to the local custom), women put in a basket little pascas, salt, red-painted eggs, a piece of lard, sausages, a bottle of red wine and a candle, covered with a towel, which they carry to church to be blessed and then put on the table for lunch. According to tradition, after Resurrection, Virgin Mary is said to have been the first to give out a redpainted egg and a little pasc, saying : . The greeting, to which the answer is: is uttered for forty days, until Ascension. Easter coincides with the revival of nature. On those

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se folosete vreme de patruzeci de zile, pn la nlare.

coincide cu renaterea naturii. In aceste zile oamenii se nnoiau i se mndreau cu hainele i nclrile noi cu care mergeau n duminica Patilor la biseric. Fetele gtite de srbtoare i ateptau pe feciori cu udatul (s fie stropite cu ap sau colonie, semnificnd purificare i sntate). Apoi se adunau n mijlocul satului i jucau la hor (foto 6) sau se nvrteau n scrnciob. (un fel de Sf. Valentin occidental), numit i este srbtorit pe 24 februarie, ca ocrotitor al ndrgostiilor. Imaginarul colectiv l nfiaz ca pe un flcu tnr i voinic, fiu al . n aceast zi fetele i bieii merg la pdure i culeg primii ghiocei aprui de sub zpad. O alt srbtoare de primvar este , cnd se druiesc copiilor, fetelor i femeilor, mrioare. n satul tradiional a existat mai nti doar nurul, fcut din dou fire de ln, unul alb i unul rou. l purtau femeile i copiii la gt sau la mn, dar se lega i la coarnele animalelor, la intrarea n grajd i se aga n pomi. La ora i s-a adugat un ban de aur sau de argint, sau mici nsemne norocoase: trifoiul cu patru foi, inimioara, animale miniaturizate etc. Purtat toat luna martie, mriorul semnific protecia fa de boli i necazuri. Ziua de 24 iunie este srbtorit ca ziua zne bune care zboar noaptea prin vzduh i aduc oamenilor noroc, sntate i bogie n hambare. Fetele i femeile i mpletesc coronie din flori de Snziene iar uneori, florile sunt purtate la cingtoare pentru a ocroti de dureri de spate. Asemenea obiceiurilor i ritualurilor laice i religioase, portul popular este parte integrant a culturii populare, constituind un adevrat document viu al trecutului. Portul romnilor, n general, dar mai ales cel de srbtoare este relativ diferit de la o zon etnografic la alta, totui unitar n ansamblul su. Materialele folosite, croiul, cromatica, modul de decorare, broderiile i accesoriile (catarame, podoabe) sunt create cu fantezie i buncuviin, remarcabile prin diversitate i, n acelai timp, prin unitatea lor. Documente importante despre costumul popular romnesc sunt fotografiile de epoc i desenele pictorului Carol Pop de Szathmary, primul fotograf de art i

days, people would get new clothes and footwear and were proud of them, wearing them on Easter Sunday when going to church. Dressed up to the nines, girls would wait for the lads to sprinkle them with water or eau-de-Cologne, signifying purification and good health. Then, they would get together in the middle of the village and dance the hora10 (photo 6) or swing in the swing. (a sort of Western St. Valentine), also called is celebrated on February 24th , as the lovers protector. Collective imagination features him as a young and stout lad, son of . On that day, girls and boys go to the woods and pick the first snowdrops coming out of the snow. Another spring holiday is , when March Amulets are given to children, girls and women. In the traditional village, in the beginning, there was only the cord made of two woollen threads, a white one and a red one. Women and children would wear it around the neck or on the wrist, but it was also tied to the horns of the cattle, when they went into the stable and was hung on trees. In town, a gold or silver coin added up or small lucky items: a four leaf clover, a little heart, miniature animals, etc. Worn throughout March, the March amulet symbolizes protection against diseases and troubles. June 24th is celebrated as the day of good gold-haired fairies flying in the air at night and bringing people good luck, good health and abundance in barns. Girls and women make Bedstraw coronets and sometimes, they wear the flowers at the girdle to protect them against back pain. Just like lay and religious customs and rituals, the folk wear is an integral part of folk culture, being a real living document of the past. The Romanians folk wear in general, but especially the festive one is relatively different from one ethnographic zone to another, yet it is unitary as a whole. The materials used, the tailoring, the chromatics, the decorative design, the embroideries and accessories (buckles, jewels) are full of fantasy and decency, remarkable through their diversity and at the same time, their unity. Important documents about the Romanian folk costume are the period photos and drawings of painter Carol Pop of Szathmary, the first art photographer and documentary-maker in the Romanian Kingdom. Later, the works of painters Gheorghe Tattarescu, Nicolae

16

documentarist din Regatul Romn. Mai trziu, lucrrile pictorilor Gheorghe Tattarescu, Nicolae Grigorescu, George baron Lovendal, constituie mrturii valoroase despre viaa i portul romnilor. n acelai sens trebuie evocai i M. Bouquet, Lancelot, W. Kramner, Prezziosi, care au imortalizat n capodoperele lor chipuri ale ranilor romni n diferite costume populare. Chiar i cunoscutul pictor impresionist francez, Henry Matisse, a fost atras de frumuseea cromatic a iei romneti, pe care a pictat-o n 1940. Transmiterea ctre generaiile viitoare a tradiiilor, a meteugurilor, a costumului popular au fost asumate de Regii i Reginele Romniei ncepnd cu Carol I, fondatorul Muzeului de Art Naional. Membrii Familiei Regale a Romniei (photo 7, 8, 9 - reginele Elisabeta, Maria, Elena) s-au fotografiat adesea n costume populare i le-au purtat cu ocazia unor momente importante ale istoriei noastre, din iubire de ar.

Grigorescu, George baron Lovendal are valuable testimonies to the Romanians life and folk wear. Worth mentioning in this respect are also M. Bouquet, Lancelot, W. Kramner, Prezziosi, who in their masterpieces immortalized figures of Romanian peasants in various folk costumes. Even the well-known French impressionist painter Henry Matisse was attracted by the chromatic beauty of the Romanian ie, which he painted in 1940. Handing down traditions, crafts, the folk costume to the next generations was assumed by the Kings and Queens of Romania starting with Carol 1st, the founder of the National Art Museum. The members of the Royal Family of Romania (photo 7, 8, 9 - the qeens Elisabeth, Marie, Helen) had their photos taken, dressed in folk costumes or wore such costumes at important moments of our history for love of this country. Today, the folk costume is worn particularly on

9 holidays by inhabitants of villages in the hilly or mountain areas in Northern Oltenia, Bukovina, Oa, Maramure and the Apuseni Mountains. Along with the customs and traditions of each and every community, folk costumes are the most lasting link with the past, being also signs of recognition of the community members and ways of estimating their social status and age. Costumes from a few ethnographic zones in the traditional Romanian regions have been selected to be presented: Muntenia (Muscel), Oltenia (Gorj), Banat (Lugoj), Transylvania (Trnave, Sibiu), the Cri Rivers Land, Maramure, Moldova (Bucovina, Neam), Dobrudja and a special chapter features the MacedoRomanians.

Costumul popular este purtat astzi, mai ales n zilele de srbtoare, de locuitori ai satelor aflate n zone de deal sau munte din Nordul Olteniei, Bucovina, Oa, Maramure i Apuseni. Alturi de obiceiurile i tradiiile fiecrei comuniti, costumele populare se constituie n cea mai trainic legtur cu trecutul, fiind n acelai timp mrci de recunoatere a membrilor colectivitii i modaliti de apreciere a strii sociale i a vrstei. Au fost alese spre prezentare costume din cteva zone etnografice ale inuturilor tradiionale romneti: Muntenia (Muscel), Oltenia (Gorj), Banat (Lugoj), Transilvania (Trnave, Sibiu), ara Criurilor, Maramure, Moldova (Bucovina, Neam), Dobrogea i un capitol a fost dedicat aromnilor.

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Romnii din Muscel

Costumul din zona Muscel este unul dintre cele mai spectaculoase, remarcabil prin distincie i rafinament. Costumul de femeie se nscrie, ca tipologie, n costumul cu fot i se compune din cma, fot, bru i bete. Cmaa este lucrat din pnz cu margini, esut n cas, din bumbac. Are mnecile largi, bufante i este brodat cu ruri foarte fine, care in din alti pn la marginea mnecii. Ornamentele sunt grupate n table (sau stuci) iar broderia se face cu fir metalic, lnic sau arnici negru, rou i mai nou albastru. Punctul de broderie n care se lucreaz este buclat punctul gras. Fota este lucrat din ln sau din bumbac i mtase, cu alestur de fir metalic. Ornamentele ei sunt tratate n stil geometric (vrgi la capete i o reea compact de romburi i romburi cu creste pe tot cmpul). Femeile se ncing n talie cu bru, peste care i pun betele nguste, alese n ochiuri. Marama mpodobete elegant capul femeilor mritate. Este o pies impresionant ca dimensiune i ornamentaie, n alestur fiind folosit foarte mult firul metalic auriu i argintiu. ntreaga pies este acoperit cu stilizri vegetale - vrejul cu frunze i flori sau buchete de flori. Brbaii poart cmaa esut din aceeai pnz din care se fac i cmile femeieti, iar din punct de vedere al croiului aceasta poate fi dreapt (btrneasc) sau cu platc (mai nou). Gulerul, poalele i marginea mnecilor sunt brodate cu arnici sau mtase alb (broderie compact, fir pe fir, dispus n benzi) i cu fir metalic. Peste cma poart o vest din dimie neagr. Pantalonii cioareci sunt fcui din dimie alb. n talie se ncing nti cu un bru din ln lucrat n ochiuri, peste care se pune chimirul lat din piele. i acoper capul cu plrie neagr sau cciul din blan de miel. Iarna, att femeile ct i brbaii poart pieptare din blan: femeile - mai lungi i despicate, brbaii - mai scurte i nfundate, brodate cu ornamente geometrice, cu arnici negru. De asemenea, poart haine din dimie de culoare neagr, numite zeghe sau zegheo. nclau ciorapi din ln, albi, peste care puneau opinci sau nclminte de influen oreneasc: femeile purtau pantofi iar brbaii bocanci.

The Romanians in the Muscel area

The costume in the Muscel area is one of the most spectacular, remarkable through its distinction and refinement. The female costume is typologically a costume with fot1 and is made up of a blouse, fot, a broad belt and bete2 . The blouse is made of hemmed fabric, homespun of cotton. It has large, puffed sleeves and is embroidered with very fine ruri3 from the alti 4 to the sleeve edge. The ornaments are grouped in table5 (or stuci) and the embroidery is made with metal thread, lnic 6 or black, red and more recently blue arnici 7 . The embroidery stitch used is the curly Qs stitch. The fota is made of wool or of cotton and silk, with metal thread alesatur 8 . Its ornaments are geometrical motifs (stripes at the ends and a compact network of rhombs and rhombs with a broken V line all over the area). Women are girdled with a broad belt, over which they put on narrow bete, warped in loops. The marama9 elegantly adorns the wives head. It is an impressive garment in terms of size and ornamentation, the golden and silvery metal thread being extensively used in alesatur. The entire headdress is covered with stylized vegetal motifs the creeping stalk with leaves and flowers or bunches of flowers. The male shirt is spun of the same fabric as the female blouses and in terms of tailoring, it can be straight (the old one) or with a yoke (the newer one). The collar, its lower part and the sleeve edges are embroidered with arnici or white silk (a compact, thread-on-thread embroidery displayed in bands) and with metal thread. Over the shirt, they wear a vest of black frieze. The trousers cioareci10 are made of white frieze. They are girdled first with a broad woollen belt made in loops, over which they put on a broad leather belt. They cover their head with a black hat or a lambskin cap. In winter, both women and men wear fur pieptare11 : the female ones are longer and open up front, the male ones are shorter and nfundate 12 , embroidered with geometrical ornaments of black arnici. They also wear coats of black frieze, called zeghe or zegheo. They would put on white woollen socks tucked into opinci 13 or footwear with an urban touch: women would wear shoes and men boots.

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Muzeul Naional al ranului Romn Costum romnesc din Muscel The National Museum of the Romanian Peasant Romanian costume in the Muscel area

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Gorjenii
Portul popular din Gorj se ncadreaz din punct de vedere decorativ i structural costumului oltenesc de la munte, compus din piese robuste cu ornamentaie specific. n aceast zon, femeile poart dou tipuri de costum: unul cu dou catrine, purtate una n fa i alta n spate iar cel de al doilea cu vlnic - influen venit din sud. Acesta impresioneaz prin amploarea pliseului i decorul policrom cu vrgi verticale (numit i zvelc crea) i este purtat mai ales n zilele de srbtoare. Costumul de femeie are cmaa ncreit la gt, cu broderii pe piept i pe mneci n sistemul: alti, ncre i ruri. n talie femeile se ncing cu un bru rou, iar cele mritate poart pe cap o vaporoas maram din borangic, numit n zon crp din borangic. Repertoriul ornamental al costumului oltenesc este variat - att cmaa i marama ct i catrina i vlnicul fiind decorate cu stilizri geometrice i florale. Brbaii au cmaa fie croit drept, cu mneca larg slobod, fie cu platc i mneca adunat jos n pumnai. Pantalonii, cioareci, sunt lucrai din dimie alb i ornamentai n dreptul buzunarelor cu gitane negre, brna, constituind piesa de rezisten a costumului schileresc. Brul rou, lat, este fixat de bete nguste, care marcheaz mijlocul. Remarcabil este i ilicul, lucrat din aceleai materiale i ntr-o tehnic asemntoare cu cioarecii. n anotimpul rece poart hain alb din dimie, cu clini, i cojoace din blan. Pe cap i pun cciul

The Gorj people

The folk wear in Gorj is part of the Oltenian mountain costume from a decorative and structural point of view, consisting of robust pieces with a specific ornamentation. In that zone, women wear two types of costume: one with two catrine 1 , one up front and the other at the back and the second with vlnic 2 - an influence from the South. The latter is impressive through its ample folds and the polychrome decorative design with vertical stripes (also called pleated zavelc) and is worn mainly on holidays. The blouse of the female costume is gathered at the neck, with embroideries on the chest front and on the sleeves: alti3 , ncre4 and ruri5 . Women are girdled with a red broad belt and wives wear a filmy maram6 of raw silk called raw silk crp in the area. The Oltenian costume boasts a varied ornamental range both the blouse and the marama as well as the catrina and the vlnic being decorated with stylized geometrical and floral motifs. The male shirt is either straight with a large, loose sleeve or with a yoke and the sleeve gathered in pumnai 7 . The trousers, cioareci 8 are made of white frieze and are decorated with black braids, brna in the pocket area, being the centerpiece of the schileresc costume. The red, broad belt is set with narrow strips marking the waist. The ilic 9 is also remarkable; it is made of the same materials and with the same technique as the cioareci. In winter, men wear a white frieze coat with gussets and long fur coats. They put on a black lambskin cap or a thick felt hat.
The Dimitrie Gusti National Village Museum Romanian costumes on the Gorj

Muzeul Naional al Satului Dimitrie Gusti Costume romneti din Gorj

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Ca i costumul popular din Gorj, cel din Romanaii se ncadreaz n tipologia zonei etnografice Oltenia, fiind renumit pentru frumuseea cojoacelor sale.

Just like the traditional costume of Gorj, the one in Romanai is in keeping with the types of the ethnographic zone of Oltenia, being renowned for its beautiful sheepskin coats.

Muzeul Naional al ranului Romn Costum romnesc din Romanai The National Museum of the Romanian Peasant Romanian costum on on the Romanai

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Bnenii
Portul bnenilor se distinge prin folosirea unui material preios - firul metalic auriu i argintiu - att la confecionarea opregelor, catrinelor, conciurilor ct i a broderiei speciale sarafola de pe ii. Costumul de femeie este spectaculos prin bogia i calitatea materialelor i prin echilibrul cromatic. Cmaa este lucrat din pnz alb cu vrgi din alestur, cinari i este ncreit n jurul gtului. Mnecile sunt ample i se termin la partea de jos cu un volan, fodor. Broderia este amplasat pe guler i este cusut pe dos, aiu, cu arnici negru i fir auriu. Pieptul cmii este decorat cu dou iruri de urzrele - stilizri geometrice dispuse n iruri verticale, iar mneca are o tblie brodat compact, urzariu, cu motive dispuse n ir, pe lungime, pene i o varg brodat de 1-2 cm lime, brar, care susine volanul. Trebuie subliniat faptul c atunci cnd cmile sunt brodate cu fir metalic se coase n punctul specific broderiei turceti, pe un suport din carton. Poalele, foarte largi, sunt lucrate din pnz alb i sunt decorate pe old cu custuri pe chici. Peste cma i poale se pune opregul n spate i catrina, n fa. Opregul este alctuit din petecul de opreg, esut n rzboi i cu ciucuri foarte lungi, policromi, prini de el. La alte oprege, care constituie o categorie special (a opregelor de bani), monezile sunt prinse compact, alctuind o adevrat plato. Acestea se armonizeaz cromatic i ornamental cu pieptarul i cu bogatele broderii ale conciului i ale mnecilor cmii. Catrina, orul, esut n cas, este ornamentat prin alestur n rzboi, ca i opregul, n aceeai tehnic i cu aceeai compoziie i se poart n fa. Este lucrat din ln de culoare roie, viinie sau neagr, ornamentat din alestur cu vrgi dispuse vertical. Uneori, catrinele erau alese cu fir metalic auriu sau argintiu. Pieptarul este lucrat din blan de oaie, ornamentat cu broderii cu fir de mtase, decupaje i bumbi din piele, pisari i oglinzi. Femeile mai purtau i haine din pnur de culoare alb sau vnt. La mijloc se ncingeau cu un bru din ln, ornamentat cu motive alese, policrome. Peste bru se punea brcira, esut tot din ln, ornamentat din alestur cu stilizri geometrice. Purtau prul n conci, susinut de o panglic peste frunte, srm. Fetele purtau capul descoperit, cu prul mpletit ntr-o coad lsat pe spate, n care i prindeau flori i bani de argint. Brbaii aveau cma alb, din pnz esut n cas, cu croi drept i mneca prins din umr, ncreit, pentru a-i da lrgime. Aceasta se termina la margine cu pumnari.

The Banat people

The Banat peoples folk wear stands out through the use of a valuable material the golden and silvery metal yarn for making oprege1 , catrine2 , conciuri3 as well as the special embroidery sarafola on the ii4 . The female costume is spectacular through the richness and quality of materials and the chromatic balance. The blouse is made of white fabric with stripes din alesatur5 , cinari and is gathered around the neck. The sleeves are large ending with a flounce, fodor on their lower part. The embroidery is displayed on the collar and is sewn on the back, aiu, with black arnici6 and golden thread. The chest front of the blouse is decorated with two strings of urzrele stylized geometrical motifs displayed in vertical rows, and the sleeve has a compactly embroidered area, urzariu, with motifs placed in a row, all along it, pene and a 1-2 cm wide embroidered stripe, brar, supporting the flounce. Noteworthy is that when the blouses are embroidered with metal thread, the stitch specific to Turkish embroidery is used on a cardboard prop. The poale7 , which are very large, are made of white fabric and are decorated on the hip with seams on chici 8 . Over the blouse and the skirt, they put on the opreg at the back and the catrina up front. The opreg is made of the opreg shred, woven on the loom, with very long, polychrome tassels, tied to the shred. With other oprege, falling into a special category (coin oprege), coins are tied compactly, making up a real armour. They match the pieptar9 in terms of colours and decorative design, as well as the rich embroideries of the conci and of the blouse sleeves. The catrina, the apron, which is homespun, is decorated prin alestur on the weaving loom, just like the opreg, the same technique and the same composition being used, and is worn up front. It is made of red, cherrycoloured or black wool, decorated din alestur with vertical stripes. Sometimes, the catrine were warped with golden or silvery metal yarn. The pieptar is made of sheepskin, decorated with silk embroideries, leather cutouts and buttons, pisari10 and oglinzi11. Women would also wear coats of white or violetblue pnur12 . They were girdled with a broad woollen belt, decorated with polychrome warped motifs. Over the broad belt, they would put on brcira13 woven of wool too, decorated din alestur with stylized geometrical motifs. As headdress, they would wear conci, supported by a ribbon on their forehead, srm14. Girls were bare-headed, with their hair braided into a pigtail hanging down the back, to which they would tie flowers and silver coins.

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Ornamentele erau fcute cu acul, din fir de bumbac alb pe alb, gulerul i pumnarii fiind ornamentai cu bombiu i cu nemoane. Mneca era ornamentat cu chee i abace, cioplica, iar la umr i pumnari era ncreit pe brar. Alt registru cu broderii mpodobea poala cmii, care era ornamentat cu tetur, fcut tot cu bumbac alb. Vara, brbaii purtau izmene din pnz esut n cas, cu broderii ca ale cmii iar n anotimpul rece, cioareci. Acetia, ca i vesta, chintuul, erau lucrai din pnur alb i decorai cu ornamente foarte bogate, fcute cu inoare mpletite din ln. Brul de ln de 25-30 cm lime era purtat la mijloc i peste el chimirul din piele prachia. Cojoacele lungi erau lucrate din blan de oaie, cu clini laterali pentru a avea lrgime i erau decorate ca i pieptarele femeieti, cu decupaje din piele. Brbaii purtau i haine din pnur, duru, vopsite n verde, cu o croial dreapt i ornamentate cu noare. Pe cap i puneau plrie sau cciul, clabui, de form uguiat.

Muzeul Naional al Satului Dimitrie Gusti Costume romneti din Banat The Dimitrie Gusti National Village Museum The Romanian costumes from Banat.

Men had a white, straight, homespun fabric shirt, with the sleeve tied to the shoulder, pleated to make it large. It ended with pumnari15 at its edge. The needle ornaments were of white on white cotton yarn, the collar and the pumnari being decorated with bombiu 16 and nemoane17. The sleeve was decorated with a chee18 and abace 19 cioplic and on the shoulder and the pumnari it was pleated on brar20. Another pattern of embroideries adorned the lower part of the shirt, which was decorated with tetur21 of white cotton. In summer, men would wear homespun fabric underpants, with embroideries similar to those on the shirt and in winter, cioareci22 . The latter, just like the vest, chintuul were made of white pnur and decorated with ornate adornments, made with wool knit inoare23 . The 25-30 cm wide woolen belt was worn around the waist and over it they would put on the leather belt, prachia. The long sheepskin coats had gussets on the sides rendering them large and were decorated just like the female pieptare with leather cut-outs. Men would also wear green-dyed, straight pnur coats, decorated with noare24. They covered their head with a hat or with a tapering fur cap clabui.

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Romnii de pe Trnave
Portul tradiional al romnilor din aceast zon este o dovad a interferenelor etnice care s-au produs de-a lungul timpului. n industria casnic textil au ptruns multe elemente aparinnd minoritilor cu care romnii au convieuit n aceste locuri. Costumul de femeie este compus din cma alb, lucrat din pnz esut n cas, ncreit la gt. Mneca ncreit din umr este marcat de broderii discrete i dantel industrial, aplicat pe mijloc. Mneca se termin cu o benti brodat la un fir iar spre margini broderia este fcut pe dos, pentru c se poart ntoars n volan, fodor. Cmaa are poalele ntr-una. Peste cma se pune, n spate, catrina esut din ln, ornamentat cu vrgi din estur i orul, surul, n fa, care are la poale broderii policrome dispuse n iruri (cercuri) iar pe margine, ciucuri policromi. Femeile mbrac pe deasupra un pieptar din blan de oaie, brodat cu ornamente delicate, stilizate geometric - flori, bucheele de cte trei flori etc. Deosebit prin elegan i ingeniozitate este gteala capului un tip de tergar vlitoare pus peste o crp roie i o toc circular, brobodelnic. Brbaii poart cmaa croit pe drept, cu clini, barburi, n fa i n spate, pentru a conferi lrgime poalelor, cu mneca pus din umr, care se termin cu manet, pumnari. Broderia policrom, deosebit de elegant datorit rafinamentului cromatic - rou, negru, galben, este concentrat pe guler, la rscroieli i pe barburi. Cmaa se poart pe deasupra cioarecilor din pnur alb, ornamentai cu un decor discret din bumbac negru, care se aplic pe custura cracilor i n zona manetelor (ntoarse atunci cnd sunt nclai n opinci). Peste cma brbaii poart pieptar nfundat, ornamentat cu stilizri florale fcute cu mtase policrom. i ncing mijlocul cu chimir lat de piele, iar pe cap i pun plrie din psl neagr, mpodobit pe calot cu berti i strmbule. Iarna mbrac haine din panur, zeghe, sau suman i i pun cciul din blan de miel. ncal cizme nalte, strnse pe picior.

The Romanians on the Trnave rivers

The traditional wear of the Romanians in that area is a proof of the ethnic interaction that has occurred over time. A lot of elements belonging to the minorities with which the Romanians have lived together in those places have penetrated into the domestic textile industry. The female costume is made up of a white, homespun fabric blouse gathered at the neck. The sleeve, which is creased on the shoulder, is marked by discreet embroideries and industrial lace, applied in the middle. The sleeve ends with a band embroidered along one thread and on its edges, the embroidery is made on the back because it is turned up in a flounce, fodor. The blouse is skirted in one piece. Over the blouse, women put on the catrina 1 woven of wool, decorated with warped stripes at the back and the apron, surul up front, which has polychrome embroideries in rows (circles) on its lower part and polychrome tassels on the fringes. Over the blouse, women put on a sheepskin pieptar 2 , embroidered with delicate, stylized geometrical ornaments flowers, bunches of three flowers, etc. The headdress is particularly elegant and ingenious a kind of kerchief, vlitoare put over a red kerchief and a circular toque, brobodelnic. Men wear a straight shirt with gussets, barburi up front and at the back to render its lower part large, with the sleeve tied to the shoulder, ending with a cuff, pumnari. The polychrome embroidery, which is quite elegant due to the chromatic refinement red, black, yellow is concentrated on the collar, the cut outs and the barburi. The shirt is worn over the cioareci3 of white pnur4 , with a discreet black cotton decorative design applied on the seam of the legs and in the turn up area (turned up when they are tucked into the opinci5 ). Over the shirt, men wear a pieptar that is nfundat6 and is decorated with stylized floral motifs made with polychrome silk. They girdle themselves with a broad leather belt and put on a black thick felt hat, trimmed on its top with berti and strmbule7 . In winter, they wear pnur coats, zeghe, or sumane8 and a lambskin cap. They put on high boots tight on the leg.

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Muzeul Etnografic Braov, Secia Gh. Cernea din Rupea Costume romneti de pe Trnave The Braov Ethnographic Museum, the Gh. Cernea Branch from Rupea Romanian costumes on the Trnave rivers

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Sibienii
Costumul din Mrginimea Sibiului, sobru i elegant, impresioneaz att prin delicateea broderiilor de pe cm i pieptar, ct i prin echilibrul cromatic dat de contrastul dintre albul i negrul materialelor folosite. Ca tipologie este alctuit din ie, poale, dou catrine, bru i acoperitoare de cap. Cmaa are ciupagul i mnecile ample i se ncadreaz tipului ncreit n jurul gtului, cu umera i ire pe mneci. Este confecionat din pnz cumprat de la ora, uneori fiind folosii doi stani sau doi stani i jumtate lime, pentru ca mneca s fie foarte bogat. Marginea mnecii este brodat pe dos pentru c se poart ntoars, cu roat. Stanii de pnz sunt unii prin chei fcut cu acul, din bumbac mercerizat sau mtase; o vrgu de broderie, umera sau alti, este amplasat la umr, alte dou iruri de broderie fiind dispuse pe lungimea mnecii. Broderia este de mare finee, fcut la un fir iar efectul estetic este sporit de contrastul alb al fondului cu negrul firului de ln sau de mtase cu care sunt realizate ornamentele. Peste cma femeile poart poale albe, largi (ncreite sau plisate), peste care este pus catrina, la spate, i orul negru, n fa - la costumele btrneti. La costumele noi se poart dou catrine din postav negru, brodate pe margini cu fir metalic sau dantel. n talie se ncing cu brul de ln, vrgat din alestur sau cu brul adus de ciobanii transhumani din zona Dobrogei, cunoscut ca brul turcesc. Btrnele i acopereau capul cu o broboad, vlitoare. Se purta i pahiolul, o maram din borangic, vrgat la capete, pe care femeia o aeza peste prul mpletit n dou cozi, legate pe cretetul capului. n anotimpul rece mbrcau pieptare nfundate, despicate, care se mai numeau i naionale, brodate cu arnici i mtase, i cojoace. De asemenea, purtau o hain din dimie specific zonei, undra, lucrat din pnur neagr, al crui croi impresiona prin cei 12 clini, care-i ddeau o form i o elegan aparte (era purtat numai de fete i nevestele tinere). Brbaii purtau cma cu clini n fa i n spate, barburi, care ddeau lrgime poalei i le permiteau s ndeplineasc diferite munci grele specifice stnii. Cmile de la costumul btrnesc erau fcute din pnz esut n cas, cu vrgue roii; la costumele noi pnza se cumpra de la ora. Cu excepia barburilor, cmaa este croit pe drept iar mneca este larg, prins din umr. Broderia este deosebit de fin, la fir, i const n cruciulie fcute cu acul, cu arnici. Este

The Sibiu people

The sober and elegant costume in Mrginimea Sibiului1 is impressive both through the delicate embroideries on the blouse and the pieptar2 and through the chromatic balance provided by the contrast between the black and white materials used. It is typologically made up of ie3 , poale4 , two catrine5 , a broad belt and headdresses. The blouse has an ample ciupag6 and sleeves and is gathered on the neckline, with umera7 and ire8 on the sleeves. It is made of fabric bought in town, two wide pieces or two and a half wide pieces being sometimes used, for the sleeve to be very large. The sleeve edge is embroidered on the back since it is worn turned up, cu roat. The fabric pieces are pinned together through a needle stitch of mercerized cotton or silk; an embroidered stripe, umera or alti9 is placed on the shoulder, two other strings of embroidery being displayed along the sleeve. The embroidery is very fine being made on a single thread and the aesthetic effect is enhanced by the contrast between the white background and the black wool or silk thread with which the ornaments are made. Over the blouse, women wear white, large poale (creased or pleated), over which they put on the catrina at the back and the black apron up front with old costumes. Newer costumes have two catrine of black cloth embroidered with metal thread or lace on the fringes. They are girdled with a woollen broad belt that is striped din alestur10 or with the broad belt brought by shepherds moving the flocks of sheep to and from the pastures from the Dobrudja region, known as the Turkish belt. Old women would cover their head with a kerchief, vlitoare. Women would also wear pahiolul, a thin red silk kerchief, striped at its ends, which they would put on their hair braided into two pigtails tied on top of the head. In winter, they would put on pieptare that were nfundate11 and open up front, also called nationals, embroidered with arnici12 and silk and cojoace 13 . They would also wear a coat of frieze specific to the area, undr, made of black pnur14 , whose tailoring was impressive through the 12 gussets, which gave it a special shape and elegance (it was worn only by girls and young wives). Men would wear a shirt with gussets up front and at the back, barburi, which rendered its lower part large and allowed them to do various hard works specific to the sheepfold. The shirts of the old costume were made of homespun fabric with little red stripes; the fabric for the newer costumes was bought in town.

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Muzeul Naional al ranului Romn Costume romneti din Sibiu The National Museum of the Romanian Peasant Romanian costumes in the Sibiu area

amplasat n jurul deschizturii pentru cap, pe conturul barburilor i la marginea mnecilor. Adesea, deasupra unuia dintre barburi (n fa) se coseau iniialele numelui celui care purta cmaa. Pantalonii, cioareci, erau fcui din dimie alb, croii pe picior i cu pav la tur pentru a da lejeritate n micri. Se purtau peste ghete sau n cizmele nalte, din piele neagr. Custurile erau fcute de mn, modelul numindu-se mieluei. Peste cma brbaii se ncingeau cu un chimir lat, din piele, care avea rolul de a-i proteja la efort. De obicei chimirul era ornamentat cu uvie din piele i bumbi de metal. Iarna, brbaii mbrcau cojoace care depeau talia (avnd aproape lungimea cmii) i bitua, un cojoc cu mnecile supradimensionate ca lungime, folosit mai ales de ciobani. Se purta cu blana n afar, pentru ca apa de ploaie sau zpada s se scurg foarte repede. Ciobanii o ineau pe umeri, adesea legnd gura mnecilor, n care i transportau diverse obiecte sau merinde. Vara purtau plrie din psl cu pereii mari, care a fost nlocuit apoi de plria cu bor mic, ce acoperea doar cretetul capului (cu decenii n urm impregnat prin cufundarea n zer). Iarna purtau cciul din blan de miel.

Except for the barburi, the shirt is straight with a large sleeve attached to the shoulder. The embroidery is very fine, with a single thread and consists of needle little crosses of arnici. It is displayed around the head opening, on the outline of the barburi and on the sleeve edges. The initials of the wearers name were often sewn over one of the front barburi. The trousers, cioareci15 were made of white frieze, cut on the leg and with pav16 on the seat, to allow for light movement. They were worn over the boots or tucked into high boots of black leather. The seams were hand-made, the model being called mieluei17 . Over the shirt, men would girdle themselves with a broad leather belt to protect them when making efforts. As a rule, the broad leather belt was trimmed with little leather strips and metal buttons. In winter, men would put on cojoace which were almost as long as the shirt and bitua, a cojoc with very long sleeves, used mainly by shepherds. The sheepskin was on the outer part for the rain or snow to stream down very quickly. Shepherds would keep it on their shoulders, often tying the sleeve mouth, in which they would carry various objects or food. In summer, they would wear a thick felt hat with big brims, which was later replaced by the hat with small brims covering only the top of the head (which decades ago was impregnated being dipped into whey). In winter, they would wear a lambskin cap.

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Romnii de pe valea Criului Negru

Costumele de femeie i brbat din colecia Muzeului Criurilor, Oradea sunt creaii mai noi ce in de tipologia portului popular din zonele aflate la grania vestic a rii. Femeia poart cma scurt, poale cree, fixate n talie i or ncreit iar brbatul cma i izmene largi, pn deasupra gleznelor. Pnza din care sunt lucrate aceste piese este esut n cas, n dou ie, din bumbac alb. Cmaa de femeie este ncreit la gt, iar deschiztura pentru cap este conturat de un guler i iruri, ruri, de dantel i broderie manual fcut cu acul. Pe mnec, ornamentele sunt dispuse de la umr pn la pumnar, n tabl sau ir pe mnec. Poalele cmii, foarte largi, sunt fcute prin unirea a ase limi de material i se fixeaz n talie n pomnat. Att pomnata ct i bordura poalelor sunt decorate cu aceleai modele de broderii. La poale se mai aplic ns un rnd de dantel care pune n eviden broderia. orul are decorul concentrat n registrul inferior, fiind alctuit dintr-o broderie masiv, cu aceleai motive ornamentale ca i la poale i tivit cu dantel cipc croetat manual. n talie, femeile se ncing cu brul tricolor, iar pe deasupra poart pieptarul ornamentat cu broderii din mtase, lnic i decupaje de mein. Prul este pieptnat n cozi strnse la ceaf, iar capul este acoperit cu basma, cumprat din comer. Brbatul poart cma scurt, lsat liber peste izmene. Cmaa este croit drept, cu mnecile ncreite, din umr i terminat n manet pumnar. Registrele de broderie sunt aplicate pe guler, umeree, pe manete i la tivul de la poale, unde sunt brodai coliori tadle. Cmaa se ncheie cu nasturi mici policromi. Izmenele sunt largi, din dou - trei limi de material pentru fiecare crac, fiind unite prin chei decorativ, iar ca lungime sunt pn deasupra gleznelor. Registrele decorative sunt concentrate spre partea de jos a cracului, n iruri de gurele, abace i aplicaii de dantel croetat manual, asemntoare cu decorul cmii. Pieptarul este scurt, fr clini laterali, ornamentat pe toat suprafaa cu mtase, lnic policrom i aplicaii de mein. Ca i pieptarul de femeie i acesta are marginile decorate cu blni neagr de miel. Brbaii poart cizme nalte, din piele, iar pe cap plrie cu borurile ridicate sau cciul din blan de miel.

The Romanians in the Black Cri river area

The female and male costumes in the collection of the Cri Rivers Museum in Oradea are more recent creations characteristic of the folk wear in the areas on the countrys Western border. Women wear a short blouse, a pleated skirt tight on the waist and a pleated apron and men wear a shirt and large underpants ankles down. The fabric of which those garments are made is homespun with two yarns of white cotton. The female blouse is gathered at the neck and the head opening is outlined by a collar and ruri1 of lace and hand-made needle embroidery. On the sleeve, the ornaments are displayed from the shoulder to the cuff, pumnar in a tabl2 or in a row on the sleeve. The skirt, which is very large, is made from six wide pieces of material joined together and attached to the waist with a pomnat3 . Both the pomnata and the hem of the skirt are decorated with the same type of embroideries. Another row of lace is applied on its lower part to highlight the embroidery. The decorative design of the apron is concentrated on its lower part, consisting of massive embroidery with the same ornamental motifs as on the skirt and hemstitched with hand-crocheted lace cipc. Women are girdled with a tricolour broad belt and over it they wear a pieptar4 decorated with embroideries of silk, lnic5 and sheepskin cut-outs. Their hair is braided into pigtails tied on the neck and their head is covered with a triangular or rectangular kerchief bought in town. Men wear a short shirt, loose over the underpants. The shirt is straight with pleated sleeves tied to the shoulder and ending with cuffs pumnari. The embroidery patterns are applied on the collar, umeree, on the cuffs and on the hem on the lower part of the shirt, where coliori6 tadle are embroidered. The shirt is buttoned with small polychrome buttons. The underpants are large, made of two-three wide pieces of material for each leg, pinned together by a decorative stitch and are ankle down long. The decorative patterns are concentrated on the lower part of the leg, in rows of cut-work embroidery, abace and appliqus of handcrocheted lace, similar to the decorative design of the shirt. The pieptar is short, without lateral gussets, decorated all over with silk, polychrome lnic and sheepskin appliqus. Just like the female pieptar, the male one has its edges decorated with black lambskin. Men wear high leather boots, a hat with lifted brims or a lambskin cap.

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Muzeul Criurilor, Oradea Costume romneti de pe valea Criului Negru The Cri Rivers Museum, Oradea Romanian costumes in the valley of the Black Cri river

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