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Pe urmele
strămoşilor
str ămoşilor
uitaţi...
uitaţi...
EXPEDIŢIE ÎN CARPAŢII NORDICI
III
On the Trails
of Forgotten
Ancestors...
NORTHERN CARPATHIAN EXPEDITION
September 2003
BALTAGUL FOUNDATION
Câmpulung Moldovenesc
ROMANIA
May 2003
Expedition Members:
A Project of the
BALTAGUL FOUNDATION
Project Co-ordinator Gică ILIESI
Co-ordinator Assistant Cornel LUPESCU
A Project financed by
CARPATICA FOUNDATION
The Carpathian Euroregion Development Found - Romania
Director Lorena Stoica
Pe urmele strămoşilor uitaţi - III 3
ÎN LOC DE INTRODUCERE
Carpaţii, al căror nume se pierde în negura vremurilor, ducându-se până la neamul
dacic al carpilor, care se pare că au generat numele munţilor ce pornesc, aproximativ
modest, din Moravia şi ajung să se înalţe maiestos spre cer în Slovacia (masivul Tatra) şi
România (Alpii Transilvaniei), unde depăşesc 2500 metri. După ce sunt secţionaţi de
fluviul Dunărea, parcă îşi pierd din vigoare şi se topesc în imediata apropiere, pe valea
Timocului, la frontiera dintre Serbia şi Bulgaria.
Lanţul carpatic străbate Cehia, Slovacia, Polonia, Ungaria, Ucraina şi România, cea
mai mare parte a lor fiind pe teritoriul României.
Din punct de vedere etnic, regiunea este locuită de popoarele ceh (ceho-morav),
slovac, maghiar, ucrainean, polon şi român, dar şi de către numeroase microetnii, cu
particularităţi mai mult sau mai puţin distincte de cele ale grupurilor majoritare.
Principalele microetnii din Carpaţi sunt: Vlahii, în Moravia (Valahia moravă) şi între
valea Dunării şi cea a Timocului; goralii, ce locuiesc în Polonia, in voievodatele Zywiec,
Podhale şi Nowy Sacz; lemki, trăiesc începând de la Nowy Sacz, unde sunt amestecaţi
cu goralii şi până la Sanok, dar şi în nordul Slovaciei, în zonele Pobrad, Spis Vlachy şi
Presov; boiki, grup etnic ce locuieşte în continuarea lemkilor , până la graniţa de răsărit
a Poloniei, întinzându-se apoi şi în Ucraina, până la regiunea Ivano-Frankovsk; huţulii,
care, deşi vorbesc astăzi limba ucraineană, o parte a lor ţin să fie recunoscuţi ca o etnie
aparte. În partea de nord vest, huţulii locuiesc amestecaţi cu boiki, iar spre sud sunt
răspândiţi până la Ceremuş, dar şi în regiunea Cernăuţi, în raionul Rahiv din regiunea
Zakarpatia, precum şi în România în judeţele Suceava şi Maramureş; rusinii, populaţie
vorbitoare de limbă ucraineană din zona Mukacevo (Ucraina) şi slovacă, trăitoare în
partea de răsărit a Slovaciei, în zonele Presow şi Ujgorod; hainalii, grup etnic ce
locuieşte în zona Hust (Ucraina), vorbitor, se pare, de limbă maghiară.
Pe teritoriul României, în afară de huţuli, există şi alte mici grupuri etnice: ucraineni,
polonezi, armeni, lipoveni (ruşi emigraţi în secolul al XVIII-lea, din motive religioase),
ţigani, unguri, secui (locuiesc în Carpaţii Răsăriteni, fiind vorbitori ai unui dialect
maghiar şi se pare că sunt urmaşii vechilor huni). Tot aici, găsim pe ceangăi ( o
amestecătură intre români şi secui). Grupul etnic al germanilor, cunoscuţi sub numele
de saşi, şvabi şi ţipteri, a venit în perioade diferite, începând din secolul XII şi până în
secolul al XVIII-lea.
Evreii au fost răspândiţi mai intens în partea de răsărit a României, dar puteau fi
întâlniţi şi în celelalte regiuni, atât ale României, cât şi în celelalte ţări carpatice.
Europa carpatică este, aşadar, o lume aparte, o lume a interferenţelor confesionale,
dar şi o zonă unde toleranţa s-a manifestat şi se manifestă mai pregnant decât în alte
părţi ale continentului.
În Bucovina, spune Anna Danielewicz, poetă din Silezia Inferioară, oamenii
„considerau că, de vreme ce vecinul vorbeşte o altă limbă şi are altă religie, este
evident că aşa trebuie să fie şi este un lucru normal. Nimeni nu se considera mai
Fundaţia BALTAGUL Câmpulung Moldovenesc, 2003
4 Pe urmele strămoşilor uitaţi - III
Cei mai vechi locuitori cunoscuţi care au populat arealul carpatic de prin jurul anului
1600 î.H. au fost tracii, popor apreciat de către Herodot, părintele istoriei, ca fiind cei
mai numeroşi din lume după neamul inzilor.
Tracii au fost creatori ai civilizaţiei bronzului, vestigii ale perioadei fiind
nenumărate în zonă. În secolul al VI-lea î.H. liniştea spaţiului carpatin este tulburată de
migraţia de la est a sciţilor, neam iranian care s-a întins spre apus până la Dunărea
mijlocie şi valea Oderului.
Ei au fost purtători ai civilizaţiei hallstattiene (prima vârstă a fierului), dar treptat, au
fost asimilaţi de către populaţia tracică, respectiv de către daci, care erau apreciaţi, tot de
către Herodot, ca fiind “cei mai drepţi şi mai viteji dintre traci”.
Două secole mai târziu, în secolul al IV-lea î.H. se produce o nouă bulversare, de
data aceasta dinspre est, şi anume invazia celţilor purtători ai culturii Latčne (a doua
vârstă a fierului). Coborând din Alpii răsăriteni, celţii s-au îndreptat spre est şi sud
supunând pe dacii din Moravia, Slovacia şi Ungaria.
În secolul I î.H. dacii conduşi de către regele Burebista se reorganizează şi pornind
de pe teritoriul României de astăzi atacă triburile celtice ale boilor şi tauriscilor şi îi
alungă din spaţiul Ariovist, care se vor retrage şi se vor îndrepta spre Galia (Franţa de
astăzi). După ce a reuşit să unifice pe daci şi să stăpânească un teritoriu ce se întindea din
Moravia până la gura Bugului unde era cetatea Olbia, Burebista este asasinat, iar
puterea dacilor a scăzut.
Împăraţii romani Augustus şi Tiberius vor ocupa Panonia şi Dobrogea, iar Traian va
transforma în provincie romană însuşi centrul regatului dac al lui Decebal în 106 d.H.
Astfel, pătrunde în Carpaţi civilizaţia şi cultura romană ale cărei vestigii s-au păstrat
până în zilele noastre sub formă de cetăţi (castre), oraşe, dar şi numeroase sculpturi,
basoreliefuri şi obiecte din metal.
Dacii, neînglobaţi în provincia romană Dacia, se mai numeau şi carpi, iar pentru că
locuiau în munţii nordici au dat numele lor acestora - Carpaţi. Trăind în vecinătatea
provinciei romane, dacii au împrumutat elemente de cultură materială şi spirituală
adoptând treptat limba latină. Vestigiile unei astfel de comunităţi daco-romană au fost
descoperite la Medieşul Aurit, judeţul Satu Mare, unde alături de o olărie de factură
dacică s-au descoperit şi obiecte specifice vandalilor (neam germanic) ceea ce indică o
convieţuire paşnică a celor două grupuri etnice.
Daco-romanii din Dacia propriu-zisă şi Panonia au adoptat creştinismul în secolul al
IV-lea, dovezi ale faptului se păstrează în multe muzee din România şi Ungaria. După
retragerea administraţiei romane din Dacia, teritoriul a intrat sub stăpânirea neamurilor
germanice (vizigoţi, ostrogoţi, vandali, gepizi, etc.) care şi-au disputat întâietatea cu
populaţiile asiatice ale hunilor şi avarilor.
Astfel, goţii au fost dislocaţi de către huni şi împinşi înspre vest în sec. IV-V d.H., iar
aceştia, la rândul lor, au fost distruşi de către gepizi. Stăpânirea gepidă în Transilvania a
Pavel BLAJ
The most ancient inhabitants known to have peopled the Carpathian area around
1600 B.C. were the Thracians, a people that Herodot, the father of history, considered to
be the most numerous in world second only to the Inds.
The Thracians were the founders of the Bronze Culture; the area preserves many
vestiges of that time. In the 6th century B.C. the harmony of the Carpathian world was
troubled by the Scythians who were migrating from the east. The Scythians had an
Iranian origin and they spread to the west up to the middle course of the Danube and the
valley of Oder. They were bearers of Hallstatt civilization (the first Age of the Iron) but
they were gradually assimilated by the Thracian people, namely by the Dacians that
Herodot considered to
be “the most honest and
courageous Thracians”.
Two centuries later,
in the 4th century B.C.,
there are new
disturbances, this time
in the east, caused by the
invasion of the Celts,
bearers of Latène
culture (the second Age
of the Iron). Descending
from the Eastern Alpes,
the Celts turned to the
east and south subduing
the Dacians of Moravia,
Slovakia and Hungary.
In the 1st century B.C., the Dacians, under the command of king Burebista, are
reorganized and they set out from the territory of today's Romania in order to attack the
Celtic tribes of Boii and Taurisci whom they drive away from the Arian territory. These
tribes withdraw and turn to Gaul (today's France). Once Burebista succeeded in
merging the Dacians, in ruling over a territory stretching out from Moravia to the mouth
of Bug where there was the Citadel of Olbia, he is murdered and his death leads to the
diminishing of the Dacians' power.
The Roman emperors Augustus and Tiberius take hold of Pannonia and Dobrogea
and in 106 A.D., Traian turns the very centre of Decebal's kingdom into a Roman
province. Thus, the Roman culture and civilization reach the Carpathians; their vestiges
have been preserved up to the present moment under the form of citadels (castras),
towns and numerous sculptures, bass-relieves and metal objects.
confecţiona un alfabet pentru limba slavilor (care se va numi chirilic), folosind ca bază
pe cel grecesc şi vor traduce Biblia în limba slavonă în anii 863 864.
Slavii din nordul Carpaţilor, polonezii sau urmaşii lui Lech - întemeiază şi ei un stat
în sec. X lea cu capitala la Cracovia. Acest stat este creştinat în anul 966 de către
misionari ai bisericii romane veniţi din Cehia.
În Carpaţii Păduroşi îşi face apariţia în secolul al IX-lea statul slavilor de est-Rusia
Kieviană, care se va creştina în anii 988-989 sub cneazul Vladimir cel Sfânt.
În anul 896 un alt popor poposeşte pe meleagurile carpatice; este vorba de unguri.
Veniţi din zona bazinului superior al Volgăi, s-au aşezat la nordul Mării Negre. Aici au
fost însă învinşi de către bulgari şi pecenegi şi au fost nevoiţi să se refugieze spre nord,
de unde s-au îndreptat spre vest sub conducerea lui Arpad, au trecut Carpaţii şi s-au
aşezat în Panonia. În acţiunea lor au avut de luptat cu românii, slavii şi bulgarii, potrivit
Cronicii ruseşti a lui Nestor “Povestea vremurilor de demult”.
După unele încercări de creştinare în rit bizantin, misionarii bisericii romane îl
conving pe conducătorul triburilor maghiare Vajk să se creştineze. Acesta este
încoronat la 25 decembrie 1001 ca rege şi pune astfel bazele unui puternic stat în centrul
Europei.
Decăderea Rusiei Kieviene a dus la cucerirea ei de către polonezi, astfel că întreaga
regiune carpatică ajunge sub controlul celor două regate apostolice ale ungurilor şi
The Dacians not included in the Roman province of Dacia were also called Carps and
since they lived in the northern mountains, they named them after their own name the
Carpathians. As the Dacians were bordering upon the Roman province, they borrowed
elements from the material and spiritual culture embracing the Latin language
gradually. In Mediesul Aurit of Satu Mare County, there were discovered vestiges of
such a Daco-Roman community, i.e. a Dacian-style pottery and different objects
specific to the Vandals (Germanic people) things which prove the two ethnical groups
had a peaceful living together. The Daco-Romans of the initial Dacia and Pannonia
embraced Christianity in the 4th century; there are proves in this respect that are
preserved in many museums of Romania and Hungary. After the Roman administration
had left Dacia, this territory was ruled over by the Germanic peoples (Visigoths,
Ostrogoths, Vandals, Gepidae, etc.) who contended with the Asian peoples (Huns and
Avars) for the priority.
In this way, in the 4th
5th centuries A.D., the
Huns broke the Goths
up and pushed them to
the west while the
Gepidae, at their turn,
destroyed the Huns.
The Avars who came to
Transylvania
eliminated the Gepidae
domination.
Beginning with the
5th century, the Slavs
make their presence
known as they
populate the entire
Carpathian territory, secondly to the Germanic peoples and the Avars. Carol the Great
annihilates the Avars' power and the Bulgarians, ruled by the khan Krum, take
advantage of that situation. They infiltrate in the area at the east of Tisa subduing the
Slavo-Romanian population in 805.
After several hesitating attempts, the Slavs start to set up their own states. At the
middle of the 9th century, there's the Kingdom of Great Moravia that forms in the
Western Carpathians; it includes Moravia, Bohemia, Silesia, Western Slovakia and
Pannonia. The German pressure from the West determines the Moravian Slavs to ask
for the support of the Byzantine Empire that sends them a delegation with the mission to
Christian them. The Byzantine Constantin the Philosopher of Thessalonica, also known
as Cyril, and his brother Methodus will make an alphabet for the Slavic language (called
the Cyrillic alphabet) based upon the Greek one and they will translate the Bible into
Slavonic language between 863-864.
The Slavs in the Northern Carpathians Poles or Lech's successors set up a state of
their own in the 10th century whose capital is Krakow. This state is Christianized in 966
by missionaries of the Roman Church coming from Czech. The Eastern Slav state is
founded in the Woody Carpathians in the 9th century Kievian Russia - it is got
Christianized in 988 - 989 under the reign of Prince Vladimir the Saint.
In 896 there's another people that settles on the Carpathian region; i.e. the
Hungarians. Coming from Volga upper basin, they settled in the northern part of the
Black Sea. However, they were defeated by the Bulgarians and the Pechenegs and
forced to take refuge in the north. Led by Arpad, they proceeded to the west, crossed the
Carpathians and settled down in Pannonia. According to Nestor's Russian Chronicle
“The Story of the Old Times”, the Hungarians had to fight against the Romanians, the
Slavs and the Bulgarians. After several attempts, the missioners of the Roman Church
convinced Vajk, the leader of the Magyar tribes, to get Christianized in the Byzantine
religion. On the 25th of December 1001 he is crowned king laying the foundations of a
powerful state in the centre of Europe.
The decay of the Kievian
Russia enabled the Poles to
conquer it; in this way the
entire Carpathian region is
under the control of the two
apostolic kingdoms: the
Hungarian and the Polish ones.
The Tatars' invasion in 1241
breaks the political balance of
the area. However, the two
kingdoms are re-established
and in the 14th century, aiming
at making the predatory
Mongols leave, they call on the
Carpathian Romanians whom
they support to set up two states
Walachia and Moldavia southeast to the Carpathians. These two states have the role of
forward bulwarks against the steppe owners.
The reign of some Hungarian kings in Poland and the other way round, determines
the masses to move to southwards or northwards of the Carpathians. Thus, groups of
Romanians colonize the south of Poland and Galicia, reaching Moravia.
In the same time, the Galician people streams in the northeast counties of Hungary
(Maramures, Ung, Bereg) and the eastern of Slovakia. Groups of Poles settle in the
Slovak region of Czadca.
At the middle of the 16th century the kingdom of Hungary is destroyed by the Turks
and a new state is born Transylvania that together with Moldavia and Walachia form
the buffer between the three great empires: Poland, Ottoman Empire and Romano-
German Empire. Their common destiny will enable them to merge into a single state
where, most of the times, the East and the West join together.
As Russia becomes a great power, the buffer is torn off. Austria takes hold of
Bucovina and Transylvania, while Russia takes hold of Bassarabia. England and
France, the European Powers, will militate and finally carry their point for keeping the
Romanian area as a buffer between the three empires in order to keep the European
Fundaţia BALTAGUL Câmpulung Moldovenesc, 2003
Pe urmele strămoşilor uitaţi - III 11
pentru a coloniza teritoriile recent cucerite de Germania.
Maghiarii din cele cinci sate bucovinene au fost rechemaţi de către Horthy să
colonizeze teritoriile cucerite de la sârbi în 1941.
Evreii vor fi deportaţi dintr-o regiune în alta, ca în final, să ajungă să fie exterminaţi
la Auschwitz şi alte lagăre, cum s-a întâmplat şi cu evreii din Transilvania de Nord în
1944. Evreii din România au fost deportaţi în Transilvania, alţii luând drumul
Palestinei. Schimburi de populaţie s-au produs şi între România şi Bulgaria.
Deportările şi colonizările au continuat şi după război, când din Bucovina pleacă
polonezii şi slovacii. Germanii din regiunea sudetă şi Silezia vor fi dislocaţi şi trimişi
ori în Germania, ori în U.R.S.S. La fel s-a întâmplat cu saşii şi şvabii din Transilvania
care au fost deportaţi în U.R.S.S.
Instaurarea regimurilor totalitare în ţările carpatice a determinat noi şi mari emigrări
în lumea democratică. Cel mai impresionant a fost exodul evreilor, dar s-a extins şi
asupra germanilor, maghiarilor, armenilor.
În prezent, mai precis după 1990, se constată o goană după regăsirea originilor,
nostalgii ale locurilor natale. Urmaşii vechilor emigranţi sau deportaţi simt nevoia să
revadă locurile strămoşeşti. Semnificativ în acest sens, este Festivalul Folcloric
Internaţional „Întâlniri Bucovinene”, iniţiat de către polonezii emigraţi din Bucovina,
urmat apoi şi de alţi bucovineni şi care se desfăşoară în Polonia, Ucraina, România,
Ungaria, Slovacia şi Germania.
Iată aşadar, cum Bucovina, un fost mic ducat austriac este dată exemplu Europei
pentru toleranţa locuitorilor săi, fiind apreciată drept „Europa în miniatură” sau
„Elveţia Răsăritului” chiar de foştii emigranţi.
În concluzie, regiunea în discuţie, pe care am denumit-o „lumea carpatică” este una
dintre cele mai frământate din Europa, dar şi cea ma reprezentativă în ceea ce priveşte
interferenţele etnice şi culturale.
balance. These are the circumstances under which the Romanian modern state forms at
the middle of the 19th century.
The First World War left deep marks to the Carpathians, as in the passes of Dukla,
Oituz and Mestecanis there were decisive battles. The war resulted in the collapse of the
empires and the setting up of national states. The only people that failed was the
Ukrainians, most of them remained in the “Soviet Country”.
The Second World War started under the auspices of ethnical and religious
intolerance, actuated by the doctrine of pure nations. This area of ethnical interferences
will be the most affected area. The Germans from Bucovina, Bassarabia and some from
Transylvania were called back to their country in order to colonize the territories
Germany had just conquered. The Magyars from the five villages of Bucovina were
called back by Horthy in order to colonize the Serbian territories conquered in 1941.
The Jews will be deported from one region to another and finally they will be
exterminated in Auschwitz and other camps like the Jews from Northern Transylvania
in 1944. The Jews from Romania were deported to Transylvania, others directed their
way to Palestine. There were population exchange between Romania and Bulgaria, too.
The deportation and colonization go on even after the war, when the Poles and the
Slovakians leave Bucovina. The Germans from Sudet and Silesia will be transferred
either to Germany or to the Soviet Union. The same happened to the Saxons and
Swabians living in Transylvania; they were deported to the Soviet Union.
The totalitarian governments established in the Carpathian countries caused new
important emigrations in the democratic world. The most impressive event was the
Jews migration; however as a result of this the Germans, the Magyars and the
Armenians migrated at their turn. Since 1990 we have been witnessing an intensive
search for the origins as well as the nostalgias of the native places. The descendants of
the old emigrants or of the deported persons need to see their ancestors' places. The
International Folk Festival “Meetings of the People from Bucovina” has an important
meaning in this respect. It was the Polish emigrants who first started it and then other
people of Bucovina began to organize it at their turn; it takes place in Poland, Ukraine,
Romania, Hungary, Slovakia and Germany. That is why Bucovina, a former little
Austrian duchy, becomes an example for Europe for the tolerance of its inhabitants;
even the old emigrants consider it as “Europe in miniature” or “Swiss of the East”.
As a conclusion, this region we called “the Carpathian world” is one of the most
restless region in Europe and one of the most representative region for the ethnical and
cultural interferences.
Mihai SPÂNU
Polonia este ţara care, prin evenimentele care au modelat istoria acestui pământ, a
fost leagănul mai multor grupuri etnice, creionând zone şi subzone etnografice. Aceste
realităţi, consolidate de-a lungul istoriei, au îndemnat la constituirea mai multor muzee,
cele în aer liber, presărate pe întreg teritoriul, fiind astfel constituite încât să realizeze
un tablou cuprinzător al arhitecturii populare poloneze. Există în Polonia zece muzee
importante ale arhitecturii în aer liber, cele de la Chorozow, Pszczyna, Lipowiek,
Zubrzyca Gorna, Zakopane, Nowy Sacz, Szymbark, Zyndranowa, Kolbuszowa,
Sanok, acesta de pe urmă fiind situat în arealul Carpaţilor Nordici, într-o zonă de intense
contacte etnice şi culturale.
Oraşul este situat pe malul drept al râului San, în regiunea Munţilor Bieszczady,
parcul popular etnografic, fiind decretat în anul 1973. În zona parcului se înalţă câteva
vârfuri de munţi Tarnica, Halicz, Polonina Carynska, înalte în jurul a 1300 de metri.
Oraşul este renumit pentru obiectivele sale de turism cultural, între care castelul
Krolewski şi colecţia de icoane vechi ruseşti, salina etc.
Muzeul în aer liber de la Sanok, Muzeum Budownictwa Ludowego, se situează
între cele mai importante dintre muzeele de acest fel din Polonia; lucrările de
construcţie au început în anul 1958, din iniţiativa custodelui muzeului de istorie din
Sanok Alexandr Rybickiego şi a fost inaugurat în anul 1966. Pe cele 38 de ha de
expoziţie îşi găseşte reflectare cultura materială şi spirituală a populaţiilor din Carpaţii
polonezi. În muzeu sunt prezentate mărturiile grupurilor etnografice de boiki, lemki,
pogorzanie şi dolinianie, organizatorii muzeului încercând să păstreze pentru fiecare
Mihai SPÂNU
Through the cultural and tourism landmarks, the Carpathians represent not only a
geographical and historical place, but also a meaningful area with concern to the
interethnic relationships. The national, regional and even the private museums make up
a diverse network inviting the tourist to choose his/her favourite sphere, to find out the
cultural characteristics of a people or ethnicity, to see the masterpieces or the
personalities that stood out as landmarks in the culture and history of the region, to
understand the aims of the contemporary cultural politics by the way they show respect
to nature and human values. In this displaying of European national values, the
museums have a preferential role through the outstanding amount of values from all the
fields, - history, ethnography, techniques, art, memorials, natural science -, by the
professional manner they propose their being visited, by the concern to protect this
patrimony of values.
MUSEUMS IN POLAND
Poland is the country that, through the events which shaped its history up, became the
cradle of some ethnical groups and outlined ethnographical areas and sub-areas. These
realities, reinforced along the history, stimulated the foundation of the outdoor
museums spread all over the country; they are set up in such a manner that they represent
an ample mirror of the Polish folk architecture. There are ten important museums of the
outdoor architecture situated in Chorozow, Pszczyna, Lipowiek, Zubrzyca Gorna,
Zakopane, Nowy Sacz, Szymbark, Zyndranowa, Kolbuszowa, Sanok, the last one is
situated in the Northern Carpathians area, in a region with strong ethnical and cultural
contacts.
The city is situated on the right shore of San River, in the region of the Bieszczady
Mountains; the ethnographical folk park was decreed in 1973. Several mountain peaks,
about 1.300 metre high, such as Tarnica, Halocz, Polonina Carynska, rise in the park
area. The city is famous for its cultural tourist sights, such as the Krolewski castle, the
collection of ancient Russian icons and the salt mine etc.
The Open Air Museum of Sanok, Muzeum Budownictwa Ludowego, is one of
the most important museums of this kind in Poland; it started to be built in 1958, on the
initiative of the history museum's curator of Sanok, Alexandr Rybickiego, and it was
inaugurated in 1966. The material and spiritual culture of the populations from the
Polish Carpathians is reflected by the exhibition that spreads on an area of 38 hectares.
The museum houses the signs of the ethnographical groups of the Boykos, Lemkos,
Pogorzans and Dolinians; the museum's organizers try to keep the geographical and
relief specific features of each ethnical group as well as the character of the region they
live in. Describing the impression the ethnographical park produces upon the visitor,
they say on the web page presentation: “On a fresh green background, among trees and
bushes, you can distinguish a village, different from the one you already know. It
reproduces neither the straight outlines of the brick houses, nor the shining roofs. The
shape and colour of the buildings are very similar to the surrounding nature as they were
built out of the same earth. Wood, straw, stone and clay are the materials that create this
wonder. Every season of the year you can seize its exceptional unity with Nature.”
The museum displays for the public more than 150 folk architecture sights, dated
between the 17th and the 19th centuries, exhibited in households - houses and
outbuildings - as well as religious monuments, schools, town halls, peasant technical
equipments (mills, fulling mills, smithies etc.). The museum houses an extremely
valuable permanent icon exhibition, which brings together 220 exhibits of the 15th-
20th centuries, works of art, created in the Polish Carpathians, along the centuries.
More than 30.000 museum
items pottery, tissues, wood
items, household and
domestic inventory etc.-
making up the specific
character of each site and the
ethnic stamp of the minority
which they stand for, were
used in setting up the interiors
of these sites.
The architectural sites in
the ethnographical park
Sanok (in the future the park
will grow rich with up to 150
sites) are grouped in 6
ethnographical areas:
The Boykos' area (Sanok
and Lesko regions) is represented by two houses in Ostra, dated 1861 and 1903
respectively, with interiors dating since the beginning of the 20th century; a wind-mill
in Wola Komborska, 1880; the orthodox church of Graziowej (once Hruzowa), 1731,
and the bell tower of Kalinowice, 1712; a house in Roztoki Dolne, the end of the 19th
century and another one in Wolkowyja, since the beginning of the 19th century, with an
interior dating since the second half of the same century; the church of Rosolin, 1750,
together with the bell tower, 1751, have been housing goods since the second half of the
18th century; the house of the 18th century closing the tour in the Boykos` country was
also found in Rosolin. The architecture is pre-eminently made of wood, of carved
dovetailed beams.
The Lemkos' area of the Beskidzie Niskim region has a symbolic representation
and it invites the visitors to 6 architectural sites: the house of Komancza, 1885, with the
interior dated at the beginning of the 20th century and a barn of the same locality, dating
back to the beginning of the 20th century as well; the houses of Pielgrzymka, 1870 and
Kròlik, 1890, the house of Zdynia, dated at the beginning of the 20th century; the barn of
architectural sites, of the household pile, thus intensely lighted by the sun.
When confessing their intention to set up the museum in a thematic manner, the
specialists stated in the web page presenting the museum: ”Its main goal was to
organize an ethnographical park which should gather signs of the rural life the people
and the Northern Carpathian architecture, the Low Beskids and Bieszczady. All along
the exhibition we try to reproduce the approximate image of an ancient village in the
mountains landscape. The buildings and the furniture mirror the cultural variety, the
professional connections and divisions of labour, as well as the countryside traditions,
all the changes that took place in the village life ever since the 18th century until the first
half of the 20th century.”
The architecture presented in the museum of Sanok belongs to the populations that
produced the component parts of the wood civilization, the main trend in the Carpathian
area. Considering the household pile and the
destination of buildings in the peasant
practice and tradition, we must mention the
presence of the multifunctional houses; the
shelters for animals are presented rather
seldom, as the poly-functional house
overtakes their functions. The craftsman
workshops and the peasant technical
equipments are classic in the European area
and the level of craft and of production
technique belong to the19th century. The
religious sites churches, chapels, triptych
crosses take the first place in the museum
setting, both by their significance and by
their architectural image. The buildings of
public utility and those with social
destination are next in line, considering their
importance. The constructions are made of
beams, most of them carved or split, joint in
a simple manner or in what it is usually
known as the “dovetail” technique. The
buildings are set on massive wooden girders, propped up on river stone or quarry stone
low foundations, the bottoms of the beams decoratively ranging at joints or when criss-
crossing the transversal walls.
The museum is the host and the organizer of several folk activities which gather
many participants: the Carpathian Music Festival, Mountains Dancing's etc. The
number of visitors increases every year, counting 62.717 in 1996 and 74.882 visitors a
year later. The research of the museography specialists of Sanok can be found in two of
the works published here: Materialy Budownictwa Ludowego w Sanoku, concerning
research in the museological patrimony, and Acta Scanzenologica, focussing on the
theme of the outdoor museums. The museum hosts a regional folk craftsmen trade
periodically, Jarmark Folklorystyczny, and an international festival, “Eurofolk na
Pograniczach”.
MUSEUMS IN SLOVAKIA
Situated in the north-eastern Slovakia, to the Polish border, the Horny Saris region
is an area entirely destined to cultural tourism. Movable values and monuments
belonging to the everlasting patrimony, which defines the culture in this Carpathian
perimeter, have been lasting in time in this region. Crossed by important European
routes Bardejovske Kupele spa is only one of the many sites suggested for visitation
this area of intense tourism traffic owes its fame first of all to the richness of natural
beauties; there are several natural parks here of national and local importance, such as:
Becherovska Tisina, Cergovsky Mincol, Magura, Livovska Jelsina, Pod Beskydom,
Regetovske Raselinisko, Slatina Pod Lieskovcom, Komarnicka Jedlina, Radomska
Slatina, Dranec, where the concern for nature and for preserving its component parts as
well as its potential is a constant feature of the programmes developed in this field,
samples of ecological views and activity. In the region of the Beskids Mountains, with
heights varying from 500 to 600 metres, there is also the national park Wchodone
Karpaty, a piece of nature put under severe legal protection, where cultural material and
spiritual elements stand next to views and natural monuments.
The districts of the region Bardejov, Svidnik and Stropkov, stand out by the
great number of the tourism sites, by the value of the cultural and monumental
patrimony that was preserved. The ancient town of Bardejov, whose first historical
dating goes back to the middle of the 13th century, keeps alive in the reservation of
Laborecka Vrchovina, a valuable artistic urban architecture; in 1960 the historical
centre of the town was declared reservation. In 1970 they started the restoration of the
architectural sites and in 1986 this action was rewarded with the UNESCO Gold Medal
for the great accomplishment of the task. Ever since 2000 the town of Bardejov has
been included in the World's Patrimony List.
One of the main items of the cultural heritage of Bardejov district is represented by
the wooden churches; nine of them, the most valuable, built in the 17th and 18th
centuries represent ancient signs because of the building technique and the use of the
decorative elements on folk architectural sites. The church of Kozany is the oldest and it
was built in the 17th century; the others, i.e. Fricka, with a bell tower on the apse and a
unique four-sloped roof above the other two compartments, Jedlinka, with three
cupolas above every compartment of the church, the one on the apse ending by a bell
tower; the cupolas form a height crescendo from the narthex towards the apse in a very
spectacular technique used by the peasant craftsmen; Krive is a ship-type connected
construction covered with a unique four-sloped roof, pierced by a prism-like-tower in
the apse area. The Lukov-Venecia ship type church has separate covers: on the nave - a
cupola with a multiple roof, and on the apse a pyramid ended by a bell tower. Trocany
preserves the same type of ship, with distinctly shaped compartments: the low narthex
is covered with a shingle steep four-sloped roof; the high nave has got a pyramid-
shaped roof ended by a round watch tower and above the apse there is a pyramid-like-
tower ended by a bell tower; within the church there is an original canvas of the 17th
century. Hervatov is considered to be the oldest type of the Slovakian churches of the
15th century that preserves the ship draught modified later in the 17th and 18th centuries.
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Pe urmele strămoşilor uitaţi - III 23
mai vechi al bisericilor slovace, din secolul al XV-lea, conservând planul de navă, care a
suferit apoi, în secolele al XVII-lea şi al XVIII-lea, transformări. Monumentele din
lemn de la Mikulasova şi Zboj datează din secolul al XVIII-lea. Aceste construcţii
adăpostesc iconostase, mobilier, icoane valoroase, pictură parietală, având autori
cunoscuţi precum M. Gajecky, J.Wagner, Andrej Gajecky, J. Mirejovsky.
Construcţiile sunt realizate din lemn, bârne prinse la capete în cheutori; în timp această
structură a pereţilor a fost acoperită cu scânduri sau au fost drăniţite pentru a proteja
pereţii de intemperii. Prin aceasta, imaginea de ansamblu a monumentelor suferă,
pierzând din mărcile etnice şi valenţele de pitoresc pe care aceste materiale şi tehnică
de construcţie, populară, le demonstrează cu prisosinţă. Toate aceste valori beneficiază
de o foarte bună promovare turistică, mai multe pliante, ghiduri, hărţi invitând
călătorul să frecventeze această zonă, să descopere această serie de valori, acolo în situ-
ul lor, în lumea satului slovac.
În Slovacia au fost organizate,
în a doua jumătate a secolului
trecut, mai multe muzee în aer
liber, chemate să pună la adăpost,
să înlesnească conservarea
valorilor arhitecturii populare şi,
totodată, să constituie valoroase
obiective muzeale, deschise spre
turism şi spre cercetare, valenţele
de ingenios, de tehnică şi mod de
rezolvare a unor probleme
propuse de viaţa cotidiană a
populaţiilor autohtone fiind
semnificative. Stara Lubova, pe
Poprad, Bardejov şi Svidnik sunt în nordul Slovaciei, Humenne la est pe valea
Laborec, spre graniţa ucraineană trei repere etnografice privind muzeele în aer liber. În
fiecare dintre aceste localităţi au fost ctitorite muzee de tip „scanzen”, cultura populară
montană carpatică punând la dispoziţia specialiştilor exemplare valoroase de
arhitectură populară montană, ce au fost reunite în perimetre expoziţionale şi de
conservare, de valoare deosebite. Nu întâmplător la numai câteva zeci de km, peste
munte, la Uzhgorod în Ucraina, un muzeu în aer liber păstrează arhitectură populară de
munte în rezervaţii de cultură materială bine îngrijite şi rostuite. Alături de cele deja
citate, în acest ţinut carpatic funcţionează şi alte muzee în aer liber.
Muzeum Liptovskej Dediny din Pribylina a fost organizat şi inaugurat în anul
1991, după planurile arhitectului Stanislav Dubravec, care a valorificat, în această
expoziţie în aer liber, 28 de obiective de arhitectură populară şi monumente din piatră
gotice şi gotico-renascentiste (castelul de la Parizoviec de care este legat şi numele lui
Matei Corvin). Aici pot fi admirate piese de mobilier de epocă, îngrijit restaurate,
inventar din porţelan, sticlă, ceramică decorativă, pendule şi candelabre. Construcţia
domină valea în care se rânduiesc pe uliţe, în complexe gospodăreşti, exemplarele de
arhitectură populară din care nu lipseşte o şcoală din anul 1755 din Valaska Dubova şi o
biserică în care se găseşte icoana Sf. Maria şi catapeteasma, pictate în anul 1678.
Fundaţia BALTAGUL Câmpulung Moldovenesc, 2003
24 Pe urmele strămoşilor uitaţi - III
The wooden monuments of Mikulasova and Zboj date back to the 18th century. These
constructions shelter iconostases, furniture, valuable icons, wall painting whose
authors are well known: M.Gajecky, J.Wagner, Andrej Gajecky, J.Mirejovsky. The
buildings are made of wooden joint beams; in time the wall structure was covered with
boards or with clapboards in order to protect the walls against the bad weather. Because
of this, the general image of the monuments is damaged, losing the ethnical signs and
the picturesque values fully provided by the materials and the folk building techniques.
All these values enjoy a good tourist advertisement, several booklets, guide books,
maps which invite the traveller to visit the area, to discover this range of values in their
own environment, in the world of the Slovakian village.
In Slovakia, in the second
half of the last century, they set
up several Open Air Museums
aiming at preserving the values
of the folk architecture, at
making up important museum
sites opened to tourism and
research, while the valences of
the ingenuity, the techniques and
the way to solve the issues
aroused in the everyday life of
the local populations are
significant. Here there are three
guide marks with concern to the
outdoor museums: Stara
Lubovna on Poprad, Bardejov
and Svidnik in the north of Slovakia, Humenne in the east of the Laborec valley,
towards the Ukrainian border. In each of these localities there were founded “scanzen”
type museums; the Carpathian folk culture put at the specialists' disposal valuable items
of mountain folk architecture which were brought together to exhibition and
preservation perimeters. A few tens of kilometres away, across the mountain, there is an
outdoor museum in Uzhgorod, Ukraine, which preserves the mountain folk architecture
in neat and organized sites of material culture. There are many other outdoor museums
set up in this Carpathian area besides the ones that have already been quoted.
The Muzeum Liptovskej Dediny of Pribylina was set up and inaugurated in 1991
in accordance with the draughts of the architect Stanislav Dubravec who displayed in
this outdoor exhibition 28 architecture folk sites and Gothic and Gothic-Renaissance
stone monuments (the castle of Parizoviec in connection with the name of Matei
Corvin). Anyone can admire here pieces of ancient furniture, which have been carefully
restored, a whole inventory of china, glass, decorative ceramics, clocks and
chandeliers. The structure towers the valley where samples of folk architecture are
organized in household piles on the lanes; among them there is the school of Valaska
Dubova, dated 1755 and a church, housing the icon of Virgin Mary and the iconostasis,
both of them painted in 1678. The use of the folk architecture samples on the wall
monuments, on buildings which bear the sign of certain important events in the region
history, proves to be an attractive, interesting and realistic solution; the visitor is offered
thus a full image of the age, as the two levels, the rural and the noble ones, co-exist and
complete each other. In the same time, the two social levels following one after the other
create the variety the visitor needs so much, in order to keep his good impressions. This
is also the case of the Lubovnianske Muzeum v Prirode pod Hradom v Starej Lubovni,
museum where the castle and the outdoor museum are not in the same architecture
group, although they can be found almost in the same geographical perimeter.
Stara Lubovna Open Air Museum
Only 15 kilometres away from
the Slovakian-Polish border, on the
valley of the Poprad River, there is
the small town of Stara Lubovna,
towered by the impressive figure of
the “hrad”, one of the unique castles
of Slovakia. At first it was built in
order to protect the Northern lands
towards Hungary and it was the
local administrator's residence for
360 years. The numerous visits paid
by many royalties from this part of
Europe along the centuries made it
famous. The castle-fortress bore
several changes in the 17th and
th
especially in the 18 century when it borrowed features from the Renaissance style in
the construction and decoration fields. The outdoor museum, set by the foothill where
the fortress is erected, represents a cultural and historical compendium lining out a
period of great efforts taken in the material culture. Actually the entire area is packed
with folk architecture monuments; the wooden churches represent a great number of
them.
Slovakia is a country of religious tolerance, the most successful way to show it is the
connection established between the Byzantine East and the Catholic West. On an area of
less than 300 s. Km, spotlighted by urban centres such as Presov, the largest one, Stara
Lubovna, Bardejov, Svidnik and Stropkov, along the valleys crossed by Ondava and
Topla, among peaks seldom higher than 1000 meters, in the Vrchovina, Cergo, Svidnik,
Ondavska regions there are over 20 wooden churches dated back to the 16th century and
the middle of the last century, folk architecture monuments, significant for the
craftsman and the building art and for the particular features of the ethnical groups
living in this Carpathian area. No wonder that in such a small perimeter they set up in the
second half of the last century four “skanzen” outdoor museums; the richness and
variety of folk architecture sites urged the preservation of the most valuable items,
within a professionally surveyed area, the museums aiming and gathering evidence on
the rural universe of the last two or three centuries.
There are twenty-five folk architecture sites ranged on the six hectares of a quite
uneven land, having a unique slope towards the forest and fronting the town of Stara
Lubovna; among them there is a Rusin (Ruthenian) Greek-Catholic church dated back
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Pe urmele strămoşilor uitaţi - III 27
spre oraş Stara Lubovna - sunt rânduite 25 de obiective de arhitectură populară, între
care şi o biserică rusină din secolul al XVII-lea, de confesiune greco-catolică.
Obiectivele de arhitectură populară aparţin goralilor, lemkilor şi rusinilor, grupuri
etnice bine evidenţiate în ansamblul arhitecturii carpatice; unele dintre ele au fost
organizate în cele patru complexe gospodăreşti semnificative pentru modul de
organizare, dispunerea, funcţionalitate şi tehnică de realizare a acestui gen de
construcţii. Nu lipsesc, în sugerarea complexului de construcţii rurale, atelierele
meşteşugăreşti şi instalaţiile tehnice, fierăria şi moara atrăgând în mod special pe
vizitatori.
Caracteristica principală a acestei expoziţii muzeale este grija organizatorilor
pentru amănuntul etnografic, pus în contextul organizării interiorului, a inventarului de
practicare a meseriei sau recuzita obiceiurilor. Accesul liber în spaţiile construcţiilor
reduce distanţa de receptare între exponat şi public, făcându-l mai accesibil, mai
primitor, completând elementul de morfologie, general, al construcţiilor, cu detalierea
elementelor din interior. Grija aceasta pare să devină obsesivă, încât vizitatorul are
impresia locuirii permanente şi a prezenţei imediate a stăpânului casei în mijlocul
inventarului pe care, pentru scurt timp, l-a părăsit. În acest fel, compunerea cadrului,
căutarea formulei optime de expunere deziderate dintotdeauna ale etalatorului de
muzeu sunt părăsite, câştigul în favoarea realităţii etnografice, a atmosferei rurale fiind
evidente. Şcoala din secolul al XIX-lea, cu sala de clasă, locuinţa directorului,
laboratorul cu planşe de epocă, marchează fineţea cu care au operat specialiştii
muzeografi în alcătuirea şi reconstituirea interioarelor.
Oraşul Svidnik este situat în regiunea Horny Saris, fiind alături de Bardejov,
Stropkov şi Giraltovce principalele centre culturale ale acestei regiuni din nord-estul
slovac. valoroasele construcţii cu un încărcat trecut istoric, obiective sau complexe din
zidărie sau din lemn, sunt reunite în rezervaţii de arhitectură, aflate în grija şi
supravegherea statului; patrimoniul mobil, din mai toate domeniile creaţiei, alte valori
culturale, cele mai multe dintre ele legate de istoria aşezărilor şi moştenirea culturală,
este prezervat şi valorificat în muzee, instituţii mereu prezente în ofertele turistice ale
operatorilor de turism.
Svidnik-ul este situat la confluenţa râurilor Ondava cu Ladomirka, în nord - estul
Slovaciei, pe dealurile pitoreşti Nijni Beskydy. Atestat pe la anul 1355, localitatea se
afla pe «drumul chihlimbarului» spre Polonia. Dezvoltarea oraşului este semnificativă
în secolul al XVIII-lea, în secolul următor asistând la o migrare în masă a populaţiei
datorită înrăutăţirii condiţiilor de trai; cele două războaie mondiale au distrus multe
dintre valorile culturale şi turistice ale acestei aşezări. Astăzi, în oraş mai pot fi admirate
biserica greco-catolicã St. Paraskieva în stil baroc, construită în a doua jumătate a
secolului al XVIII-lea, biserica greco-catolicã Sf.Maria, construită în anul 1800,
biserica ortodoxă Sf. Treime, edificată în anul 1994, o interesantă propunere de creaţie
arhitectonică de cult, contemporană. Situat pe artera ce leagă Polonia de Slovacia şi
Ungaria, întrunind condiţiile pentru un turism cultural întegrat cu cel în mediul natural,
Svidnikul valorifică în principal reperele de reţea culturală - o suită de muzee între care
Muzeul militar, Muzeul de ştiinţele naturii, Galerii de artă, bisericile de lemn şi Muzeul
în aer liber al arhitecturii populare din zonele etnografice ale regiunii Horny Saris,
Muzeul culturii rusino-ucrainene.
history in this region. The beginnings of the museum go back to 1954, when the
organization committee led by M.Dubai, advance the initiative of representing in a
museum of the Rusin (Ruthenian) culture, typical to the inhabitants of almost 250
settlements in north-eastern Slovakia, to the Slovakian-Polish border. By size and
patrimony, this museum can be considered representative among the museums of
minorities in Europe and a discourse on tolerance and interethnic life. First established
in Presov, the museum was moved to Crasoi Bodi and finally, in 1964, to Svidnik. From
this moment on the museum saw the most prolific period in organizing and expanding
the collections, in diversifying the activities and in setting up all the functional
compartments. In 1966, they opened for the public sections concerning the region
history, literature history, fine art, ethnography and musical folklore. In 1988 the
museum patrimony increased up to 58.000 items, housing a library, a photographic
room, a phonographic room and rich technical resources. Today's exhibition is divided
in accordance with several thematic fields such as: man and nature, where they present
the region natural environment with its beauties as well as events from the geological
past and paleontological samples. The traditional folk culture is the best represented
and there are several rooms that remake the atmosphere of the Rusin (Ruthenian)
village in the middle of the 19th century, using original exhibits, documents and photos.
The setting up of peasant interiors, respecting sizes, and the ranging of furniture
recreates the atmosphere of the traditional folk perimeter. They also display
occupations and trades, together with the whole necessary inventory, from means of
transportation and tools, to devices of the peasant domestic technical equipments;
among them, the most common
are those destined to the
processing of textile plants and
wool, used to make cloths and to
decorate the interior. The
exhibition also presents the daily
life of the peasant household, this
universe of traditions, among
which the eggs painting
astonishes by the polychromatic
variety, as well as by the
ornamental motifs involved in
this artistic craftsmanship. All
the exhibits are presented in a
polychromatic panorama, from
costumes very well displayed in
the glass cases and developed by the perfect placing of light and interior fabrics, to
wooden, ceramic and metal goods belonging to the native daily inventory. The display
of the ethnographical exhibit is accompanied by a complementary graphics, which
intervenes when the use of certain items is more difficult to be understood, or when
monotony is present in the exhibition. The free access to the exhibits, displayed
parametrically and openly on platforms, the massive presence of wood in the
background and on the walls, the general texts and the labels make the visit pleasant and
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Pe urmele strămoşilor uitaţi - III 31
vizitarea agreabilă şi înlesnesc înţelegerea discursului muzeografic. Istoria rusinilor şi
a ţinutului este realizată pe principiul cronologic şi susţinută cu obiecte din descoperiri
arheologice ceramică, arme şi unelte din metal - pentru perioadele de istorie veche,
până la arme, numismatică, documente, mobilier, cărţi vechi, manuscrise şi tipărituri
pentru perioadele apropiate secolului nostru. Clubul prietenilor muzeului desfăşoară o
activitate intensă, diversificată, adresându-se diferitelor grupuri de vizitatori, astfel
încât aceştia să contribuie, fiecare în felul său, la sporirea zestrei şi faimei muzeului.
Pentru completarea imaginii zonei, muzeul are filiale la Topoli un muzeu memorial
- şi Galeria de artă Desideriu Milly, organizată într-un conac în stil baroc din secolul al
XVIII-lea, restaurat şi adecvat specificului expunerii muzeale de artă. Alături de
numeroase lucrările ale maestrului ce patronează galeria, un fecund pictor dispărut la
începutul deceniului al VIII-lea al secolului trecut, se află o expoziţie de icoane pe lemn,
din secolele XVI-XVIII-lea, un patrimoniu de valoare deosebită între care temele
Judecata de Apoi, Iisus Pantocrator sau Maica Domnului cu Pruncul înconjurată de
Apostoli mai multe icoane cu tema Deisis sunt cele mai realizate din punct de vedere
artistic. Soluţia muzeotehnică a galeriei este una moderrnă, cu lumină difuză mascată
de simeze.
Muzeul emblematic pentru Svidnik este expoziţia în aer liber dedicată
arhitecturii populare din zonă, Muzeum Ucrajinsko-Rusinskej Kultury.
Organizarea muzeului a fost ocazionată de lansarea, în anul 1975, a programului
privind Atlasul etnografic al Slovaciei. Au fost investigate atunci 226 de localităţi din
zonă, cu populaţie compactă rusină, rezultând un material documentar ce a permis
proiectarea acestui important obiectiv cultural, muzeul “prosto nebo” sau “muzea v
prirode” ce a avut ca iniţiator un colectiv de specialişti condus de Miroslav Sopoliga.
Prima construcţie transferată în muzeu a fost locuinţa de la Keckovce, tipică pentru
construcţiile de tip lemki. Pentru etnia boiki este reprezentativă construcţia de la
Topolia.
Pe o suprafaţă de 10 ha au fost
amplasate un număr de 35 de
obiective grupate în 14 complexe
gospodăreşti. « Satul » de la Svidnik
este aproape circular, dominat de
construcţia impunătoare a bisericii
de la Novaia Polianka, construcţie de
lemn în formă de navă cu pronaos
decroşat şi altarul marcat printr-un
turn clopotniţă. Naosul este acoperit
cu o învelitoare piramidală din şiţă,
în două nivele şi turnuri decorative
terminat cu cruce ; cele trei învelitori
realizează un crescendo pe înălţime,
turnul de pe altar încununând cota de înălţime. La interior se păstrează iconostasul din
secolul al XVIII-lea, realizat din frize de icoane dispuse pe trei nivele, prinse într-un
schelet sculptat şi finisat cu foiţă de aur. Monumentul este împrejmuit cu un gard
poligonal, din bârne distanţate, asamblate în cheutori şi acoperite cu o învelitoare din
facilitate the comprehension of the museum discourse. The history of the Rusins
(Ruthenians) and of the region is set on the chronological principle; the ancient history
periods are represented by objects got from archaeological discoveries ceramics,
weapons and metal tools and the periods of time nearer to our century are represented
by guns, coins, documents, furniture, old books, manuscripts and printings. The club of
the museum's friends, with an intensive and diverse activity, appeals to different groups
of visitors and tries to make them contribute, in their own way, to the enhancement of
the museum patrimony and fame.
In order to render a complete image of the area, the museum has got subsidiaries in
Topoli a memory museum and the Desideriu Milly Art Gallery, set up in a baroque
mansion of the 18th century, restored and modified according to the particularities of the
museum art exhibition. Next to the works of the master who sponsored the gallery, a
prolific painter disappeared at the beginning of the 8th decade of the last century, there is
a wooden icon exhibition of the 16th-18th centuries, a very valuable patrimony
reproducing in the most successful and artistic way themes such as Deisis, or the
Doomsday, Jesus Pantocrator or Virgin Mary with the Infant surrounded by Apostles.
The technical solution of the gallery is modern, with diffuse light hidden by cymas.
The emblematic museum of Svidnik is the outdoor exhibition Muzeum
Ukraijnsko-Rusinskej Kultury, dedicated to the folk architecture of the region. The
museum was organized in 1975 when they initiated the programme for the Slovakian
ethnographical Atlas. On this occasion, they examined 226 places of the region with
compact Rusin (Ruthenian) population, and the result was a reference work which
allowed the design of this important cultural site, the “probo nebo”or “muzea v prirode”
museum, initiated by a group of specialists led by Miroslav Sopoliga. The first building
transferred inside the museum was the lodge of Keckovce, typical for the Lemko type
constructions. The building of Topolia is representative for the Boyko population.
Thirty-five sites grouped in fourteen household piles were set on an area of 10
hectares. The ”village” of Svidnik has almost a circular shape, towered by the
impressive church of Novaia Polianka, a wooden construction shaped as a ship, with a
disconnected narthex and the apse pointed by a bell tower. The nave is covered by a
pyramid clapboard roof, with two levels and ornamental towers ended by crosses; the
three roofs form a crescendo, the tower above the apse being the highest. Within the
church there is the iconostasis of the 18th century, made of icon friezes disposed on three
levels, framed by a sculpted and gold finished framework. There is a polygonal fence,
of detached joint beams covered with clapboard that surrounds the monument. The
household pile of Keckoviec consists of the lodge itself, a barn, a stable and an annexe
building made up of joint semicircular beams. Both constructions are covered with
straw sheaves and have round corners. On the top there are devices which fasten the
sheaves. A large stoned porch surrounds the building, and there is a household annexe
with a separate door, probably a cellar, to the posterior façade, under the eave.
Most of the buildings used as lodges, although made up of wooden beams, are
clayed, both in the inside and on the outside, forming bright areas, well outlined by the
straw roofs and the clayed porches. The peasant technical equipments the smithy and
the water mill are displayed as exhibits - are made up of massive wooden beams, on
high quarry stoned foundations.
apse, so that it creates a bonding element, which represents actually the four-sloped roof
of the wooden churches in the Romanian Carpathians. The square ground of the
pyramidal roof does not allow the extension of the roof, so that it makes room for the
well-known slopes of our churches; the narthex is very small and it is only marked as
roof; the ground of the bell tower has got a caster angle to the end and this makes it
slender and graceful emphasizing the end of the tower (the watch tower) polygonal
covered. (Lukov-Venecia)
l. Generally, there are steeples with watch towers ( there is the need of building them
in this manner in respect of tradition, even if the function of the tower disappeared at the
same time with the erection of the belfry), but also very high, long, prismatic towers,
covered directly with a conical roof ended by a cross; the narthex roof, connected
directly to the nave roof, leaving its independent pyramidal shape, takes the shape of the
four-sloped roof, with the eastern slope stopped up by the nave high wall (Trocany);
m. The rectangular church with all the compartments gathered under a unique four-
sloped roof, pierced by a very long, parallelepiped tower on the apse; it resembles to us
churches the most (Krive);
n. the very slender bell tower is on the nave, piercing the unique nave/narthex roof
(Mikulasova)
o. the most interesting is the church of Brejany, 1727, very similar to a peasant house:
The joint beams building has got an incongruous
narthex, with a stopped up entrance slope, outlined
on the side slope of the nave, obviously larger, which
stops upon the west side. The apse has a bell tower.
The circular and semicircular beams airtight with
whitewashed clay make a picturesque structure,
highlighted mostly by the resemblance to other
architecture sites of the area, which use the same
building and finishing techniques.
The low foundations are made of stone and the
windows are placed on the longitudinal axes of the
apse and of the narthex as well as on the opposite
walls of each compartment. A church built in this
manner has several levels: the level provided by the
narthex, which usually has a plane ceiling with a
square grounded pyramidal roof above it; the nave
gets higher with another level, provided on one side
by a pyramidal vaulting which follows the roof
slopes; the apse has got a beginning of the pyramidal
roof as well as an ending with a square or rectangular grounded parallelepiped, which
gets an extension towards the “bulb” end in order to house the bells; there are also walls
with the entrance pointed by two stone pillars.
The general appearance of a church is provided by its long, very long or almost
squared plane. The pyramidal roofs that usually have square grounds cannot go beyond
the side provided by the building breadth; the only items the anonymous builder works
with are the heights, the variations of multiplying the disconnected pyramids, the inter-
pyramid level, the caster angle of the bell tower, the watch tower harmony, the bulb
multiplication. The idea of ship is mitigated by the fact that the narthex is generally
narrower than the apse and the nave, as central compartment, it extends in order to make
more room for the parishioners. The narthex is
not in itself a compartment for the believers, but
it is more an entrance compartment.
The covering with boards on the outside, in
order to protect the beam walls, dating from the
end of the 19th century, represents the main
disadvantage for the general perception of these
architecture achievements, which are successful
because of the harmony of proportions, the use of
the ornamental elements carved in wood, the
setting of a pile in compliance with these
monuments. Thus the original image of the sites
can be discovered only inside where one can still
find the joints of the beams, vaults and various
techniques for building and decorating the
vaults.
Most of the religious buildings had many
restorations and changes along time, most of
them aiming the roofs and the belfries. On the
outside, the walls are made up of long circular
joint beams fastened with wooden nails put together in a picturesque way. The
ornamental and constructive elements can be found again under the low eave of the first
roof level, in the shape of long consoles whose endings are usually decorated with the
horse cap motif; some of the churches have got a narrow passage supported by
decorated poles on the northern side, in front of the nave and of the apse.
The monumental aspect is also completed by the patrimony of movables; most of
them are icons, iconostases or even parts of the picture on the nave walls. We will
mention the rood-screens of Prikra, Potoky, Lukov-Venecia and Kozany, Jedlinka,
Bodruzal (the 18th century), the wood painting of Bodruzal and Hervartov are the most
representative. The baroque style is more obvious with the rood-screens, the furniture,
the frames, the vault elements.
The tourism offer of North-eastern Slovakia includes, in the museum field, an
important number of exhibitions, organized in the following main places: Presov,
Kosice, Michalovce.
While the main towns, places with a rich European history, preserved the ancient
centre with its 17th-19th century buildings, with its churches, workshop lanes, palaces
and even castles and citadels which represent attraction points, the rural material culture
can be found mainly in museums, as the “skanzen” museums are very often found in
Slovakia. Thanks to all these sites, the area represents a tourism source; the age of the
sites, their specific character, the building and decoration technique, the wood
processed in lasting shapes, the religious and folk art goods sheltered by these sites, all
these are arguments inviting the tourist to visit this area.
Fundaţia BALTAGUL Câmpulung Moldovenesc, 2003
Pe urmele strămoşilor uitaţi - III 41
Uzhgorodul este localitatea unde se află cele mai multe muzee din zona carpatică a
Ucrainei; acestea conservă şi pun în valoare, pentru publicul autohton şi pentru călătorii
din străinătate, un patrimoniu de valoare europeană, integrându-se unei oferte turistice
diversificate şi atractive (muzeul cetăţii, cu reconstituiri de interioare de epocă şi
exponat etnografic, muzeul în aer liber al arhitecturii şi traiului, muzeul de artă,
muzee comemorative, muzeul zoologic). La Mucacevo, cetatea găzduieşte muzeul
etnografic; alte muzee sunt deschise la Zaricevo (muzeul «Lemchivsica usadiba»),
Lisicevo (muzeul «Cuzniţa»), Colociavo (muzeul Ivan Olibraht), Sânevir (un
interesant muzeu al plutăritului, ocupaţie de tradiţie în Carpaţi), Solotvino (muzeul
«Solecop»).
În întreaga regiune sunt înregistrate 1.817 monumente de istorie, cultură, artă, dintre
care 496 - arheologice, 1.273 - istorice, 48 - de artă. Unul dintre importantele muzee ale
zonei a fost organizat în cetatea Uzhgorod datând din secolul al XI -lea, unde ocupă un
număr de 30 de săli. Patrimoniul muzeului care astăzi depăşeşte o sută de mii de
exponate, cuprinde colecţii de obiecte din bronz, numismatică, arheologie, colecţii de
arme, manuscrise şi incunabule, colecţii de artă plastică, orologerie. Un patrimoniu
important este cel etnografic şi de artă populară, inventariind piese de port, instrumente
muzicale populare, inventarul implicat în cultivarea meşteşugurilor utilitare şi artistice.
Din domeniul ştiinţelor naturii, exponatele sunt organizate pe biogrupe, în 20 de
diorame; un valoros ierbar constituie punctul de atracţie al celor interesaţi de
frumuseţile naturale ale Transcarpatiei. Din această simplă enumerare, realizăm
componenta de complex muzeal a expoziţiei din cetatea Uzhgorod, vizitatorului
oferindu-i-se o imagine de ansamblu a istoriei, a locuitorilor şi frumuseţilor naturale ale
zonei. Muzeul de artă din Uzhgorod conservă şi valorifică prin expoziţii peste 2000 de
lucrări de artă plastică. Galeria de icoane din secolele XVII-XVIII -lea expune lucrării
valoroase, reprezentative pentru credinţa ortodoxă sau greco-catolică religiile
dominante în Transcarpatia - dar şi valori de artă, reuşite ale meşterilor iconari, cei mai
mulţi anonimi, care au împodobit bisericile din Carpaţi, din România până în Slovacia
şi Ungaria cu reuşitele muncii şi talentului lor. Muzeul zoologic este unul de
cuprindere generală, alături de fauna locală, bogată şi abundentă în Carpaţi, expunând
animale exotice, de la păsări şi reptile la mamifere, de pe mai toate ariile geografice ale
lumii.
Există în zona Ucrainei de Vest mai multe muzee etnografice în aer liber. Între
acestea figurează Lviv, Uzhgorod şi Cernăuţi. Muzeul de arhitectură populară din
Uzhgorod, situat pe versantul sudic al muntelui Zamcovâi, nu departe de cetatea cu
viguroase prezenţe în istoria ţinutului, cuprinde un număr de 28 de obiective de
arhitectură, reprezentând zone etnografice din Carpaţi şi din depresiunea
transcarpatică. Realizat pe o suprafaţă de 5,5 ha, muzeul a fost inaugurat în anul 1970,
având alături de expoziţia în aer liber şi un cochet pavilion în care se află spaţiile
complementare expoziţiei în aer liber, sălile de conferinţe, biblioteca etc. (Sala de
expoziţii ne prilejuieşte întâlnirea cu roadele muncii unui mare număr de meşteri
populari, care au preluat şi întregesc universul de creaţie al înaintaşilor). Muzeul este
MUSEUMS IN UKRAINE
Uzhgorod is the place with the greatest number of museums in the Carpathian area of
Ukraine; they preserve and develop, both for the natives and for the foreign visitors, a
patrimony of European value, which is part of an attractive and various tourism offer
(the museum of the citadel with restored ancient interiors and ethnographical exhibits,
the outdoor museum of architecture and living, the art museum, the memorial museums,
the zoological museum). The citadel of Mucacevo houses the ethnographical museum;
some other museums are set up in Zaricevo (the “Lemchivsica Usadiba” Museum),
Lisicevo (the “Cuznitza” Museum), Colociavo (the Ivan Olibrath Museum), Sânevir
(an interesting museum of rafting, one of the traditional occupations in the Carpathian
area), Solovotino (the “Solecop” Museum).
There are 1.817 historical, cultural and art monuments in the entire region, among
which 496 are archaeological, 1.273 are historical, 48 are artistic monuments. One of
the most important museums was set up in the citadel of Uzhgorod dated back to the 11th
century, which was organized in 30 rooms. The museum patrimony with over 100.000
exhibits includes bronze object collections, coins, archaeology, weapon collections,
manuscripts and old rare books, fine art collections, horology. The ethnographic and
folk art exhibition is an important patrimony, gathering traditional clothing, folk
musical instruments, and an entire inventory concerning artistic and house holding
trades. In the field of natural sciences, the exhibits are organized in 20 scenes; a valuable
herbarium represents the attraction point for those interested in the natural beauties of
the Transcarpathian area. This simple enumeration shows us the complex side of the
museum exhibition within the citadel of Uzhgorod, which offers the visitor a general
view on the history, the inhabitants, and the natural beauties of the area. The art museum
of Uzhgorod preserves and valorises within its exhibitions over 2.000 works of fine art.
The icon gallery of the 17th-18th centuries exhibits valuable works, representative for the
Orthodox or Greek-Catholic religion dominant religions in the Trancarpathian area as
well as works of art belonging to the icon craftsmen, most of them anonymous, who
decorated with their successful work and their talent, the churches of the Carpathians,
from Romania to Slovakia and Hungary. The zoological museum has a general structure
and it exhibits exotic animals, from birds to reptiles and mammals all over the world.
There are several outdoor museums in the Western Ukraine. Among them, there are
Lviv, Uzhgorod and Chernovtsy.
The folk architecture Museum of Uzhgorod, set on the southern side of the
Zamcovâi Mountain, not far away from the citadel with great significance in the history
of the area includes 28 architectural sites representing ethnographical regions of the
Carpathians and the Transcarpathian depression. Built on an area of 5.5 hectares, the
museum was inaugurated in 1970, including besides the outdoor exhibition, a stylish
pavilion which shelters the complementary rooms of the outdoor exhibition, the
conference rooms, the library etc. (The exhibition room allows us to see the results of a
great number of folk craftsmen's work who overtook and completed the artistic universe
of their ancestors.) 130.000 tourists visit the museum every year. The Uzhgorod
museum aims not only at displaying the evolution in time of the technique of house and
household building, but also at restoring the environment of the inhabitants living there,
of the people with their universe of customs and religious beliefs. The constructions
restored for the museum exhibition refers to folk architectural sites, dated back to the
18th - 20th century.
The architectural monuments include 12.000 movables which mark through their
original features and age, the dominant features of the folk culture in this area. Six
household piles, seven houses, a church, a pub, a school, a smith's trade, a water mill and
a clothing-felting machine are organized within the museum. The museum displays the
region geography; thus the sites are grouped according to the geographical criterion and
to the ethnographical area. Among the 130 ethnic populations living in Ukraine, the
Hutsuls of the Hutsulshchina region live within a historic and ethnographic territory in
the mountain regions of the districts of Verhovina, Kosiv, Nadvirna the Ivano-
Frankivsk region - Putila and Vijnitsa in Chernovtsy region, Rahiv in the
Transcarpathian Ukrainian region.
In spite of a history torn up with events, the Hutsuls preserved their cultural dominant
features, which turned them into a distinct and specific ethnical group. The life and the
villages in isolated areas, the rich decoration elements, the folk costume, and the
customs represent other elements marking their specificity. The same thing can be said
about the “Boykos”, a population that is still seeking its historical roots. Just like with
the Hutsuls and other ethnic populations, including the Romanians, the Transcarpathian
region represented an attractive territory because of the facilities offered to the
emigrants and the territory which was more difficult to be controlled and to collect
taxes. The Boykos features are obvious in the men and women` costume, in the
structure of churches, in the holidays range. Preserving elements of their own culture,
the Lemkos established between Uz and San in the east and between Poprad and
Danube in the west. The Romanian villages can be found in the district of Rahiv. The
outdoor museum of Uzhgorod is organized in such a manner that through the
architectural piles and the inventory of items it highlights all the important ethnical
groups who lived here and created history and material culture in this part of Europe.
The Hutsuls' area is represented in the
museum of Uzhgorod by two architectural
sites, interesting for the age of the buildings and
the structure of the household, for the way of
approaching the complex relationships and the
realities of the household pile. The Hutsuls, pre-
eminently mountain population, preserve their
original features in: architecture, costumes, the
use of trumpet to mark the most important
events of their life, the fire tradition, the
construction and the use of musical
instruments, the processing of the metals in
artistic shapes (addition of plates, spikes,
buttons, the tops of the moulded and decorated
hatchets, metal elements); these elements can
be frequently seen in this minority's culture. All
these occupations are the result of the technical and artistic skills, strongly favoured.
The Hutsuls are skilful sculptors and builders of houses and churches. The peasant
household of Stebno, in the district of Rahiv, dated back to the 19th century, is a
settlement with a fortified fold so that the pile represents a unity established in a
judicious and practical way. The origins of this type of setting are historical; this display
uses the space efficiently and it ensures the living together of the generations within the
same perimeter. The gathering of all constructions, with different functions, displayed
in such a manner to facilitate an easier approach, gives the possibility to be easily
surveyed and protected against pray animals, people and bad weather, as the mountain
area is pre-eminently defined by cold seasons. This type of organizing the buildings in
the household was used in the entire area of the Carpathian arch, from Slovakia to
Romania. The spaces have the same well known functions: house, pantry, lumber-
rooms, stable, barns; some of the buildings like the pantry convey their function to other
perimeters outside the house. The rectangular shape of the pile has on a long side the
house with three rooms, surrounded by closed spaces, built under the four-sloped roof
and limited on the outside by a fence made up of strong beams. On the opposite side
there is an open barn and a room used as a warehouse for tools, means of transportation,
stable. The homogeneous aspect of sizes and component parts, the semi-circular carved
joint wooden beams, the consoles used for wall dovetailing, the large eave sheltering a
large front passage, the massive cellar with a four-slope roof, all these elements build an
attractive and captivating pile for the visitor. The organizing of the interiors with
household and domestic inventory, costumes inventory, household and ornamental
ceramics, permanent stands and dowry pile, occupy all the rooms, making the visit
more instructive, completing the image of this Transcarpathian ethnical group.
The lodging of the Jasinia village, in the district of Rahiv, was transferred to the
museum in 1973 and it is representative for buildings older than 200 years. The house is
made up of massive semi-circular joint fur-tree beams. A heavy door and small
windows, cut in two successive beams, complete the massive character of the walls.
The house has three rooms, with a stove in the largest room, a hall in the middle room
and the lumber-room with a window in the main façade. One of the specific features of
the Hutsul architecture is the four-slope roof made up of long clapboards, superposed in
five ranges, with modified side slopes, so that the main slopes are higher than the side
slopes; this feature could represent an ethnical mark. On the façade a low porch is
marked by beams, and on the inside the beams are at sight.
The ethnical group of the Boykos is represented in the museum by three
constructions. The lodging of Rekit village, in the district of Mejigorie, was erected at
the beginning of the 19th century, according to a three-room draught, common for all
buildings of that period in the Transcarpathian area. Beside the hall with two entrances,
on the front and on the back façade, one can enter the lumber-room from the outside, on
the high porch, supported by the long bottoms erected on a stone foundation. From the
point of view of the structure, the house is made up of massive dovetailed joint wooden
beams. The wall crossing point is well marked on the façade by the long bottoms of the
transversal beams, which provide a picturesque distinct aspect to the building. The
entrances and the windows have the same authenticity by dimensions and assembling
technique. The roof is very high with a steep slope, made up of sheaves of straw, ranged
in horizontal rows and strengthened on the top. The wood is at sight on the outside
where it is protected by the large eave of the roof, and on the inside where the furniture,
the household and domestic inventory are harmoniously side by side and remake the
specific atmosphere of the peasant buildings.
The lodging of Guvlivok, in the district of Volovats, presents an alternative to the
original plan, placing the living room, the largest, in the centre of the three-roomed
building; the access to this compartment is possible through the hall placed on the right
side of the house, in the most unusual way. The lumber-room has separate entrance on
the house façade, from the porch having benches leaned against the bottoms of the
transversal low beams. The symmetry of the hall and of the lumber-room, opposite the
living-room, is well set, so that the façade, marked with doors and windows opened in
the walls of massive joint beams and protected by a five row straw roof, form a balanced
pile, the sign of a genuine esthetical value and a fine sense of proportions. The massive
oven set in the corner next to the hall and the back façade, has the aperture inside, a large
porch of beams leaned against the wall beams and the consoles, making room for the
domestic inventory used for cooking meals. The household pile of Gusno, in the district
of Veliko Bereznai, was transferred in the museum in 1967. The draughts show a
complex building reuniting several compartments with different functions and
destinations. The dwelling compartment is reduced, but the three-room draught is
preserved, having the warm living room in the middle, flanked by the hall and the
lumber-room, the first one with two entrances, the latter with an outside entrance. Next
to this structure, under the same roof, there is a barn and a stable, destined to housework.
Dated back to the 19th century, this architecture site is known as “dlinâi hâj” (pantry
dlinâi), which can be often seen to the Boykos and preserves the general pattern of
constructions of a very large area of the Transcarpathian region, from Ukraine to
Poland, Slovakia and a part of Hungary. On the façade of the dwelling compartments
there is a passage supported by poles, without parapet, which highlights the family area.
The Lemkos ethnical group is represented in the museum by the household of
Zaraceve, in the district of Perecinsk, on the border with Poland and Slovakia. The
dwelling area has a classical configuration, with a living room on the right side of the
hall and on the left side of the lumber-room, with access from the hall. Although made
up of beams, the walls are clayed, covering the wooden structure. The barn and the
stable seem to be an added building, with a “U” shape, surrounding the pantry. The roof
is made up of long sheaves of straw, sheltering a low clayed porch surrounded by
beams.
The Romanian house of Srednevo, in the Rahiv district is also a three-room building,
with a hall in the middle and two rooms almost equal, flanking the hall. The entrances
are in the hall and every compartment has its own heating system. The building has a
long shape, of carved beams and a high veranda with fret-sewed parapet and carved
poles. The four-sloped roof is high made up of clapboard. The fence is made up of
horizontal boards, protected by a two-slope covering and a two-leaved gate: the large
gate and the little gate.
The Hungarian house of Viskova, in the Hust district, dated back to the beginning of
the 20th century, has a developed draught, actually a re-organizing of the traditional
compartments following other directions; the construction gets a “L” shape and
preserves the classical destinations. Thus, the living space gets an extra room. A large
passage, on the main façade and on the left side of the building, completes the
rectangular shape, covered by a four-slope shingle roof, with chimneys on the façade
slope and a watchtower on the back façade.
The church of Selestova, in the district of Mucacevo, was erected in 1777, according
to a rectangular draught, with a detached narthex “babinetz” - and a parametric passage
supported by poles. Made up of carved dovetailed joint wooden beams, the building has
got a system of independent roofs, which form a height crescendo above each
compartment, from the narthex to the apse, ended by a rectangular bell-tower and a
system of superposed cupolas. It was transferred in the museum in 1974. The church is
surrounded by a fence made up of beams, horizontally ranged, covered by a short, two-
sloped roof, supported by poles.
The pub of Verhnego, in the district of Mejigorie dates back to the middle of the 19th
century and it consists in a three-room building, with the large room in the middle,
symmetrically flanked by other two rooms and a wall parallel to the main façade, which
separates, one third from the back façade, other three compartments with different
entrances and a connection between them. This division is generated by the need of
more compartments, some for the customers, and others for supplies lumber-rooms,
kitchen or bedrooms. The rectangular buildings are made up of carved dovetailed
beams, with three entrances on the main façade and a window in every room. The back
rooms have windows, too, meaning that they were used as lodging compartments. The
four-sloped roof is made up of clapboard, with two small ceramic plates on the main
façade. The use of the clapboarded
roof with the buildings of the 19th
century makes us believe the houses
older than this century would use the
straw roof, as it was probably cheaper
to be produced and made, while in the
following century they frequently use
the shingle roof.
Among the range of handicraft
workshops and peasant technical
equipment, the museum of Uzhgorod
displays a smith's trade, a mono-
cellular workshop made up of carved
beams, with a large porch on the
façade. A range of workings that were
not connected to the heat processing used to be done here, from the shoeing of animals,
to whetstone workshop, pottery etc. On the inside, the bellows, the fireplace, the anvil,
the handicraft inventory, were set in the compartment destined exclusively to metal
heat processing, used in various rural activities. The shingle roof has got two stopped up
slopes; on the low level there is a slightly inclined slope which sheltered the outside
working area. The building and the tools, which are in the centre of this restored
workshop, date back to the 19th century. The water mill is a rectangular building made
up of carved wooden beams, the slope of the roof on the left side of the entrance is
Fundaţia BALTAGUL Câmpulung Moldovenesc, 2003
Pe urmele strămoşilor uitaţi - III 51
spaţiul de lucru din “afară”. Construcţia ca şi uneltele care fac obiectul acestei
reconstituiri de atelier datează din secolul al XIX-lea. Moara de apă este o construcţie
din bârne de lemn cioplite, de formă dreptunghiulară, panta acoperişului din laterala
stângă a intrării fiind dezvoltată pentru a apăra de intemperii mecanismul roţii
hidraulice şi a grindeiului. Pe un teren denivelat se află pietrele de moară şi coşul; în
planul morii se află o încăpere separată printr-un perete din bârne, care delimitează
camera morarului. Şcoala este o clădire de formă dreptunghiulară, cu o sală mediană,
din care se deschidea spre stânga o cameră mare cu corp de încălzit şi alte două spre
dreapta, cea de la faţadă fiind singura cu ferestre. Construită din bârne cioplite, şcoala
are la faţada principală un gang simplu, înalt, sprijinit pe prelungirea tălpilor; este
marcat de o balustradă sprijinită pe patru stâlpi, montaţi în dreptul pereţilor
transversali. Între anexele gospodăreşti regăsite în muzeu se află un coşer de formă
dreptunghiulară, cu colţurile rotunjite, realizat din nuiele împletite după un sistem de
pari fixaţi în conturul tălpii dreptunghiulare, din lemn. Este apărat de ploaie printr-un
acoperiş simplu, în patru pante, din şindrilă. Coşerul este, de obicei, proptit în patru
pari pentru a nu se răsturna la vânt. În zona morii de apă se află şi şteaza, destinată
îndesirii şi spălării ţesăturilor din lână, într-un sistem ce presupune acţiunea şuvoiului
de apă introdus, prin cădere, într-un butoi mare, cu doage de lemn.
Dacă cele mai vechi urme ale unor construcţii de apărare au apărut pe teritoriul
Transcarpatiei încă în epoca bronzului, o serie de aşezări precum Ardanovo, Galiş-
Lovacica, Strâmtura fiind fortificate cu valuri de pământ, cele 12 cetăţi transcarpatice
medievale din secolele XI-XVI, erau construcţii bine întărite, acomodate condiţiilor
din zona montană. Cel mai bine conservate sunt cetăţile Uzhgorod, Hust şi Mucacevo,
datând din secolul al XI -lea, monumente organizate ca muzee şi intens vizitate de
turişti; sub formă de ruine dar cu istorii glorioase ne întâmpină şi cetăţile Neviţche,
Seredne, Cvasovo, Corolevo, Vinogradov, iar în jurul cetăţii Cinadievo se află un
minunat parc natural. Palatele nobiliare, cu bogăţia lor de reuşite rezolvări stilistice în
ce priveşte arhitectura, grandoarea interioarelor, decoraţia şi mobilierul, dar mai ales
istoriile ţesute în jurul existenţei acestor veritabile monumente, sunt atracţii
permanente pentru turişti. Cele mai cunoscute sunt Şenborn, Palatul Pereni, Dovgai,
Bereghi Rakozi, Caracioni.
Carpaţii împăduriţi, departe de viaţa din aşezările umane, au fost locul preferat
pentru a ctitori lăcaşuri de cult. Cei dintâi călugări creştini, au fost discipolii lui Chiril
şi Metodiu, apariţia mănăstirilor, fiind susţinută de nobilii locurilor pentru dezvoltarea
învătământului şi culturii în zonă ; se ştie, că la Mănăstirea Peri funcţiona o tipografie,
binefacerile ei ajungând până în ţările române, iar la Mucacevo a fost înfiinţată o
bibliotecă. Cele mai cunoscute mănăstiri, focare şi păstrătoare de cultură, depozitare
ale unor valori inestimabile, sunt aşezămintele monastice ortodoxe de la Mucacevo,
Uglea, Dragovo, Dragovo-Zabrodi din secolele al XI-XIII -lea.
Muzeul boikilor « Boikivşcina » din Sambir
Propunerea de a se înfiinţa un muzeu în Sambir, reprezentativ pentru etnia boikilor, s-
a pus cu ocazia constituirii asociaţiei „Boikivşcina”, în anul 1927, din iniţiativa unor
entuziaşti în fruntea cărora s-a aflat Ivan Filipceak. Muzeul de astăzi, filială a Muzeului
Naţional din Lvov, reorganizat după anul 1991, oferă publicului vizitator o privire de
ansamblu asupra culturii populare a acestei etnii, oglindită în patrimoniul de bunuri ce
developed in order to protect the hydraulic wheel and the plough-beam against the bad
weather. The millstones and the barn are on an uneven land; the draught of the mill
includes a room separated by a wall made up of beams, which delimits the miller's
room. The school is a rectangular building, with a middle room leading to a large room
with a heater on the left side and to two other rooms on the right side; the room from the
façade is the only one provided with windows. Built out of carved beams, the school has
a simple high passage leaning on the prolongation of the underside; it is marked by a
banister supported by four poles, erected in front of the perpendicular walls. Among the
household annexes that can be seen in the museum, there is a rectangular barn, with
round corners, made up of wattles on poles fastened in the ambit of the rectangular
wooden underside. It is protected against the rain by a simple four-sloped shingle roof.
The barn is usually propped up in four poles so that the wind could not turn it upside-
down. There is also the clothing-felting machine in the water mill area, used to thicken
and wash the wool fabrics, according to a method based on the action of the water
stream falling in a large barrel with wooden staves.
If the oldest signs of defence buildings showed up in the Transcarpathian region ever
since the Bronze Age, a range of settlements fortified with earth vallum such as
Ardanovo, Galis-Lovacica, Stramtura, and the 12 medieval citadels from the 11th-16th
centuries were well-protected buildings adjusting to the conditions of the mountain
region. The best preserved are the citadels of Uzhgorod, Hust and Mucacevo, dated
back to the 11th century; they are monuments established as museums often visited by
tourists; the citadels of Nevitche, Seredne, Cvasovo, Corolevo, Vinigradov erect as the
ruins of a glorious past, while around the fortress of Cinadievo there is a beautiful
natural park. The aristocratic palaces with great stylistic achievements in architecture,
interiors` stateliness, decorations and furniture, but mostly the stories with origins in
the life of these monuments are permanent attractions for the tourists. The best known
are Senborn, Pereni Palace, Dogvai, Bereghi Rakozi, Caracioni.
The afforested Carpathians, away from the life of the human settlements, were the
favourite place to found religious monuments. The first Christian monks were Chiril`s
and Metodiu`s disciples and the monasteries were supported by the local noblemen in
order to encourage education and culture in the area. It is well known the fact that in the
Peri Monastery functioned as a printing house whose advantages got to the Romanian
Countries, while in Mucacevo they inaugurated a library. The best known monasteries,
centres that preserved culture and housed great values, are the monastic orthodox
settlements of Mucacevo, Uglea, Dragovo, Dagrovo-Zabrodi, dated back to the 11th-
13th centuries.
“Boikivshchina” Boiky Museum of Sambir
The idea of organizing a museum in Sambir, representative for the Boykos` ethnical
group, came up on the occasion of setting up the “Boikivshchina” association in 1927,
on the initiative of some enthusiasts, led by Ivan Filipceak. Today's museum, subsidiary
of the National Museum of Lvov, reorganized after 1991, gives the chance to the visitor
to have an overview over the folk culture of this ethnical group, reflected in the
patrimony by goods which organize the every day universe and customs of the Boyko
peasant. The exhibition is set up in such a way that it groups together the exhibits
according to the occupations; agriculture is represented mostly by the department of
storing and processing cereals into food. The inventory is mostly of wood, from
unsophisticated tools belonging to the household and family inventory, to those strictly
related to cooking. This filed is well represented by the red, enamelled ceramics used in
the kitchen simple and double pots, pitchers, round and short pitchers, milk decanters,
pots with one or two ears and others tied with wire in order to boil them in the oven, etc.
We must mention here the pottery masters` interest in decorations; the samples of the
first half of the 20th century, exhibited in the museum, have unsophisticated ornaments
with various colours and geometrical and floral motifs. Breeding, the Boykos` main
occupation, is carefully represented by an inventory which includes ranges of objects
used in cultivating and harvesting the fodder, in storing and processing the animal
products. The domestic fabrics industry has an important role in the ethnographical
exhibition, starting with tools used in processing and finishing the textile and woollen
threads, to the final product, textile goods
belonging to the decoration of the traditional
interior and to the male and female costumes.
The brake, the card, the finishing machines, the
distaffs and the spinning machines, in the
shapes and technical methods known in the
entire Carpathian area, are displayed next to
traditional costumes, most of them female
shirts, with rich geometrical decorations on the
sleeves, with red, black and sometimes blue
geometrical and floral motifs. The shirts for
men, with hems, have unsophisticated
decorations on the sleeves, the hems and the
chest. A large white skirt with rows of
geometrical motifs on the hem completes the
female costume. Over the skirt there is a
flourished waistcoat, entirely decorated with
stylized floral motifs. By the distinct difference
of colour and the chromatic density, the
waistcoat and the skirt are well emphasized: the
head towels, made up of fabric, decorated to its
ends, complete the traditional costume and, in
the same time, has an important contribution to the interior decorations. The men's
peasant trousers are made up of tissue; the only decorated elements are the chest of the
shirt and the narrow belt. The straw hat and the white cloth coat complete this costume
which is typical for the 19th century. The interior dates back to the same period; it is
restored in one of the museum rooms which displays the main items of furniture,
interior fabrics, most of them towels, but also costume items, some of them related to
the every day activities and the domestic customs. The museum also houses a memory
exhibition which remakes through ancient furniture, i.e. objects, paintings, artistic
inventory, the family and the artistic environment of the Kozakevicis, who provided
personalities of great value in the region. In the same time, the “Boikivshchina”
Museum is the cradle of animated national feelings of this ethnical group, in the same
manner the Ruthenians (Rusins), the Hutsuls and the Lemkos think it's their honourable
duty to project the originality of their ethnical universe in all the ways, including in
museums.
“Hutsulscina” Hutsul Folk Art Museum of Kolomija
Situated in Ivano-Frankvisk region, the Hutsuls' folk art museum of Kolomija, is
representative for the universe of folk culture of this mountain population living in an
area that stretches out from Ukraine to the north of the Oriental Carpathians. A history
poor in information because of the isolated life people lived in the mountains they were
so attached to, a history that was so rich in events for many centuries just like most of
this part of Europe, had as result the fact that this ethnical group was attributed in turns
different roots and different ethnogeny many times asserted and disputed according to
geopolitical interests. The universe of life and creation of these populations shaped an
area well individualized and well represented in almost all the departments of the
material culture. The museum of Kolomija tries to remake this universe in its most
expressive and meaningful part, which hasn't been affected by interests and trends, i.e.
ethnography and folk art.
Its first manager, B. Kobrinski,
suggested the project of organizing
the museum for the first time in
1926. Today's museum counts over
15.000 exhibits, which represent a
period of time from the 18th to the
20th centuries. The collections
provide information on the main
fields of culture and folk art: wood,
ceramics, tissues, costumes,
metals, penned eggs, leather,
jewellery, furniture. A great part of
the museum exhibition was
dedicated to the folk craftsmen,
creators and preservers of the
Hutsuls`s traditions. One can admire in the exhibition the works of some folk creators
of the 20th century and the present time, who brought their contribution to the
enrichment of the range of shapes and decoration motifs.
One of the most valuable collections is the pottery one, gathering almost 3.000
items, from the oldest ones, dated back to the 18th and 19th centuries, to the craftsmen's
creation of the 20th century. Kuty, the famous pottery centre, with a long and fruitful
activity, spread all over the region up to Bucovina, the perfect shapes and the decoration
elements, which can be found in many Romanian museums. The Princely Inn of
Suceava and the Ethnographical Museum of Radauti house valuable collections of
Kuty pottery. Due to the activity of Constantin Colibaba and his successors, the pottery
centre of Radauti was inspired by the models of the Kuty pottery and thus, it offers the
visitor a gallery of great works.
The artistic processing of metals is illustrated in the 700 items, from the hatchets,
representative for the Hutsul culture, to the gunpowder boxes and the horns, the jewels,
Fundaţia BALTAGUL Câmpulung Moldovenesc, 2003
Pe urmele strămoşilor uitaţi - III 57
ceramicii de Kuty, propunând o galerie de reuşite.
Prelucrarea artistică a metalelor este ilustrată prin cele 700 de piese, de la baltagele
emblematice pentru tradiţia huţulă, până la cutiile şi coarnele pentru praful de puşcă,
podoabe, paftale, ferecături. Muzeul organizează un bogat schimb de expoziţii, făcând
cunoscute reuşitele artei huţule în Europa.
Exponatele din lemn sunt mărturii a aproape trei secole de evoluţie a meşteşugului
de prelucrare şi îmbogăţire artistică a lemnului. Exemplarele expuse, achiziţionate din
zonele Kolomiya, Kosiv şi Verhovina sunt decorate cu motive geometrice între care
rozetele sunt cele mai realizate, dar şi reprezentări cultice ca în cazul unei grinzi de
biserică din 1835, a crucilor, sfeşnicelor sau păscăriţelor. Sculptura de mici dimensiuni
a sfeşnicelor, cu tematică religioasă de cele mai multe ori şi nu de puţine ori decorate
policrom sau întarsiat practică mai nouă care a cucerit pe mulţi creatori populari -,
crucile de mână, tiparele de caş, butoiaşele, linguroaiele, căni şi pahare, tarniţe şi
lingurare decorate cu dinţi de lup şi stilizări geometrice alcătuiesc principalul repertoriu
de obiecte din lemn. Este utilizată ca tehnică decorativă şi pirogravarea pe obiecte de la
începutul secolului trecut. Lingurile, tiparele de caş, butoiaşele gemene stau alături de
farfurii din lemn întarsiate cu mărgele policrome, în desene geometrice şi stilizări
florale; nu lipsesc dintre reuşitele artei tratării lemnului lingurarele, cofiţele, tarniţele
instrumente muzicale, poliţe şi blidare, multe dintre ele creaţii ale artiştilor populari
din zilele noastre.
Repertoriul morfologic al acestor obiecte din lemn este asemănător cu cel
bucovinean românesc, lucru firesc dacă luăm în calcul apartenenţa celor două regiuni la
regiunea carpatică, dacă gândim perioadele de timp când au făcut parte din aceeaşi
evoluţie istorică, dacă gândim că schimburile economice, cu ocazia târgurilor,
activitatea negustorilor ambulanţi, practica trocurilor, atât de specifică secolelor
trecute, a făcut să existe o extensie, o cuprindere comună a acestor arii de producţie,
schimb şi consum de bunuri.
Prelucrarea artistică a metalului feroneriile - au tradiţie în zonă de pe vremea Rusiei
Kievene când se produceau serii de bunuri utilitare dar şi decorative. Muntenii erau
oameni mândri şi vânătoarea constituia ocupaţie preferată. Aşa se face că între piesele
cele mai reuşite din punct de vedere tehnic şi de multe ori artistic, sunt coarnele şi cutiile
pentru praf de puşcă, cu ferecături şi întarsiate decorativ, curele bătute cu ţinte şi plăcuţe
metalice decorative. Unele zgărdane, în formă de cruci, în general, dar şi cu decoraţii
de suprafaţă, ţinând de tehnica ştanţării, alternează formele şi mărimile; asamblarea de
metal cu mărgele din sticlă, lemn, dau un aer surprinzător acestor anexe de port,
importante pentru acreditarea fetei în faţă colectivităţii săteşti. Metalul era
indispensabil la confecţionarea şi decorarea baltagelor, însemnul bărbătesc şi al
bastoanelor, corespondentul femeiesc, la care, alături de formele decorative obţinute
din turnare, se împodobeau de-a lungul părţii lemnoase cu materiale întarsiate din tablă
şi sârmă. Nu lipsesc nici ţintele sau nasturii, şi aceştia dispuşi în forme ornamentale sau
decoraţi, la rândul lor. Paftalele şi ţintele decorative făceau un atractiv câmp decorativ
pe curele şi chimire, pe genţi de vânătoare.
Ceramica expusă în muzeu, cu începuturi în secolul la XVIII-lea, a fost colecţionată
din zonă, de la Kolomiya, Kosiv, Pistini, Kuty din raionul Kosiv. Culorile tradiţionale
ale acestui tip de ceramică sunt galbenul şi verdele practicat pe străchini, ulcioare, căni
the buckles, the lockers. The museum organizes exhibition exchanges in order to make
known all over Europe the achievements of the Hutsul culture. The wooden exhibits are
the marks of almost three centuries when the processing handicraft developed and the
wood artistic decorations became richer and richer. The exhibited samples, coming
from Kolomija, Kosiv and Verhovina areas, are decorated with geometrical motifs,
among which the best are the wheels, as well as religious representations, just like in the
case of a church beam of 1835, of crosses, candlesticks or Eastern cake griddles. The
miniaturized sculpture of the candlesticks, often with religious themes or decorated in a
polychromatic or intarsia style a newer technique which captivated many folk creators
the hand crosses, the cheese patterns, the small barrels, the big spoons, the cups and the
glasses, the saddles and the shelves decorated with wolf fangs and geometrical
stylization, all these belong to the main range of wooden things. The fire engraving is
used as a decoration technique on objects dated back to the beginning of the last century.
The spoons, the cheese patterns, the twin barrels are next to wooden intarsia plates with
coloured beads forming geometrical drawings and floral stylization; among the works
of the wood carving, there are the spoon shelves, the wooden pails, the saddles, the
musical instruments, the shelves and the dish props, many of them belonging to
contemporary folk artists.
The repertory of these wooden
objects resembles to the Romanian one
of Bucovina. This is perfectly natural
considering that the two regions belong
to the same Carpathian region and share
the same historical evolution, or if we
consider that the economical exchanges
in the markets, the activity of the
itinerant merchants, the barters, typical
for the last centuries, produced an
extension and gathered all these
departments of production, exchange
and goods consumption.
The artistic processing of metal ironmongery is traditional in the area dating back to
the times of the Kievian Russia, when they produced ranges of practical and decoration
goods. The highlanders were a proud people and their favourite occupation was
hunting. That's why, among the best technically and artistically achieved items, there
are the gunpowder horns and boxes, with metal decorations and ornamentally intarsia,
the belts with nails and decoration metal plates. Some collars, generally shaped as
crosses, but with surface decorations made according to the punching technique, have
different shapes and sizes; the mixture of metal and glass or wooded beads makes these
important accessories surprising and they are important for the girl's entering the village
community. Metal was indispensable in manufacturing and decorating the hatchets,
typical for men, and the sticks, typical for women, whose wooden part was decorated
with ornamental cast items and tin or wire materials. The nails and the buttons are
ranged in ornamental shapes or are also decorated. The buckles and the decoration nails
form a very attractive view on belts and money belts, or on hunting bags.
The pottery exhibited in the museum, dated back to the 18th century, was collected
from the area, from Kolomija, Kosiv, Pistini, Kuty, from the district of Kosiv. The
traditional colours of this type of pottery are yellow and green, used on plates, pitchers,
milk cups belonging to the household inventory, bird, animal and human enamelled
figurines, ceramic plates, candlesticks, double pots etc. Anthropomorphic (the “lady”,
the “violin player”, the “instrumental orchestra”), floral, animal (the stag, the deer, the
lion, the horse, fantastic animals) and religious decorations (the church, the cross, the
icon) are frequently used on ceramic plates as well as on goods from the household
inventory. Within the museum the glass painting is represented by 19th century samples
of Pokutzia and Ivano-Frankivsk area. The topics are obviously biblical, tackled in a
folk style: simple touch lines, basic colours, suggested expressions, scenes inspired by
the village realities.
The penned eggs collection counts more than 2.000 items; the motif repertory is
infinite considering the joining and the combination of geometrical patterns in various
reiterations and combinations. The motifs range from the stumped colours of the older
eggs, using yellow and brown in particular, mostly with geometrical decoration, but
also with other motifs the cross, different animals, the wave -, to the most recent daring
use of colour and drawing, enriched with floral even narrative elements. The best items
of the museum come from the regions of Krasnoiliv, Krivorivnia and Kosmach.
Among the costume items, the woman's shirt is the most important from the point of
view of decoration; the approach of this costume item is the same in the entire
Carpathian area. This concern is accountable since the young single girls wore it with
pride in front of the community, when their work was greatly appreciated. The
decoration ensemble on the sleeves and on the shoulders is geometrical, dense, used on
large areas, with spots of bright contrasting colours. There are differences in motifs and
preferences for a certain colour or combination of colours, from one area to another;
this is strongly explained by the constraints of tradition, in the village world and
especially in the mountain village. The costume items of Vijnitza area, in the county of
Chernovtsy, bear the specific signs of the shirt in Bucovina, by the use of decoration
motifs on the baldric sleeve and on the chest. The towels with the ends decorated with
strips and friezes and geometrical ornamental elements and floral stylization, using
brown, orange and red are beautifully manufactured.
The traditional folk costume is well individualized in the Carpathian area mostly in
the neighbouring area; the Hutsul costume is easy to be recognized by the red tight cloth
trousers and the large, short, cloth coat with ornamental sewing on the cut lines. The
woman's peasant skirt is also special as it is usually woven of red wool, with no
decoration elements. The attraction of the museum is the reconstruction of a Hutsul
peasant interior, with its oven with ceramic decorated plates of Kuty, the domestic
wooden inventory, adorned with the traditional motifs, scratched or split - the solar
wheel is the most common the polychromatic fabrics used in decorating the wooden
interior, shaped in warm colours.
Istoria valorificării unor monumente de arhitectură într-o expoziţie în aer liber are
loc în România mai bine de un secol, Alexandru Odobescu fiind cel care a propus, în
anul 1867, un asemenea demers; în 1909, Tzigara-Samurcaş propunea aducerea în
muzeul etnografic bucureştean a unei gospodării ţărăneşti. În Transilvania, în anul
1904, la Sibiu, ASTRA propune organizarea unui muzeu „istoric-geografic” al
românilor, cu reconstruirea unor obiective de arhitectură populară. La Cluj, în 1929, se
înfiinţează Parcul Etnografic Naţional, pe o suprafaţă de 75 de ha, expoziţie care va
avea mult de suferit în urma Dictatului de la Viena. După jumătatea secolului trecut, se
înfiinţează muzee în aer liber în principalele zone etnografice ale ţării, peisajul
contemporan al acestui tip de muzee, cuprinzând aproape 20 de unităţi. Patru dintre
acestea sunt situate în zona muntoasă, făcând corp comun cu arealul de cultură şi
civilizaţie carpatică şi, prin aceasta, constituindu-se ca secvenţe ale acestei culturi.
La Negreşti, judeţul Satu Mare, s-a organizat Muzeul Ţării Oaşului, într-un
perimetru pitoresc, străbătut de râul Tur, nu departe de inima oraşului. Situat la egală
distanţă de alte două importante oraşe ce au organizat muzee etnografice în aer liber, -
Baia Mare şi Sighetul
Marmaţiei muzeul din
Negreşti pune în valoare
monumente de arhitectură
populară ce datează din
secolele al XVII-XX -lea,
exemplare reprezentative
pentru arhitectura colţului
nord vestic al teritoriului
românesc. Organizat pe
principiul reconstituirii
complexelor gospodăreşti, a
universului arhitecturii
rurale prin volumele sale
semnificative, muzeul este
dominat de silueta bisericii
de lemn din Lecânţa, clădită din bârne de lemn cioplite şi îmbinate în „coadă de
rândunică”; planul tradiţional care se întregeşte la vest cu un pridvor pe stâlpi ciopliţi,
este protejat cu un acoperiş în patru pante, din şindrilă, străpuns de un turn
paralelipipedic, terminat cu foişor, acesta fiind şi turnul clopotniţă; la est este altarul,
decroşat, acoperit separat, în două pante cu laterala înfundată. Ferestrele mici,
prinderea bârnele sub cosoroabă în cuie din lemn, pachetul de console în retragere,
proporţiile spaţiilor şi repertoriul de motive decorative cioplite pe stâlpii pridvorului
cât şi pe poarta de intrare şi chiar pe elemente de împrejmuire, troiţa amplasată în
acelaşi perimetru sacru, fac din acest obiectiv un element de atracţie turistică
deosebită. Alături de biserică se află câteva complexe gospodăreşti, precum cele
organizate pe lângă casele de la Cămârzana, Racşa şi Gherţa Mică. Ele ilustrează
MUSEUMS IN ROMANIA
It's been more than a century since the history of developing some architectural
monuments in an outdoor exhibition started in Romania; it was Alexandru Odobescu
who proposed in 1867 such an approach. In 1909, Tzigara-Samurcas proposed to have
transferred a peasant household to the ethnographical museum of Bucharest. In 1904, in
Sibiu, Transylvania, ASTRA proposed to organize a Romanian “historical-
geographical” museum, including remaking several folk architectural sites. The
National Ethnographical Park was established in Cluj, in 1929, on an area of 75
hectares; however this exhibition was to be very affected because of the Dictate of
Vienna. After the first half of the last century, they set up outdoor museums in the main
ethnographical regions of the country; the contemporary field of this type of museums
includes almost 20 units. Four of them are situated in the mountainous region, being an
integral part of the Carpathian culture and civilization area, representing fragments of
this culture.
The Museum of Tara Oasului was set up in Negresti, Satu Mare County, in a
picturesque perimeter crossed by Tur River, not too far from the very centre of the town.
Situated at an equal distance from two other important towns that organized outdoor
ethnographical museums, - Baia Mare and Sighetul Marmatiei the Museum of
Negresti valorises folk architectural monuments which date back to the 17th 20th
centuries, representative
samples for the architecture of
the North-Western part of the
Romanian territory. Set up on
the principle of reconstructing
household piles and on the
principle of rural architecture
universe, the museum is
towered over by the wooden
church of Lecanta, built in
carved dovetailed wooden
beams. The traditional
buildings, completed to the
west by a porch supported by
carved poles, is covered with a
shingle four-inclined roof
pierced by a parallelepiped
tower having a watch tower at its end which is also the bell tower; at the eastside, there's
the disconnected apse with a separate two-sloped roof with the lateral side stopped up.
The little windows, the beams fastened with wooden nails under the horizontal roof
joists, the withdrawn pile of consoles, the size of the rooms and the range of the
decorations carved on the porch poles, on the entrance portal and even on the
surrounding items, the triptych set within the same sacred perimeter turn this building
into a special tourism site. Next to the church, there are some household piles such as
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planurile clasice ale locuinţelor din spaţiul românesc, de la cele unicelulare la
construcţiile dezvoltate, cu trei încăperi şi anexe sub acelaşi acoperiş. Alături de
învelitoarea din paie, se cultivă acoperişurile din draniţă, ambele fiind în patru pante
repezi, înălţimile lor trădând tehnica meşterilor munteni. Anexele gospodăreşti
reprezentative pentru ocupaţii şi modul de trai al ţăranului, se completează cu ateliere
meşteşugăreşti, instalaţii tehnice, moara, piua, ştează, atelierul olarului fiind repere de
interes în vizitare. Organizarea interioarelor, cu bunuri autentice, migala cu care s-a
realizat acest demers, fac din vizita în muzeu o adevărată delectare. Interesant pentru
modul de concepere al acestei expoziţii este strădania specialiştilor de a menţine în
viaţă, lucrativ, principalele ateliere de meşteşugari, aici venind lume să-şi potcovească
caii, să spele sau să împâslească ţesăturile, să macine.
Deasupra tuturor acestora se află grija arătată pentru continuarea meşteşugurilor şi
tradiţiilor săteşti, prin cercul de olărit, găzduit în casa Vama, unde o mână de copii
inimoşi îndrumaţi de dascăli pasionaţi deprind tainele acestei meserii.
Muzeul satului maramureşean a fost organizat în vechea capitală a Maramureşului
istoric, Sighetul Marmaţiei, începuturile lui
datând de la 1860, când Asociaţia pentru Cultura
Poporului Român din Maramureş a pus bazele
activităţii de salvare şi conservare a
monumentelor de arhitectură din această zonă.
Muzeul prezintă arhitectura populară din sub-
zonele etnografice ale Maramureşului Cosău-
Mara, Iza inferioară, Iza de mijloc, Vişeu-Borşa,
Tisa. Cele mai valoroase exemplare de arhitectură
populară prezentate în muzeul în aer liber sunt
cele din secolul al XVIII-lea (casele din
Strâmtura, Călineşti, Ieud, Sârghi, Cuhea,
Fereşti), construcţii din bârne de lemn prinse în
cheutori, reprezentând tipologic toate variantele
specifice spaţiului românesc în general, şi
maramureşean în special. Biserica de lemn din
Onceşti, datată în secolul al XV-lea, ocupă un loc
privilegiat în muzeu, nu numai prin amplasare dar
şi prin vechimea ce-i conferă un statut aparte.
Construcţia este clasică, planul dreptunghiular fiind acoperit cu o învelitoare unică din
şindrilă, în patru ape. Gangul, marcat de un parapet traforat, a fost construit nu numai la
vestul bisericii pentru a adăposti intrarea, dar şi pe faţada de sud, adăugând construcţiei
un plus de pitoresc; prin acest mod de realizare a faţadelor, biserica din muzeul
sighetean se aliniază unor practici curente în perioadă, în spaţiul Carpaţilor nordici.
Contribuie la aceasta şi acoperişul fragmentat pe două nivele orizontale, cel inferior
adăpostind mai bine gangul, şi turnul clopotniţă de pe pronaos, paralelipipedic, zvelt,
semeţ, terminat cu un foişor marcat cu stâlpi şi balustradă. Casele au element de
marcare a specificului regional, cerdacul pe stâlpi, cu parapet, construit perimetral.
Acoperişurile sunt foarte înalte, în patru ape, din şindrilă, panta ascuţită grăbind
alunecarea zăpezii.
the ones founded nearby the houses of Camarzana, Racsa and Gherta Mica. They
illustrate the classical draughts of the Romanian lodges, from the unicellular ones to the
developed buildings with three rooms and annexes under the same roof. Besides the
straw roof, there's the clapboard roof that begins to develop, both of them have four
steep slopes, their heights showing the technique of the mountaineer craftsmen. The
household annexes representative for the peasant's occupation and his way of life are
completed by the handcraft workshops, the technical equipments, the mill, the felting
machine, the cloth felting machine, the potter's workshop and they become reference
points for the visitors. The interiors, the authentic goods, the meticulousness of this
action turn the visit to the museum into a real delight. It is interesting that in conceiving
this exhibition, the specialists tried to keep alive, in a lucrative way, the main craftsman
workshops; people come here to have their horses shoed, to have their fabrics washed
or matted, to mill. Above all these there's the concern to go on with the rural crafts and
traditions through the pottery circle in Vama House where a few enthusiastic children
guided by passionate teachers learn the secrets of this craft.
The Village Museum of Maramures was set up in the
old capital of the historic Maramures, Sighetul
Marmatiei, and its beginning dates back to 1860, when the
Romanian People Cultural Association of Maramures laid
the bases of the activity to recover and preserve the
architecture monuments of this region. The museum
presents the folk architecture of the ethnographic sub-areas
of Maramures Cosau-Mara, Iza Inferioara, Iza de Mijloc,
Viseu-Borsa, Tisa. The most valuable samples of folk
architecture exhibited in the outdoor museum are the ones
of the 18th century (the houses of Strambatura, Calinesti,
Ieud, Sarghi, Cuhea, Feresti), buildings of joint wooden
beams typologically representing all the variants specific to
Romania in general, and to Maramures in particular. The
wooden church of Oncesti, dated back to the 15th century, has a privileged place within
the museum, not only by its location, but also by its age which grants it a particular
position. The structure is classic, the rectangular plane is
covered with a unique four shaded shingle roof. The fret-
sawn parapet-like passage was built not only to the west
of the church to protect the entrance, but also on the
south façade, increasing, in this way, the picturesque of
the building. Due to the way these facades were built, the
church of the museum of Sighet reminds of the activities
of that time in the Northern Carpathians. The roof plays
its part in all these; it has two horizontal levels, the lower
one becomes a better shield for the passage, the upper
one for the bell tower of the narthex, a parallelepiped,
slender, imposing bell tower ended by a banister pole
watch tower. A specific element of the houses in the
region is the poled veranda with parapet, parametrically
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Muzeul sighetean este construit pe acelaşi principiu al complexelor gospodăreşti,
celelalte construcţii, adiacente gospodăriei, fiind, la rândul lor, piese valoroase şi
semnificative pentru arhitectura maramureşeană. Elementul care se detaşează la cele
mai multe dintre obiectivele de arhitectură şi care captează atenţia turistului este
bogăţia de elemente decorative de pe ancadramentele uşilor, pe stâlpii porţilor şi ai
cerdacurilor, cioplite în forma motivului solar, dar şi geometrice ori florale; „frânghia”
cu benefica ei prezenţă în universul locuinţei sau al clădirilor de cult, „pomul vieţii” în
variante mai greu de recunoscut uneori, deja binecunoscutele porţi cu stâlpii ciopliţi
ingenios şi cu măiestrie, completează gama reuşitelor acestor repere în arhitectura
populară.
Organizarea interioarelor s-a făcut cu respectarea riguroasă a tradiţiei locale, astfel
încât, frecventarea mai multor locuinţe, asigură vizitatorului o experienţă unică, aceea
de a surprinde universul de cultură populară de acum câteva secole, aşa cum se înfăţişa
el, variat şi totuşi unitar, în satele maramureşene. Incontestabilă este vechimea şi
originalitatea exponatului etnografic din acest muzeu unele dintre construcţii purtând
încă inscripţii din perioada edificării.
O altă zonă carpatică, Bucovina,
în nord estul teritoriului românesc,
realizează un muzeu în aer liber
menit să conserve construcţii
semnificative de arhitectură
populară, monumentale prin
vechimea şi gradul de reprezentare
şi surprindere a culturii populare
din această zonă. Etapele
pregătitoare pentru realizarea
acestui muzeu datează din deceniul
al şaptelea al secolului trecut când
s-au acumulat şi primele campanii
de documentare. După anul 1976,
au fost restaurate, în spaţiul destinat
muzeului (în imediata apropiere a legendarei cetăţi a lui Ştefan cel Mare), primele
obiective, casele de la Ostra, Câmpulung Moldovenesc, Straja şi, mai apoi, după o
întrerupere de activitate, obiectivele care astăzi pot fi şi ele vizitate: casele Dorna -
Roşu, Dorna Candreni, Mănăstirea Humorului, Pârteştii de Jos, Holohoşca, Volovăţ,
Vicov, moara de la Mănăstirea Humorului, anexe gospodăreşti. Sunt construcţii din
lemn, din bârne semi-rotunde sau cioplite, asamblate în cheutori, conservând planuri
tradiţionale cu tindă şi bucătărie cele mai simple -, sau tindă cu bucătărie şi „casa cea
mare”. Cea mai veche este locuinţa Ostra, din a doua jumătate a secolului al XVIII-lea,
trădând o sorginte huţulă după masivitatea construcţiei, a materialului lemnos şi a
tehnicii de realizare. Recent muzeul s-a personalizat prin restaurarea şi înălţarea
bisericii din lemn Vama, datând din secolul al XVIII-lea, o construcţie de tip navă cu
accesul pe faţada de sud şi absida şi contra-absida poligonale. Acoperişul este unic,
realizat din şindrilă, protejând pachetele de console decorate în „cap de cal”. Fiind un
obiectiv în construcţie, muzeul are în depozitare un număr important de obiective de
built. The four shaded shingle roofs are very high; the pointed slope hastens the snow to
slither down the slope.
The museum of Sighet is built on the same principle of the household pile, the other
buildings, annexed to the household, are at their turn valuable and significant works of
art for the architecture of Maramures. There are several things that stand out from most
of the architectural pieces and catch the tourist, i.e. the rich decorations on the door
frames, the poles of the portals and verandas bearing the sun motif carved on them, as
well as the geometrical and floral elements. The “rope” with its benefice presence in the
universe of the lodgings or of the religious buildings, the “tree of life” in different
variants which sometimes are difficult to be recognized, the well-known portals with
skilfully and ingeniously carved poles add to the range of the folk architecture
successes.
The interiors are decorated in compliance with the local tradition so that they provide
a unique experience to the visitor who sees several lodgings; they enable him to seize
the varied and unitary universe of the folk culture in the villages of Maramures of
several centuries ago. The age and originality of the ethnographic exhibit of the
museum are undeniable; some of the buildings still bear inscriptions of the time they
were erected.
Another Carpathian region, Bucovina, in the northeast of the Romanian
territory, sets up an Open Air Museum whose aim is to preserve significant buildings
of folk architecture, monumental by their age and degree of representing and catching
the folk culture of this region. The preparatory steps to set up this museum date back to
the 70s of the last century when they gathered the first documents. After 1976, within
the area of the museum (very near to the legendary citadel of Steven the Great), they
restored the first sites, the houses of Ostra, Campulung Moldovenesc, Straja, and later,
after a break, the sites that can be visited today: the houses of Dorna Rosu, Dorna
Candreni, Humor Monastery, Partestii de Jos, Holohosca, Volovat, Vicov, the mill of
Humor Monastery, the household annexes. They are wooden buildings of joint
semicircular or carved beams that preserve traditional draughts which include a hall and
a kitchen - the most common ones -
, or a hall, a kitchen and a “guest
room”. Ostra house is the oldest; it
dates back to the second halt of the
18th century showing the Hutsul
origin by the massiveness of the
building, of the wood and the
construction technique. The
museum has got personalized
lately through the restoration and
the setting up of the wooden church
of Vama, dating back to the 18th
century, a ship type construction
with polygonal apse and counter-
apse granting access through the
south façade. The roof is unique, it
Civilizaţia secolului douăzeci mi-a înlesnit prin audiţii radio, filme artistice, bucuria
şi interesul de a mă apropia şi cunoaşte folclorul popoarelor vecine. Aceste prime
impresii s-au completat şi conturat în timp, datorită participării la festivaluri
internaţionale de folclor, alături de formaţii şi Ansambluri din aceste ţări.
Mai relevant a fost contactul din anii 2002 şi 2003, cu unele Ansambluri folclorice la
Festivalul „Bojkowiana” din Ustrzyki Dolne Polonia.
Istoria, cu preistoria sa, cu
graiurile sale muzicale purtate şi
transmise de străvechi civilizaţii
tradiţionale (carpi, sciţi, goţi, slavi
etc), a elaborat şi tălmăcit un spaţiu
spiritual şi cu unele caracteristici ale
neamurilor care trăiesc de multă
vreme în consonanţă culturală în
spaţiul Carpaţilor Nordici.
Descendenţii celor peste 500 de
sate valahe stabilite în aceşti munţi,
au fost asimilaţi lingvistic de
populaţia slavă, dar mai păstrează
tendencies inspired especially by the new European wave at the end of the 90s of the last
century, there are some old-fashioned pictures of the class struggle, remarkable
revolutionary figures, and persons of consequence whose contribution history hasn't
considered yet. Many of the museums we visited, especially the ethnographical ones,
but not only them, opened the gates widely to the folk artisans of all the fields: their
works are exhibited in wide rooms going on to display the anamnesis items proposed to
the visitor as hypothetical views of the contemporary folk creation. By this cultural
politics, the borders of this institution become permeable; the access to the value
patrimony is opened to many creations whose future in a museum is uncertain. As long
as the contemporary museum seeks to democratize the access to masterpieces, sorting
the values is, as always, a matter of time.
The connection with tourism is proved by the aboriginal and foreign public present
to exhibitions. The situation of the visited museums looks partly like the one in the
Romanian area, the lack of visitors in the museums is a real thing. The most visited
museums are the outdoor ones; most of the visitors are pupils and students. Educational
characteristics, organization, picturesque, evolution in a natural environment, all these
are trump cards which encourage the organizers to make such choices. With the natural
science museums the visiting rate fluctuates, most of the visitors are young people,
while the art museums have a competent public.
Thanks to the radio and movies, the 20th century civilization has increased the joy
and interest I take in approaching and discovering our neighbours' folklore. These first
impressions became in time both richer and richer and clearer and clearer as I took part
in international folklore festivals in competition with different folk orchestras and
dance groups of those countries.
The contact I had with some
folk dance groups at
“Bojkowiana” Festival of
Ustrzyki Dolne Poland, in 2002
and 2003 was more relevant.
History together with
prehistory and its musical
languages handed down by
ancient traditional civilizations
(the Carps, the Scythians, the
Goths, the Slavs, etc.) developed
and reflected a spiritual world
that preserves the characteristics
of the peoples who have lived in
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încă vagi urme de conştiinţă asupra originilor şi apartenenţei la trunchiul romanic, îşi
mai valorifică şi promovează folclorul lor muzical „care îi apropie, dar şi-i
individualizează”, filon muzical, ce mai păstrează structuri melo-ritmice ale rădăcinii
lor din Transilvania, Maramureş, Bucovina şi Moldova. Astfel, vechea tradiţie a acestor
urmaşi ai dacilor (cum le place să se spună despre ei) este valorificată constant de
Kornelia Nemeckova din Praga, în spectacole cu dansuri vlahe din Munţii Moraviei,
spaţiu care încheie marea întindere a prezenţei acestui neam de vlahi, din Balcani până
în Cehia.
Cred că se mai păstrează şi se promovează unele structuri specifice de folclor
muzical-coregrafic, în satele lor denumite Walacki din Polonia, Spisske Vlachy,
Valaska şi Vlachovo în Slovacia, iar în Moravia, Valasska Bystrice, Valasska Polanka şi
Valasske Senice.
Mai cred că au păstrat şi
unele instrumente muzicale
arhaice (fluierul mic, fluierul
mare, tilinca, cimpoiul ),
împreună cu unele structuri
melodice tipice, dar le-au şi
adaptat cu arta şi spiritul lor
generos - uman, la repertoriul
şi formele tipice locale.
Ţinând seama de prezenţa
vlahilor într-un mare spaţiu
cultural (Mary B. Kelly
„Lumea carpatică”, nr.1,
pagina 31, Suceava-România :
„Aşa se face că întâlnim sate
vlahe la nord, până în Moravia,
chiar deasupra Vienei, iar cărările lor montane se răsfiră, la Sud, de-a lungul curbei
carpatice, înspre Polonia, Ucraina, România. De acolo, aşezările vlahilor de Sud
împânzesc munţii Bulgariei şi Iugoslaviei.”), este natural că au şi contribuit la formarea
actualului spaţiu dialectal, dar, cercetarea şi comunicările viitoare vor aduce informaţii
şi asupra vechilor structuri muzicale ce le-au purtat, calitativ şi cantitativ în timp şi
spaţiu.
Relevanţa supravieţuirii unor valori tipice ale unor grupuri etnice (lemki, gorali,
boiki, huţuli etc) în acest spaţiu, este şi prezentarea în repertoriul Ansamblului
„Chemlon” din Humenne - Slovacia, a unui cântec de joc huţul, foarte cântat şi în
România.
În urma plămădirii multor dialecte ale folclorului muzical din acest spaţiu, dar şi a
existenţei a două mari curente care s-au întâlnit aici, romano-bizantin dinspre sud şi
germanic din nord-vest, s-a format o deosebită zonă folclorică a Europei, Filonul Nord-
Carpatic, ce cuprinde nordul Ungariei, Cehia moravă, Carpaţii Slovaciei, sudul şi sud-
estul Poloniei.
Acest spaţiu unic - cu limbajul său muzical - se continuă spre est cu cel al boikilor din
Ucraina Carpaţilor Păduroşi, iar în nordul Carpaţilor Orientali, (în Ucraina şi
Summit-ul despre Ecoturismul Mondial din mai 2002 a trecut în revistă principiile
Ecoturismului şi le-a conturat în Declaraţia Ecoturismului de la Quebec.
CE ESTE ECOTURISMUL?
Potrivit „Declaraţiei Summit-ului
Ecoturismului de la Quebec”, ecoturismul
> “cuprinde principiile turismului durabil
… iar următoarele principii îl deosebesc
de conceptul larg de turism durabil:
> Contribuie în mod activ la conservarea
patrimoniului natural şi cultural,
> Include comunităţile locale în proiectele
de dezvoltare şi activităţile sale,
contribuind la bunăstarea lor,
> Prezintă patrimoniul natural şi cultural
pentru vizitatori,
> Se adresează mai bine turiştilor
independenţi dar şi programelor
organizate pentru grupuri de dimensiuni
mici”.
În general, ecoturismul reprezintă o
neuitată experienţă de călătorie, de
pătrundere şi participare la mediul natural şi
cultural, sprijinind bunăstarea culturilor şi
mediilor locale pentru generaţiile viitoare.
În acelaşi timp, ecoturismul oferă oportunităţi economice viabile pentru zonele gazdă.
Din cine este compusă familia ecoturismului ? În mod obişnuit, el este asociat cu
"turismul de aventură", "turismul în natură" si cu "agroturismul". Este important să
reţinem că nici una din formele menţionate mai sus nu este în mod necesar o formă de
ecoturism, ci numai atunci când îndeplineşte condiţiile menţionate în definiţia
ecoturismului, adică în mod special să conserve patrimoniul natural şi cultural şi să
îmbunătăţească modul de viaţă al comunităţilor locale.
Prin agroturism (care este mai cunoscut la noi) se înţelege petrecerea unui sejur
într-o gospodărie agricolă. Turistul poate fi implicat mai mult sau mai puţin în
The World Ecotourism Summit, in May 2002, reviewed the principles of Ecotourism
and outlined them in the Quebec Declaration on Ecotourism.
WHAT IS ECOTOURISM?
According to the “Summit Declaration on Ecotourism of Quebec”, ecotourism
>"embraces the principles of sustainable
tourism... and the following principles
which distinguish it from the wider concept
of sustainable tourism:
>Contributes actively to the conservation
of natural and cultural patrimony,
>Includes the local communities in the
development projects and in its activities,
contributing to their well-being,
>Presents the natural and cultural
patrimony to the visitor,
>Lends itself better to independent
travellers, as well as to organized tours for
small size groups".
In general, ecotourism is an insightful,
mindful and participatory travel experience
to natural and cultural environments,
assisting the well-being of the local cultures
and environments for the future generations.
At the same time ecotourism produces viable
economic opportunities for the host areas.
What does ecotourism include? Usually it is associated with the “adventure tourism”,
“natural tourism” and “agrotourism”. It is important to remember that any of the above-
mentioned forms of tourism is not necessarily a form of ecotourism if it fails to comply
with the terms of ecotourism definition that is mainly to preserve the natural and cultural
patrimony, to improve the life of the local communities.
Agrotourism (more popular with us) defines a holiday spent in a farm household.
The tourist can get involved more or less in the traditional activities of that area or
household. Thus, he / she can take part in haymaking, sheep and cow milking or apple
picking. The real agrotourism can be found within the households that remind as much
as they can of the architecture and the traditional way of life of the area, not within a
three-storied villa with air conditioning and swinging-pool.
Adventure tourism implies most of the times, visiting areas exempt from the human
effects, making a great physical effort and taking greater risks. This category includes
extreme ski, mountain climbing, travelling through gorges, rafting downstream the
rushing waters, horse riding, cycling. This form of tourism cannot be necessarily taken
as ecotourism if it fails to comply with its terms.
Nature tourism implies a journey aiming at seeing animal or plant species in their
natural habitat. In this context the development should focus on enlarging the number
of country guesthouses and on using ecological food stuff. Measures should be taken in
order to renew the marks of the mountain paths, to control the tour traffic in unfit areas,
to restrict laying tents, to settle camp areas, to adopt new technologies and promote
ecological measures as part of the tourism accommodation with concern to electrical
power and water consumption, to recycle solid waste materials and sewage, to reduce
gas emission.
Considering the numerous and diverse economical agents and the social and
economical elements, the cooperation networks seem to be the condition for a
successful long lasting renewal.
This is how the idea of establishing a tourism and ecotourism network all over the
Carpathians arose; for the beginning it will
stick to the territory of the Carpathian
Euroregion.
What chances does the “Carpathian
Tour” network have to get into this tourism
branch which over the last five years has
developed in an amazing way, with
reference to the number of tourists and the
financial benefits?
At first sight the odds are good; we have
a natural environment with high potential
and the infrastructure is, most of the times,
good enough for this form of tourism, as
from this point of view it has lesser standards.
Unfortunately the waste materials dump on us at the present moment and, step by
step, they make their way to the ecotourism destinations. A tin or a fireplace could ruin
an ecotourism holiday and that means not only that that tourist will never come back,
but also that he /she won't recommend that place to anyone for a holiday. Apart from all
these, the quality of the tourism services is low and this makes the rate of the foreign
tourists who come back (the ecotourism will entirely depend on them, at leas at the
beginning) to be one of the lowest in Europe. However, there is a ray of hope: the
Carpathian Euroregion includes quite wide areas that are less affected by the human
activities. Besides, we could make an offer that could be considered irresistible: the
mixture between ecotourism and cultural tourism. As far as the quality of the services
is concerned, we all know that fortunately most of the times we can count on the
common sense and hospitality of the average people - they are often traditional hosts in
ecotourism.
Harking back to cultural tourism, it can be defined as a type of trip that provides
generaţie de generaţie, cultură şi sete de cultură. Este, credem noi, mesajul spiritual al
ecoturismului.
Promovarea trebuie susţinută şi de autorităţile locale, regionale şi naţionale.
Pentru ca planurile guvernamentale să acorde ecoturismului o mai mare prioritate
trebuie depuse eforturi considerabile pentru ca populaţia locală să participe în mod
eficace la activităţile turistice. Într-o manieră generală, populaţia rurală ce trăieşte în
vecinătatea zonelor protejate se caracterizează prin venituri mici şi prin faptul că
dispun de puţine opţiuni economice viabile. Ecoturismul poate reprezenta pentru
această populaţie o alternativă economică viabilă alături de avantajul de a putea
deveni păzitorii şi păstrătorii cei mai eficace ai
acestor zone naturale, ştiut fiind faptul că
bunăstarea lor depinde de păstrarea calităţilor
naturale ale mediului în care trăiesc. Se
întâmplă frecvent ca această populaţie să
deţină cunoştinţe practice şi ancestrale de
valoare în ceea ce priveşte caracteristicele
naturale şi culturale ale regiunii şi după o
anumită pregătire, ea să furnizeze buni ghizi
locali.
Credem că reţeaua „Carpathian Tour”
(CTN) va asigura un forum pentru cei care lucrează în ecoturism ca să poată face un
schimb de informaţii, să prezinte studii avansate de caz şi să ofere posibilităţi pentru
pregătirea resurselor umane în vederea dezvoltării ecoturismului specific zonelor
respective.
Reţeaua de turism „Carpathian Tour” (CTN) va fi un pionier care se va asigura că
acest mediu natural şi cultural al comunităţile locale, plin de bogăţie şi frumuseţe, va fi
transmis mai departe generaţiilor viitoare.
Direcţiile de acţiune ale Reţelei de Turism CARPATHIAN TOUR vor fi canalizate astfel:
SCOPUL reţelei este dezvoltarea durabilă a turismului şi ecoturismului în
Euroregiunea Carpatică şi Munţii Carpaţi în general, prin crearea unui cadru relaţional
care să valorifice informaţia şi experienţa acumulată de către parteneri, determinând
dinamizarea permanentă a activităţii turistice.OBIECTIVELE (care vor fi îmbunătăţite şi
actualizate permanent) vor urmări pentru început:
&promovare reciprocă permanentă la nivel local, regional, naţional şi internaţional;
&crearea, promovarea şi valorificarea eficientă, în mod permanent a unor programe şi
produse turistice şi ecoturistice complet noi (prin abordarea mix-ului de marketing),
pentru a pătrunde pe nişe de piaţă neocupate încă şi pe piaţa din vestul Europei;
&conservarea şi promovarea valorilor naturale şi culturale, încurajarea dezvoltării
creaţiei populare (materiale şi spirituale) şi instituirea unui cadru organizatoric
favorabil pentru ca etniile carpatice (despre care lumea cunoaşte atât de puţin) să se
respective areas.
The tourism Carpathian Tour Network (CTN) will act as a pioneer in ensuring that
this rich and beautiful natural and cultural environment of the local communities, will
be passed on to the future generations.
The actions of the Carpathian Tour network will focus as follows:
The AIM of the network is the long lasting development of tourism and ecotourism in
the Carpathian Euroregion and in the Carpathians in general, by creating relationships
that could develop the information and the experience the partners get, leading to a
permanent stimulation of the tourism activity.
The OBJECTIVES (that will be permanently improved and updated) will focus at the
beginning on:
! the permanent mutual promotion on the
local, regional, national and international
level;
! the permanent production, promotion and
effective development of tourism and
ecotourism programmes and products that are
completely new (by approaching the
marketing mix), in order to get to market
niches that hasn't been taken yet, as well as the
market of the Western Europe;
! the preservation and promotion of the
natural and cultural values, the support to
develop the (material and spiritual) folk art,
the setting up of a favourable organisational
environment so that the ethnical groups of the
Carpathians (people know so little about
them) could develop their rich cultural
patrimony;
! the permanent stimulation and drawing of
investments in tourism and entertainment, by individual or common actions, as an
alternative to the economical recession in the Euroregion;
! the continuous integration and diversification of the activities within the network by
using the interactive web site (the direct presentation on web as database of the tourist
information, “FORUM” and “CHAT”);
! the continuous exchange of information and experience, the individual and common
production of minimal analyses of tourism marketing in order to see the demands of
various departments of the tourist market as well as the local field supplies;
!the permanent initiation, organisation and support of an active and effective
partnership among NGOs, tour-operators, tourism agencies and local administrations.
The activities (individual and common actions) will be set by partners aiming at
achieving the goal and the objectives.
The immediate results we expect of this cooperation is the high strengthening of the
tourism and ecotourism programmes and products, their promotion and active
Fundaţia BALTAGUL Câmpulung Moldovenesc, 2003
Pe urmele strămoşilor uitaţi - III 81
GORALII
Neam transilvănean de păstori, stabiliţi încă de prin secolul al XIII-lea
în Carpaţii Poloniei, goralii îşi mai păstrează şi astăzi sufletul românesc
BOGDAN LUPESCU
”Formula AS” nr. 473/2001
CARPATHIAN WORLD
THROUGH THE JOURNALISTS’ EYES
Romanian Traces in Poland
GORALS
Transylvanian shepherd folk, settled ever since the thirteenth century in
Poland's Carpathians, the Gorals are still Romanian at heart.
BOGDAN LUPESCU
”Formula AS” no. 473/2001
In Polish, the word GORAL means “mountain man”, “wood man”. It also refers to a
special community set at the foot of the Polish Carpathians, near the border of Ukraine,
gathered around three towns: Zywiec, Zakopane (the Podhale region) and Nowy Sacz.
They say these mountain people single out from the Poles. Their customs, clothes,
houses, looks and even their nature - they all reveal their non-Slav origin. A special
community whose members feel somehow alienated. It is less known however that the
Gorals are in fact descendants of the Wallachian shepherds, who poured out from
Transylvania to Poland, starting with the twelfth century but who, being on a trek,
preserved their Romanian customs and lifestyles. Moreover, although Poles born and
bred, fully and eternally adopted by the Slavs, they never lost the Romanian spirituality
in spite of the Northern Slavonic influence.
The Polish historians as well as the
State authorities agree on the Gorals
being acknowledged as a Romanian
community living in the mountains, in
the northern Carpathians beyond the
Ukrainean border. The history of these
new-comers is broadly the same.
Arrived centuries before, the
Romanians stood out in battles through
bravery and different other services
catered to the local sovereigns, their
well-deserved reward being land and
noble rank. The local historians themselves admit that, up until 1600, in Poland's
Carpathians there were over 500 tax-redempted Romanian villages, formed according
to the “Wallachian laws”.
Beyond the historical information, it is certain that the Romanian emigrants fulfilled
in Poland a true work of civilization, spreading over the uninhabited mountain peaks,
bringing along entirely new crafts and customs. One could say, without fear of being
wrong, that the Wallachians taught the Poles how to live in the mountains.
Before their arrival, pastoral life was virtually unknown in Poland, and the people
living in the fields could never imagine that one could get rich by being a shepherd. So
that everything that remains of this tradition as well as of woodwork and rafting in the
Polish Carpathians is inherited from the Wallachian emigrants.
A difficult mission for a Romanian reporter: finding the last traces of tradition and
language, of Romanian touch, in the most European of the Slavian countries. Bearing
this thought in mind, I reached “the end” of the Carpathians, in the region of Zywiec, the
Koniakow village, that I knew was founded by emigrants coming from Wallachia. And I
must admit that I was a little afraid I would not find much. That I would only find sulky
Poles (like the customs officers) for whom Romanians are “a people of gypsy and
swan-eaters”. But after only a few hours spent in Koniakow, the fear vanished: there,
almost 1,000 km away from home, I felt very much at HOME, among Romanians.
Stopping on the Top of Poland
Koniakow is the highest settlement in Poland. An old shepherd's settlement perched
on the top of Ochoditza, between the two parallel twin streams, hardly perceptible in the
depth of the valleys. The path climbed without winding, ceaselessly and abruptly, up to
the middle of the village, where it rested, widening into a peaceful small oval square.
And, all of a sudden, after “going” smoothly for another 100 feet, it seems to have the
village behind, there, in the skies, then falling down in the precipice, as steep and rough
as it climbed. Here and there, one can see on the road some signs with strange names
(Zuroeka, Gronik, Canada, Polena, Stoczek) which divide the settlement into several
gatherings of houses, well-delimited, as if it were more than one village. Only later will
I find out that these are family names or the names of the regions they came from. On a
similar sign, on the right, we read: Bukowina.
It is almost evening time; Koniakow has just recovered from a tremendous
downpouring. Not caring in the least about the end of the seemingly incessant flow, the
rainbow made its appearance over the village. At the gates, locked in black wooden
cages, their faces long with grief, the Christs look indifferently at the rare passers-by
that dared get out of their houses. Curiously enough, all these roadside crucifixes show
Christ sad, leaning against his hand, looking down, careless of all around. In Koniakow,
Christ seems to be self-musing.
The Chamber of Lost Happiness
It is incredible how well the Poles could preserve their ancestors' houses. All the
villages scattered along the road that comes from Zywiec towards the border are
genuine museums. Even in rich tourist centres such as Koniakow, by each luxurious
mansion lies a cottage, nearly hidden, where the old folks keep living obeying ancestral
rules (how different from the eyesores set up in Maramuresh and Ţara Oaşului lately). I
pluck up my heart and I look surreptitiously through the window pane of such a cottage.
I think that any Romanian in my place would have a pang: through the dusty glass one
could see an old-fashioned chamber with everything arranged the way we can see in
Bukowina's Obcini or in isolated villages in Apuseni. The resemblance is simply
amazing; each little thing seems to obey the perfect order, profound and mysterious,
which brings back long-forgotten images, lost in the shadows of childhood. On one side
of the narrow bed, wrapped in a loose eiderdown, an old woman is reading quietly a
newspaper. She is wearing a long linen gown, hiding her grey hair under a white
headkerchief with a sort of curved lace on the forehead. A wooden pail, a bărbânţă (a
cask for butter and cheese) and a few carefully pyrographed butter-colanders are
hanging above the bed. Close by, on a hope chest, there is a fine sculptured sun.
Beneath the two windows I can see a long narrow pallet against which a pitch fork is
propped, left there since times out of mind. And right in the middle of the room, an old
cradle with curved rockers the only thing which seems alive in this motionlessness. A
few lifeless objects, and yet there is something more. I had seen this room before, surely,
so many times, in Romanian mountain villages, it was all there, in my memory, as the
one in front of me. If, by some miracle, you end up in this village, from whatever time or
place, you could swear you are not at all away from home, that you are with your kin.
“I came from Romania too, three centuries ago”
The people are nothing like those thin fair Poles from the plains. The mountain
newcomers are black-haired and are richer and prouder of their origin than the others,
who are very envious of them just for this reason. When it comes to their people, the
Gorals simply shout the odds. They remind me on the spot of the haughty peasants from
Bukowina, all hearty and full of life, their flashing dark eyes with thick eyebrows,
salient nose and large forehead, noisy and always willing to party whenever they
happen to have guests. Although they live in mansions a Romanian countryman can
only catch a glimpse of on TV, they inherit the same way of daydreaming, of resting at
night on benches in front of
courtyards with lawn mown a
l'americaine, the same slowness in
getting to one another and shaking
hands, before having a good chat.
In Goral villages, people refuse to
“mind their own business”, as it
happens in the West. They pay a
lot of visits, without announcing
themselves, they know everything
about one another and
consequently gossip about one
another a lot. For instance, just by
looking at Ernest Washut, a man in
his sixties, grey-haired, bottle-
nosed, thin-lipped, always in the mood for fun, you realize there is something
Romanian, something catching, in his way of being. He is eyeing us from head to foot
with a severe expression on his face keeping one eye half-closed, and when our Polish
interpreter explains to him that we are coming from Romania and are looking for
someone to tell us about the Gorals' traditions, the man cheers up all of a sudden and
answers, jokingly, that he himself came from Romania, only that happened a few
centuries ago. We friendly shake hands and he offers to help us, guide us wherever we
need. After three days of wandering in Poland, he was the first to be really glad to see us.
The first man that showed willingness when meeting Romanians.
Brotherly Talk
And who on Earth would know more about Goral customs than Ursula Gruszka, the
Fundaţia BALTAGUL Câmpulung Moldovenesc, 2003
Pe urmele strămoşilor uitaţi - III 87
bărbat pe la 60 de ani, cărunt, cu nasul borcănat şi buze subţiri, mereu pus pe şagă,
doar privindu-l îţi dai seama că ascunde în firea lui ceva molipsitor, românesc. Ne
cercetează din cap până-n tălpi cu un aer serios - ţinându-şi un ochi niţel mai închis -,
iar când traducătorul nostru de limba polonă îl lămureşte că venim din România şi
căutăm pe cineva care să ne povestească despre tradiţiile goralilor, bărbatul se
înseninează dintr-o dată şi răspunde, în glumă, că şi el a venit tot din România, numai
că asta s-a-ntâmplat cu câteva secole în urmă. Ne scutură prieteneşte mâinile şi se
oferă să ne ajute, să ne însoţească oriunde avem nevoie. De trei zile, de când pribegeam
prin Polonia, a fost primul om care s-a bucurat sincer că ne-a văzut. Primul om care a
fost cumsecade la întâlnirea cu românii.
Vorbe între fraţi
Şi cine ar putea şti mai multe despre obiceiurile gorale decât Ursula Gruszka,
celebra dansatoare a Koniakowului, coregrafa grupului folcloric numit chiar aşa
“Kapela Walasi” (“Capela Valahă”), urmaşă a neamului Bielisilor - una dintre cele mai
vechi familii de valahi din aceste ţinuturi. Trăieşte, la fel ca mai toţi koniakowienii, într-
o vilă ţuguiată, cu etaj şi mansardă, văruită în alb imaculat şi acoperită cu ţiglă roşie.
Ernest Washut intră fără să mai bată la uşă. Când aude ca suntem români, Ursula
Gruszka deschide larg braţele, ca şi cum ar voi să ne îmbraţişeze pe toţi deodată.
Cuvintele sunt prea sărace spre a o descrie pe această stăpână a casei. Din toată
înfăţişarea ei răzbate o putere nemaipomenită, o forţă care acum s-a preschimbat în
blândeţe şi înţelepciune femeiască, într-o relaxare sufletească pe care nimic nu o mai
poate tulbura. Cinstit, nici nu mi-o pot închipui pe această femeie întristată sau apasată
de griji. Doar ascultând-o, fără să-i înţelegi vorbele, îţi vine să-ţi spui mereu: “Iată o
femeie fericită”. Are părul negru, sclipitor, întins pe spate şi strâns într-un coc rotund,
încolăcit, iar chipul îi este senin, rumen, mereu zâmbitor. Imediat ce i-am trecut pragul,
până să afle măcar cine suntem şi ce vânt ne aduce, în casă apare fiul ei, Jan, împreună
cu Silvia (viitoarea noră), ducând ceremonios, pe tăvi de argint, clondirele de tuică,
farfuriile de supă (“barst guralsky” = borş) şi cele cu tocăniţă de cartofi. Nu ştiu de ce,
încă de la prima înghiţitură, am trăit o adâncă tulburare: gustul îmi aducea în amintire
ceasurile fericite ale prânzurilor de familie pe care, copil fiind, le luam în casa bunicii
mele din Câmpulungul Bucovinei, chipuri de oameni pe care poate doar această
imensă departare de casă ar fi putut să le reinvie vreodată. Cât despre gazda noastră,
după numai câteva minute, simţeam că o cunosc de când lumea. Vorbeşte din suflet,
doar despre lucruri trăite, pe care şi le-a însuşit pe deplin, iar gesturile ei sunt atât de
expresive, de vii, încât parcă n-ai avea nevoie de tălmaci, decât când vine vorba de cine
ştie ce date istorice sau informaţii exacte. Iată şi primele ei cuvinte: “Cum am putea să
nu ne simţim bine împreună dacă n-aţi fi ca nişte fraţi pentru noi? Toţi oamenii din
partea asta a Beskizilor - şi Ursula Gruszka face un semn larg cu mâna, dintr-o parte în
alta a odăii - sunt valahi din tată-n fiu. Ne întâlnim în fiecare an cu români - fiindcă aici,
la Istebna, se ţine anual un festival internaţional numit “Zilele culturii Beskide”, la care
participă numai ansambluri folclorice din Carpaţi - şi de fiecare dată când ne intră în
famous dancer from Koniakow, choreographer of the folk group named KAPELA
WALASI (the Wallachian Chapel), descendant of those Byelo people, one of the oldest
families in the region. She lives, like all Koniakowians, in a tapering two-storeyed
white-washed mansion covered with red tiles.
Ernest Washut enters without bothering to knock. When she hears that we are
Romanians, Ursula Gruszka opens wide her arms, as if wanting to give us all a hug.
Words are scarce when it comes to describing the mistress of the house. Her appearance
betrays an extraordinary inner force that has now turned into a woman's kindness and
wisdom, into a sort of spiritual peace that nothing will ever disturb. Honestly, it is hard
for me to imagine this woman sad or worried. Just by listening to her, without even
grasping the meaning of her words, you feel like saying: ” Here's a happy woman!”. Her
black shiny hair is arranged in a twined loop and her serene, rosy face is smiling. As
soon as we entered her house, even before she found out who we were and what we
were there for, her son Jan made his appearance, together with Silvia (her future
daughter-in-law), bringing bottles of plum brandy, plates of soup (“barst guralsky” =
sour soup) and potato stew on silver trays. I cannot explain why, but from the first bite I
was deeply moved: the taste reminded me of the happy hours of family lunches that I
used to have as a child, in my grandmother's house from Bukowina's Cimpulung, faces
that only distance could bring back to life so vividly. As for our hostess, after only a few
minutes, I felt I had known her for ever. She speaks from the heart, about things that she
experienced, that she fully and completely acknowledges, and her gestures are so
suggestive, so vivid, that you don't even need an interpreter, except when it comes to
historical dates or exact information. Here are her first words: “How could we not be
glad we're together if you are like kin to us? All the people from this part of the Beskiz
and here Ursula Gruszka waves her hand from left to right are Wallachians from father
to son. We meet Romanians every day because here, at Istebna, there is an annual
international festival called “The Days of the Beskid Culture” where folk ensembles
from the Carpathians take part and every time they enter our house, we feel that we
have something in common, that we are blood-related. God sent you here!” Then, as a
sort of exemplification, the woman points at me and explains, without restraint: “There,
these are the looks of a real Wallachian! Long hair, black eyes, bony face… If you
walked north, in the villages near Bielsko Biala, Tychy or Ostrava, you would see how
Romanians are treated by the Poles. You'll be surprised to see that nobody takes notice
of you. There is this prejudice that the Romanians are gypsy, thieves, but we, the Goral
Wallachians, who know our history, realize that it is not at all like that. You are
extraordinary people. It is fantastic how you suffered during all these communist years
and still remained the same. We, the Poles, have never had a dictator; had we had one,
we surely wouldn't have survived. When of communism was over, we weren't
supposed to make a fresh start, we understood we had to make sacrifices for a while, so
that everything could be right afterwards. After so much suffering, it is natural for the
Romanian people to be still at a loss, fighting poverty and scarcity. I am convinced that
this suffering is necessary, as it was in our case, in order to be able to get to smooth
water”.
Even though Ursula Gruszka's words were translated word by word, even though she
uttered them constantly with her hand on her heart, to the reader they might seem cold,
casă, simţim efectiv că avem ceva în comun, că avem acelaşi sânge. Dumnezeu v-a
îndrumat aici!”. Apoi, ca un fel de exemplificare, femeia arată spre mine şi, fara
reţineri, exclamă: “Iată, aşa arată un valah de la noi! Parul lung, ochii negri, faţa
osoasă... Dacă aţi merge spre nord, prin satele de pe lângă Bielsko Biala, Tychy sau
Ostrava, veţi vedea cum se comportă
polonezii cu oaspeţii români. Veţi putea
avea surpriza ca nimeni să nu vă bage în
seamă. S-a format prejudecata asta că
românii sunt ţigani, că fură, însă noi,
valahii gorali, care ne-am citit istoria,
ştim foarte bine că nu este aşa. Sunteţi
nişte oameni extraordinari. E fantastic
cât aţi putut îndura în anii aceştia de
comunism şi totuşi, aţi rămas voi înşivă.
Noi, polonezii, n-am avut aici dictatură,
dar dacă am fi avut parte de un
asemenea regim, sunt sigură ca n-am fi
supravieţuit. După destrămarea
comunismului, noi n-a trebuit să o luam
cu totul de la capăt, am înţeles că trebuie
să răbdăm o vreme, ca apoi să ne fie bine. După atâtea suferinţe, e normal ca poporul
român să fie încă dezorientat, să fie încă sărăcie şi lipsuri. Sunt convinsă că - la fel ca şi
la noi - este nevoie de această suferinţă pentru a putea ieşi la liman”.
Chiar dacă vorbele Ursulei Gruszka au fost traduse cuvânt cu cuvânt, chiar dacă ele
au fost rostite mai tot timpul cu mâna pe inimă, cititorului i-ar putea părea că sunt reci,
protocolare, sau doar niste simple politeţuri. Femeia mi-a simţit însă imediat bănuiala:
“Să ştiţi că, de obicei, noi, goralii, suntem bucuroşi de oaspeţi. Atunci când ne place de
cineva suntem foarte primitori. Dar dacă nu ne place... vai, vai! Nu v-aş dori să ne
cunoaşteţi. Avem ştiinţa asta ca dintr-o singură privire să ne dăm seama cu cel fel de
om avem de-a face. Nu trebuie să studiem psihologia ca să ”citim” un om. Şi cred că
asta ne este dat de la Dumnezeu”.
Şapte păstori de la răsărit
În toate monografiile Koniakowului scrie, negru pe alb, că satul a fost întemeiat de
păstori valahi, urmaşi ai dacilor, care au emigrat spre nord, urmând culmile Carpaţilor,
până pe crestele lor cele mai apusene. Când au ajuns în Polonia, ţinutul Koniakowului
era cu desavârşire pustiu. Oameni ai stepelor, slavii nu deprinseseră încă subtilităţile
păstoritului, de aceea munţii nu însemnau pentru ei decât un refugiu vremelnic al
haiducilor, dezertorilor şi tâlharilor de tot felul. Abia în anul 1712, şapte bărbaţi au
hotărât să se statornicească pentru totdeauna în Koniakow. Veneau tocmai din
îndepartata Transilvanie, laolaltă cu valuri întregi de alţi colonişti, aducând cu ei
mesteşuguri păgâne şi ştiinţa supravieţuirii în munţi. Plutaşi neîntrecuţi, ei au tăiat
Fundaţia BALTAGUL Câmpulung Moldovenesc, 2003
90 Pe urmele strămoşilor uitaţi - III
formal, or mere courtesy. The woman immediately sensed my suspicion: “ You know,
Gorals are usually glad to have guests. When we like someone we are very hospitable.
But if we dislike you, then… poor you! Better never get to know us! We realize at a
glance what kind of a man we are dealing with. We can “read” a man without necessarily
studying psychology. And I think this is something God gave us!”
Seven Shepherds from the East
In each and every Koniakow monograph it is said that the village was founded by
Wallachian shepherds, descendants of the Dacians who went north, on Carpathian
ridges. When they reached Poland, the Koniakow region was completely uninhabited.
People of the steppe, the Slavs had not yet got accustomed to what a shepherd's life
means that is why the mountains were nothing but a temporary refuge for outlaws,
deserters and crooks of all kinds. Only in 1712 did seven men decide to settle down for
ever in Koniakow. They were coming all the way from far-off Transylvania, together
with numerous other emigrants, bringing along heathen skills and the knowledge
needed to survive in the mountains. Peerless raftsmen, they felled down venerable trees,
carrying on rafts (on quick roaring waters) the wood for house-building, going through
old forests with rich groves and pastures, building
sheepfolds and mills, in a word, civilizing the
mountains.
The seven masters of the first houses were:
Urbaczka, Kawulok, Kuzma, Kujawa,
Jalowiczor, Gazur ( the names were made Slav)
and last but not least Bielis, no other than the
forefather of the woman standing in front of us.
All her life, Ursula Gruszka had concerned herself
with her Wallachian origin. She too, had really felt
that, even after so many centuries, their music,
dance, costume, even the people's faces, were so
close to what she had seen in Romania that not
even the most ill-willed of people could consider
this a mere coincidence. Above all, the shepherds.
“They don't pay very well a shepherd's work these
days, not anymore, not even here. The great
shepherds of long ago have disappeared;
nowadays people would rather go to work to Austria or Germany than take care of
hundreds of sheep. But if you saw our sheepfolds, on the peaks of Tzniok or Ochoditza,
you would be surprised to notice they are not in the least different from those in
Bukowina or Vrancea. The sheepfold, the pen, the front yard, the hearth, the shepherd's
hut, are all unchanged. We practise sheep breeding the same as 300 years ago”.
Practising Remembrance
Ursula Gruszka leaves the table and turns back the folds of her loose black dress. “Is
this dance familiar to you?” She shows us a few steps of “owieziok”, a traditional dance
in Koniakow. We confess it doesn't remind us of anything. Then she dances others
maszotka, pitka, hulany, kowolul or kotomajki and, all of a sudden, we remember. We
remember our sârbă, hora, and bătuta (Romanian folk dances), but especially of
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pădurile seculare, ducând din ele pe plute - pe ape
zgomotoase şi iuţi - lemnul trebuincios caselor, găurind
codrii bătrâni cu dumbrave şi păşuni bogate, construind
stâne, mori şi pive, adică, într-un cuvânt, civilizând
munţii.
Cei şapte stăpâni ai primelor case s-au numit:
Urbaczka, Kawulok, Kuzma, Kujawa, Jalowiczora,
Gazur (nume de acum slavizate) şi nu în cele din urmă
Bielis, nimeni altul decât strămoşul femeii din faţa
noastră. Toata viaţa ei, Ursula Gruszka s-a interesat de
cercetarea originii sale valahe. A simţit şi ea - concret, pe
viu - că, şi după trecerea atâtor secole, muzica, dansul,
portul, chiar chipurile oamenilor, toate sunt încă atât de
asemănătoare cu ceea ce a vazut în România, încât nici
cel mai răuvoitor dintre oameni nu le-ar putea socoti doar nişte simple coincidenţe.
Mai cu seamă păstoritul. “Nici la noi nu mai e plătită astăzi atât de bine munca de
cioban. Nu mai sunt marii oieri de altădată, ciobanii preferă să plece la muncă în
Austria sau Germania, decât să mai îngrijească atâtea sute de oi. Dar dacă v-aţi uita cum
arată stânele noastre de aici, de pe culmile Tzniokului sau Ochodzitei, veţi rămâne
surprinşi că nu se deosebesc deloc de cele din Bucovina sau Vrancea. Strunga, ocolul,
bătătura, vatra focului, comarnicul, toate sunt neschimbate. La noi, oieritul se practică
la fel ca acum trei sute de ani.”
Exerciţii de reamintire
Ursula Gruszka se ridică de la masă şi îşi suflecă puţin faldurile rochiei sale negre şi
largi. “Vă pare cunoscut dansul ăsta?” Bate în faţa noastră câţiva paşi de “owieziok”,
un dans tradiţional din Koniakow. Mărturisim că nu ne aminteşte de nimic. Apoi ne
dansează altele şi altele - maszotka, pitka, hulany, kowolul sau kotomajki - şi, deodată,
începem să ne amintim. Ne amintim de sârbele, horele şi bătutele noastre, dar mai ales
de jocul căluşarilor, care ne pare aidoma dansului goral numit “firtum-pirtum”. “Vedeţi,
toate sunt dansuri valahe. Pe conducătorul ansamblului nostru îl cheamă chiar aşa:
Walach. Celebrul violonist Zbyszec Walach. Bunicul lui a fost un mare pictor de
biserici pravoslavnice (ortodoxe), a studiat artele la Sorbona. Şi, în orice împrejurare,
Zbyszek Walach nu scapă ocazia de a se lăuda cu originea lui românească.” Totul
seamănă cu un joc. Un joc plăcut al asemănărilor şi deosebirilor, o şaradă cu origini
străvechi ce se dezleagă încetul cu încetul sub ochii noştri. Când îşi dă seama că ceva ne
sună cunoscut, Ursula Gruszka ridică mâinile cu gesturi largi şi izbucneşte în râs, un
hohot puternic, plin de viaţă, ca şi cum ar vrea să spună: “Ei, ce v-am spus eu?”. “Să
vedeţi apoi portul bărbaţilor noştri...”, continuă Ursula Gruszka. “La marile sărbători,
încă mai poartă pantaloni strâmţi, iţari de cânepă numiţi ”nogavice” şi ”cioareci” de
pânură (ca la voi, în regiunea Turzii), pieptarul scurt şi tivit cu blană neagră ca în
Bucovina, şerparele (”grabraryjok”) acelea late, din piele zdravănă, pe care le-am vazut
căluşari (Romanian men's folk dance, similar to the morris dance) which seems
identical to the Goral dance named “firtum-pirtum”. “You see, they're all Wallachian
dances. The leader of our ensemble is called just like that: Walach. The famous violonist
Zbyszec Walach. His grandfather was a great otrhodox church painter; he studied arts at
Sorbone. And Zbyszek Walach never misses the opportunity to boast of his Romanian
origin”. Everything is like a game. A pleasant game of similarities and differences, an
enigma getting solved little by little before our very own eyes. Whenever she realizes
that something sounds familiar to us, Ursula Gruszka puts up her hands and bursts into
laughing, a very vivid roar, as if wanting to say: “You see, I told you so”. “You should
see our men's costumes…”, goes on Ursula Gruszka. “On holidays, they still wear tight
trousers, hempen peasant trousers called “nogavice” and “cioareci” (like those they
wear in the Turda region), short vest selvedged with black fur like in Bukowina, those
broad leather girdles (grabraryok), that I saw in Apuseni…”
It has grown dark but the stories keep flowing, everyone speaks joyfully, earnestly
about their country, as if we were old friends that met after many years over a glass of
plum brandy, now sharing the news to one another. Although she hasn't turned sixteen
yet, Silvia looks like a true Koniakowianka woman. Stout, glowing, strong. She takes
the alpen horn and gets out, in the cold night air, to send word to the mountains. A long
plaintive sound gets out of the girl's chest and dissipates over the valleys. And Silvia
awaits, for a few moments,
in the door's starry frame, as
if she had wanted an answer
from afar.
The Last Goral Doina
Then, the two women
decide to sing to us. They
stand face to face, the young
one with her hands back and
chin proudly up, and Ursula
Gruszka somewhat sober,
her head bent, looking
indulgently at her partner. The old Goral doina (melancholy Romanian folk song) made
tears gather in our eyes. It starts with Silvia's cry, it goes on with Ursula's low-pitched
voice and so begins an unearthly mixture of harmonies, on higher and higher
tones, out of the souls of the two women. “Is this a religious song?” I ask and they
answer it is actually a love song. It is the wandering shepherd's melancholy song, a
lament meant to be heard from a mountain to another, to reach the sweetheart who waits
for him at home. Close to midnight, in a remote country, two beautiful women sing for
us, just for us! they sing about a lost love, about an illusive country of shepherds of old
times, about two unforgettable black eyes.
The FORMULA AS magazine is thankful to the BALTAGUL Organization for helping our reporter
Bogdan Lupescu complete the following articles included in the series ROMANIAN TRACES IN POLAND:
GORALS (published in issue 473), and AUGUSTIN MACIEY ABOUT THE ROMANIAN SHEPHERDS
IN THE NORTHERN CARPATHIAN RANGE (published in issue 474). The research trip was part of a
project of the above-mentioned organization, entitled: “ON THE TRAIL OF FORGOTTEN ANCESTORS”,
financed by CARPATICA Foundation - FDEC.
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în Munţii Apuseni...”
S-a înnoptat de-a binelea, dar poveştile curg, curg necontenit, fiecare vorbeşte
despre ţara lui cu bucurie, fără patimă, ca şi cum am fi nişte vechi prieteni care s-au
întâlnit după mulţi ani la un pahar de ţuică, iar acum ne spunem unii altora ce mai e
nou. Deşi n-a împlinit încă 16 ani, Silvia arată ca o adevarată femeie koniakowianka.
Corpolentă, îmbujorată, puternică. Prinde buciumul în mâini şi iese afară, în aerul tare
al nopţii, dând munţilor de veste. Un sunet prelung şi jalnic iese din pieptul fetei şi se
risipeşte pe deasupra văilor. Iar Silvia aşteaptă, pentru câteva clipe, în cadrul înstelat al
uşii, ca şi cum din depărtări ar aştepta un răspuns.
Ultima doină gorală
Apoi, cele două femei se hotărăsc să ne cânte. Se aşează faţă în faţă, în picioare, cea
tânără mândră, cu mâinile la spate şi bărbia ridicată, iar Ursula Gruszka ceva mai
sobră, ţinând capul aplecat pe o parte, privindu-şi îngăduitoare partenera. Vechea
doină gorală ne umple tuturor ochii de lacrimi. Începe cu strigâtul Silviei, continuă cu
vocea a doua, gravă, apăsată a Ursulei, şi o nepământeană îngânare de armonii, pe
tonuri tot mai înalte, ia naştere din sufletele celor doua femei. “E un cântec religios?” -
întreb - şi mi se răspunde că nu e, e un cântec de dragoste. E cântecul de dor al
păstorului pribeag, un bocet puternic, menit a fi auzit de pe un munte pe altul, de a
răzbate până la iubita care îl aşteaptă acasă. Aproape de miezul nopţii, într-o ţară
îndepărtată, două femei frumoase cântă pentru noi, doar pentru noi! - cântă despre o
iubire pierdută, despre o iluzorie patrie a păstorilor de demult, despre doi ochi negri ce
nu se pot uita niciodată.
Revista “Formula AS” mulţumeşte Fundaţiei “Baltagul” pentru sprijinul acordat reporterului nostru
Bogdan Lupescu, în realizarea următoarelor articole din seria URME ROMÂNEŞTI ÎN POLONIA:
“Goralii” (apărut în numarul 473) şi “Augustin Maciey - despre păstorii români din lanţul carpatic
de nord” (apărut în numărul 474). Călătoria de documentare a făcut parte dintr-un proiect al fundaţiei
sus-amintite, intitulat “Pe urmele strămoşilor uitaţi”, finanţat de Fundaţia CARPATICA FDEC.
DUMITRU MANOLACHE
„Gardianul”- 2 iulie 2003
Carpaţii Nordici, din Bucovina şi până în îndepărtata Moravie, păstrează încă urme
de civilizaţie lăsate de daci, apoi de păstorii valahi veniţi în această zonă. Aceste rude
mai îndepărtate ale noastre sunt foarte puţin cunoscute, deşi huţulii, boikii, lemkii,
goralii, rusinii sau valahii de aici păstrează încă dovezi ale unui trecut comun cu al
nostru. Am avut prilejul să participăm, în cadrul proiectului „Carpathian Tour Network
dezvoltare durabilă prin valorificarea eficientă a produselor turistice”, coordonat de
DUMITRU MANOLACHE
“The Guardian”, July 2, 2003
The northern Carpathians, from Bukowina to the far-off Moravia, still preserve traces
of civilization left by the Dacians and then by the Wallachian shepherds that came in the
area. These distant relatives of ours are not very well-known, although Hutsuls,
Boykos, Lemkos, Gorals, Rusyns and the Wallachians living here still store up evidence
of a common past. We had the opportunity to take part (within the project
CARPATHIAN TOUR NETWORK - LASTING DEVELOPMENT THROUH THE
EFFICIENT TURNING INTO ACCOUNT OF TOURISTIC PRODUCTS,
coordinated by the BALTAGUL Foundation from Caâmpulung Moldovenesc, with
the financial support of the Carpatica Foundation. The Carpathian Euroregion
Development Fund) in an expedition in the region populated by shepherds, where we
discovered special things and felt those people as close as kin.
Two Romanian Princes Discovered in a Monastery in Ukraine
After a few hundreds of km through Hutsul villages on the Ceremus river, in Ukraine,
we headed for the Land of the Boykos. Travelling to the west, at about 20 km away from
the Polish-Ukrainean border, in the neighbourhood of the Borislav town, on the
territory of the Boykos, there is the ancient Greek-Catholic monastery Lawriv, certainly
an orthodox monastery in the beginning (LAWRIV means lavra = orthodox
monastery), with St. Onufrie as patron. In the underground crypts of the monastery
there are the bones of two Wallachian princes of the seventeenth century: Ştefan
Petriceicu of Moldavia and Constantin Basarab of Wallachia, whose names are still
vivid in the minds of the locals.
Lawriv A Place where Wanderers Repose
One splendid morning of May, we arrive in the courtyard of this monastery, going
through the hamlet of Lawriv, where the villagers preserved St. Andrew traditions,
similar to ours, and greet one another according to an old Christian custom also found in
our northern villages: when a man meets another, he says: “Praise the name of our Lord,
Jesus Christ!”, and the other answers: “ Let that be to all eternity!”
Nowadays it is difficult to imagine that the famous orthodox saint, the great Onufrie,
lived in seclusion in the surrounding woods, that Kiew's metropolitans and Jerusalem's
bishops left their footsteps on these cobblestreets, that Polish kings used to come to
Lawriv to confess their sins and that two wandering Romanian princes took refuge there
to seek peace before dying.
Maybe the disintegrating kolhoz close by, the weeds in the courtyard of the
monastery, the sadness of the walls, witnesses of bloody dramas, father Timotei's
shivers who keeps chattering about Russian satellites and atomic bombs - all these give
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us a strange feeling: a mixture of cold and fear, weighed up by a force which still
withstands the prayer and the cross.
Walls with Holy Relics
The history of this place seems hung on a hook, because here time coils dramatically.
The church dates back to the thirteenth century and was founded by a certain Lev, the
knez Daniel Galitki's son, and the altar, with two friezes, like in the monasteries of
Bukowina, is attached to a two-storied building, a sort of Austrian sanatorium, built in
1786.
For one hundred years, between 1814-1914, this severe building was one of the most
famous German gymnasia in Galitia. In the days of the Hapsburgs, the monks from the
monastery were hired here as teachers.
Wnen the Communists rose to power, the church was turned into a stable, then into a
warehouse, and the monks were forced to run to Poland. The unfriendly Austrian edifice
became a school for the handicapped, up until 1998, when father Innochentie turned it
into a monastery again. In the Prologues it says that St. Onufrie spent there the last years
of his life. It is still believed that his relics are hidden in the walls of the church.
In 1986 a catacomb was discovered by accident on the right side of the altar. After a
month of research, the archaeologists from L'vov found buried under the monastery all
the bishops from Pzemysl, metropolitans of Kiew, the famous bishop Macarie of
Jerusalem (1681), and even St. Onufrie's empty coffin. At the same time, they found the
bones of the two Romanian princes.
Wallachian Princes, Commemorated in the Church
After they lost their
thrones, Ştefan Petriceicu of
Moldavia and Constantin
Basarab of Wallachia left
their countries and headed
for the Polish territory.
There, in the Sambor region,
which was owned by Poland
at the time, they were given
lots for villages where they
settled with their loyal
noblemen and the soldiers
that followed them, founding
a genuine “Romanian
province” in the heart of
Galitia.
Villages such as Waniowice, Torzynoviceor Mrzowice belonge dto Constantin
Basarab, the other ruling over Makuniow, Kupnowice, Mistkowice, Szeptyce,
Rozdialowice, Zarauko and Blozowi. Constantin Basarab died in 1685, and Ştefan
Petriceicu in 1690.
In Basarab's case, they found the bones of the entire family, even of a 22-year-old
daughter, the two princes being commemorated during the divine services as
honourably as the founders of the establishment.
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Pe urmele strămoşilor uitaţi - III 97
Istoria acestui loc pare agăţată într-un cârlig, deoarece aici timpul se contorsionează
dramatic.
Biserica datează din secolul al XIII-lea şi a fost ctitorită de un anume Lev, fiul
cneazului Daniel Galitzki, iar altarul, cu două rânduri de brâuri, ca ale mănăstirilor
bucovinene, stă lipit de o clădire lungă, cu etaj, un fel de sanatoriu austriac, ridicat pe la
1786.
Timp de 100 de ani, între 1814-1914, această clădire austeră a fost unul dintre cele
mai renumite gimnazii germane din Galiţia.
Pe timpul habsburgilor, călugării mănăstirii erau angajaţi aici ca profesori.
Când au venit comuniştii, biserica a fost transformata în grajd, apoi în depozit, iar
călugării au fost nevoiţi să fugă în Polonia. Glacialul edificiu austriac a devenit şcoala
pentru handicapaţi, până în 1998, când, prin venirea părintelui Inochentie,
mănăstirea şi-a recăpătat identitatea furată. Din Proloage se ştie că Sfântul Onufrie şi-
a petrecut ultimii ani de viaţă în acest loc. Încă se mai crede că în zidurile bisericii se află
ascunse moaştele sale.
Din întâmplare, în 1986, a fost descoperită o subterană în dreapta altarului. După o
lună de cercetări, arheologii din L'vov au găsit înmormântaţi sub mănăstire toţi
episcopii din Przemysl, mitropoliţi ai Kievului, vestitul episcop Macarie al
Ierusalimului, la 1681, şi chiar racla goala a Sfântului Onufrie. Tot atunci, au fost găsite
şi osemintele celor doi domnitori români.
Domnitori valahi, pomeniţi la slujbe
Ştefan Petriceicu al Moldovei şi Constantin Basarab al Ţării Româneşti şi-au pierdut
tronurile, pribegind împreună la sfârşitul veacului al XVII-lea pe pământuri leşeşti. Aici,
în ţinutul Samborului, care aparţinea pe atunci Poloniei, au primit locuri de sate, unde
s-au aşezat cu boierii lor credincioşi, cu oştenii şi vătafii care i-au urmat, întemeind un
adevărat "ţinut românesc" în inima Galiţiei.
Sate precum Waniowice, Torzynowice sau Mrzowice au aparţinut lui Constantin
Basarab, celălalt domn întinzându-şi stăpânirea peste Makuniow, Kupnowice,
Mistkowice, Szeptyce, Rozdialowice, Zarauko si Blozowi. Constantin Basarab a murit
in 1685, iar Ştefan Petriceicu în 1690. În cazul lui Basarab, s-au găsit osemintele întregii
familii, chiar şi ale unei fiice de 22 de ani, cei doi domnitori fiind pomeniţi la slujbe cu
aceeaşi cinste ca şi ctitorii aşezământului.
Sfinţi înţepaţi cu cuţitul
Intrăm în biserică urmăriţi de acelaşi sentiment straniu. Un călugăr tocmai rosteşte
ultimele rugăciuni ale slujbei de dimineaţă.
Zidurile sunt mâncate de carii, mănăstirea afundându-se pe zi ce trece în pământ.
De sub tencuiala bolnavă, cu ani în urmă, localnicii, zgâriind cu cuţitele pereţii
coşcoviţi, au scos la lumină bucăţi strălucitoare de frescă, pe care bolşevicii le-au
acoperit cu azbest. După căderea comunismului, tulburătoarele fragmente de frescă
au fost decopertate din nou.
Pe pereţii pronaosului descoperim câteva pete roşiatice de vopsea, scene biblice cu
Stabbed Saints
We enter the church with the same strange feeling. A monk utters the last words of the
morning prayer.
The walls are almost completely rotten and the monastery is being swallowed up by
earth. Years ago, the villagers had scratched the swollen out walls and dicovered under
the mortar beaming frescos that were afterwards covered with asbestos by the
Bolsheviks. After the end of Communism, the impressive fresco fragments were
uncovered again.
On the walls of the pronaos we discover a few spots of reddish paint, biblical scenes
with mangled saints, a Saviour crucified on an orthodox cross, pierced with stabs, and
the Holy Virgin's face, peeled and mutilated by the pagans. In the fifteenth century,
these frescos matched in beauty the ones in the St. Sophia's Cathedra in Kiew.
We are moved because, beyond the tragic destiny of this gem turned to pieces,
elements of the frescos remind of our monasteries from Bukowina, and somewhere
higher, in a red medalion, we see the very face of prince Constantin Basarab.
Where Are the Bones of Our Princes?
After the archaeologists put an end to their work, the door that opens on to the princely
tombs was walled in with concrete. Now, it was pulled down.
A piece of cloth covers the inside of the crypt. No one is allowed there. As far as we
know, they intend to clean the underground rooms and open them to the public. The
villagers are reluctant to speak about the discoveries made here. Nobody knows exactly
what was under the walls. Some say that, after taking the objects found in the tombs, the
archaeologists from Kiew have buried the bones back into place, all in a heap, and then
bricked up the entrance. Others however know of the mortal remains of the Romanian
princes being thrown into an old cemetery, near the monastery.
Iaroslav Micak and Stepan Ianusevici, living in the area, guide us to that place where
we discover, among very tall weeds and debris, a moat covered with earth, where
supposedly people threw the bones of the two Wallachian princes.
We leave the land of the Boykos, with the monastery under which lies a piece of
Romanian history, and we turn to the region of the Polish Wallachians, with the feeling
that there is something missing.
A sign maybe, some kind of initiative of the Romanian authorities meant to recover,
in God's name, a piece of our past, thus soothing the pain of seeing our history dissolve.
Over 500 Wallachian Settlements
Ustrzyki Dolne is a Polish town near the border of Ukraine. It was founded in 1509 by
a Romanian from Maramuresh, the red blazon, with an arrow and a sword, of the first
Wallachians that came here, being still valued by the townspeople. In the study “The
Dragoş Family in Poland”, the Polish historian Wyrostek says that Dragoş created the
diocese of Halici, his intention being to unite Maramuresh, northern Moldavia and
southern Poland. Ştefan of Maramuresh, the son of prince Sas, came to Poland in 1340
with a small army, getting diplomas and considerable privileges.
Massive Colonizations
It is a historical fact that the Wallachian shepherds colonized the northern Carpathians
(beginning somewhere between the tenth and thirteenth centuries and ending in the
eighteenth century). Over 500 settlements founded by the descendants of these
DUMITRU MANOLACHE
“The Guardian”, 21st of June 2003
No.77, Bogdan Hmelniţki Street, in the Ukrainean town L'vov, is the place where one
can find one of the least known churches built by the Moldavian ruler Vasile Lupu
(1634-1653). The locals call it “Wallachian church” without being able to explain why.
To us, however, Romanians that covered hundreds of km to get there, the “Wallachian
church” represents a trace of what we call “home”, that particular something that is
utterly unmistakable, gentle mysterious and stimulating, like a breath of fresh air near
the walls of Voroneţ. The thought of this Romanian sign of Christianism in a Slav world,
almost completely made atheistic by Bolshevism, makes you look up to the skies and
thank God, for He must have sent His angels to protect this church.
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oricăror acuzări, românii spuneau: "duceţi-mă la domnul meu, fiindcă eu posed dreptul
valah!".
Populaţiile misterioase din Carpaţii Nordici
Asupra unor populaţii din Carpaţii Nordici planează misterul originii lor. Ele se
deosebesc prin fizionomie, prin trăsături sufleteşti, port, obiceiuri, tradiţii sau
arhitectură, de masa slavă în care vieţuiesc.
Între locuitorii acestor munţi, se remarcă cinci grupuri principale: huţulii, boikii,
lemkii, goralii şi rusinii. Ei locuiesc, în principal, pe ramificaţiile Munţilor Beskizi, în
zone care astăzi se întind pe teritoriile Ucrainei, Poloniei şi Slovaciei, precum şi în
părţile muntoase din nordul ţării noastre. Numele acestor populaţii sunt de fapt
porecle pe care şi le dau unii altora şi, care, în timp, s-au transformat în supranume.
Huţul înseamnă "cel care se năpusteşte din munţi către locuitorii din vale". Uneori
termenul avea sensul de "om care ucide".
Ţinutul huţul începe din Bucovina noastră, cuprinde părţi din regiunea Cernăuţi,
între localitatea Putila şi râul Ceremuş, ajunge apoi în Huţulşcina, din sudul regiunii
Ivano-Frankivsk, terminându-se la Dilove. Numele de "boik" vine de la polonezul
"bâk", care înseamnă bou, aceşti oameni fiind în mod predilect crescători de vite.
Boikivşcina (Ţara Boikilor) este cuprinsă în sud-vestul regiunii L'vov, în nord-vestul
regiunii IvanoFrankivsk, întinzându-se şi în sud-estul Poloniei şi nord-estul Slovaciei.
De o parte şi de alta a frontierei polono-slovace, între localităţile Sanok-Nowy Sacz din
Polonia şi Preşov din Slovacia, se întinde Lemkivşcina, adică Ţara Lemkilor.
"Lemki" este numele pe care boikii l-au dat în derâdere unei părţi a acestor
crescători de vite, care foloseau în locul adverbului ucrainean "liş" (doar, numai),
adverbul slovac "lem".
Spre graniţa cu Cehia, se afla Ţara goralilor. Numele de goral vine de la "gora" (gura),
care înseamnă munte. Pentru oamenii de la şes, aceste populaţii sunt cu toţii munteni,
adică locuitori ai munţilor.
Rusinii (rutenii) sunt o populaţie pe care o întâlnim în inima Europei Central-
Răsăritene, cu o densitate mai mare în zonele Mukacevo şi Uzhgorod, din Regiunea
Ucraina Transcarpatică, situată la intersecţia frontierelor ucraineană, slovacă şi
polonă. În afara teritoriului de baştină, rusinii trăiesc în nordul Serbiei, estul extrem al
Croaţiei, în câteva sate maramureşene şi sucevene de la noi, precum şi în nord-estul
Ungariei.
DUMITRU MANOLACHE
„Gardianul”- 21 iunie 2003
Strada Bogdan Hmelniţki, nr. 77, din oraşul ucrainean L'vov, este locul unde se află
una dintre cele mai puţin cunoscute biserici ridicate de domnitorul moldovean Vasile
As you enter the courtyard you discover, awe-stricken, the Moldavian bison
embossed on a Moldavian coat of arms, carved on a bronze slate blackened by length of
time, standing out on the white wall. Under the blazon, a few words written in a strange
bizarre language which resembles Paleoslavonic, that nobody has ever managed to
make out, throw us into a fever. We try to decipher the text but we give it up, as we can't
read the words. The place, which belongs to the old ortodox religion, remained, at large,
the same as when it was raised. The stone “girdle” (even if painted black) “betrays” the
architectural style of the churches in Bukowina. The upper part of the walls is made of
bricks and was built in 1919. “The Wallachian church” was raised on the Moldavian
ruler's estate in 1645, as father Igor, in the service of this altar, tells us, and has two
patrons: the martyr Parascheva and Prepodavna Parascheva. The first dedication day
was meant to remind of the Saviour's ordeals, and the second was chosen because the
saint was also protectress of the animals grazing in the outskirts, near the church.
The Moldavian Bison and Imposing Iconostasis
We enter the church with piety. The divine service is nearly over. The Christians sing
“Christ is risen!” because there are only a few days left until the Ascension. We look
with amazement at the golden iconostasis, of strange beauty, which rises on five levels,
something not very often encountered in Orthodox churches. Above the beam that
separates the pronaos from the nave we discover the
same coat-of-arms with the Moldavian bison, an
original bas-relief fastened there since Vasile Lupu's
time. After the service, father Igor was very glad to
meet us and to find out that Romanians from the other
side of the mountains came to see their orthodox
church. He told us that the iconostasis is famous and it
was made at the end of the sixteenth century the
beginning of the seventeenth century, by some workers
from L'vov directed by Feder Sincovici. This
masterpiece survived a fire and, as we were able to see,
had been destined for a larger church. Nobody knows
how it got there. But what makes it remarkable is the
picture of Jesus' suffering, not very often encountered on iconostases.
At a certain point, we notice that people pray in front of an icon representing the Holy
Virgin with her Child. We find out it works miracles and it is worshipped by the
Christians; nobody knows where it comes from and how it got in Vasile Lupu's church.
An Icon that Works Miracles and Some Holy Relics
The priest also tells us that in the altar they have a cross on which there is a relic that
supposedly belonged to Jesus the Saviour, but then he refuses to fill us in.
After about an hour, we leave Vasile Lupu's church, here, hundreds of km away from
his princely throne, feeling that we actually stepped on Romanian land. And, on our way
to the minibus, looking at the small icons with Saint Parascheva we received from father
Igor, we couldn't help thinking about the church Three Hierarchs from Iasi, where the
relics of the saint protectress of the entire Moldavia watch over the soul of the one who,
centuries ago, raised in God's name a church for those who worked on his estate, on
Polish land.
SÂNZIANA CONSTANTINESCU
“România pitorească”- 379/7/2003
SÂNZIANA CONSTANTINESCU
”România Pitorească” nr.379/7/2003
„Ciudat popor şi acesta care cuprinde tot muntele de le Apusul Bucovinei! Să fi fost
ei cândva nişte păstori români, zişi huţi, precum celor din Ardeal li s-a zis odinioară
moţi? Din acest nume de huţi să fi făcut străinii pe acela de huţuli, supt care sunt
cunoscuţi astăzi? Să le fi schimbat slavii - dar cari slavi, te întrebi de unde, când şi cum?
- să le fi schimbat deci slavii limba lor veche, din care au rămas numai cuvinte răzleţe:
brânză, cofă, şi multe altele, pe care le amestecă în graiul lor slav de astăzi ?”
Nicolae Iorga, în 1938.
Ne găsim în Bucovina ruptă de Stalin din trupul României. Ne găsim în Ucraina în
raionul Verhovina. Un omuleţ subţire, postat teatral pe scări, cu mâna pe chimirul lui
din piele roşie. Roman Kumlâk aşteaptă în poarta casei un grup de turişti americani.
Are un profil demn de poză şi un zâmbet ghiduş, reflectat de sticla ochelarilor.
Deschide casa-muzeu şi ne povesteşte, prin intermediul obiectelor expuse şi al
muzicii, un basm al huţulilor.
În curtea lui Roman e un pom împodobit cu panglici colorate de hârtie. Îl vezi, pui
întrebarea, din poartă profesorul îţi spune cu aceeaşi vervă, ghidul traduce: “Pomul de
the Wallachian sheperds went beyond the borders of the present-day Romanian
territory. (Stefan Metes in “Romanian emigration from Transylvania between 12th and
20th centuries”). Their descendants have always been called Hutsuls, Boykos, Lemkos
or Gorals. This is what they call themselves. Many of them are admitted to more than
one citizenship, being equally Ukrainean, Polish, Slovakian or Romanian. The
president of District State Administration from Verhovina, Petro Mihailovici confesses:
”the Hutsuls have Dacian blood in their veins”.
Hutsuls from the Romanian Bukovina
In the 18th century, Constantin Mavrocordat provided advantageous conditions for
the Hutsuls that settled down on his estate. From the Eastern Carpathians, they moved to
Molvavia, descended on the Ceremush Valley, as far as Vijnita and on the Putila Valley,
to the basis of Suceava, Moldavia and Golden Bistrita. At present we find Hutsuls
among Polish, Ukrainean and Romanians in the villages near the northern border:
Moldova Sulita, Brodina, Carlibaba, Ulma and Moldovita.
A Few Ideas and …Objects
“Long ago, the Hutsul left their native countries and
looked for new territories. Then, they would call others to
join them”, says Roman Petrovici Kumlak. A music
teacher, he was born in the mountains, 4 km away from the
border of Romania. He is 55 years and a half and all his life
he has been gathering objects that once belonged to the
Hutsuls.” I had to pay for most of them. Others were
donated to me. I've got most of them from my mother
though. 25 years ago, when I began to gather various
objects, everybody thought I wanted to deliver them to
Kiev, says our host. He jumps to tell us as much as he can
about the Hutsuls, to show us the musical instruments he
blows for the visitors who gladly listen to him.
The Story Begins
“In 1740, in Olexa Dovbus, the legendary outlaw's time, says the teacher, the houses
were built in the mountains, far apart. There were one-house villages that bore the name
of the owner. One of these settlements, Crasm Ilea currently counts 500 families. In
1700, there was only one man, Ghedusca, living on 1000 hectares, and considered the
entire state as his own.”
The Story Continues
Then Roman invites us in a room with wooden ceiling where he usually plays the
bagpipe, cembalo, violin or jew's harp. He takes breath and starts to reel off the story of
each of the objects, mingling narration with descriptions of the local customs and
superstitions. He is almost hard to follow . “In the past, our people didn't use wedding
rings. Women were not to watch the poppy grinding, for it meant bad-luck…The alp
horn you see here is 3 meters long and was used at funerals. The Hutsuls wouldn't have a
choir”.
He proudly shows plates from Poland, Hungary, Austria, adding that “the Hutsul
pottery is decorated on dark background . The poorer however would use wooden pots”.
We pass by a krups song, solingen scissors…And we get to the bartka-hatchet of
Fundaţia BALTAGUL Câmpulung Moldovenesc, 2003
Pe urmele strămoşilor uitaţi - III 109
nuntă huţan se pune într-un copac după ce în timpul nunţii a stat la poartă. Nunta ţine
oficial 2 zile, dar neoficial 4.” Omul râde din nou şi se întoarce în pragul casei căci
trebuie să apară grupul de americani. În primăvară i s-a măritat o fată. Mai are una.
Oamenii liberi
Cine sunt huţulii? De unde vin ei? Povestea huţulilor are multe versiuni. Cert este
că „Ţara huţulilor” se află în sudul regiunii Ivano-Frankivsk şi toţi ucrainenii ştiu că
huţulii înseamnă „oameni liberi”. “Ei părăseau ţările pe care le locuiau şi ocupau
locurile libere. Se chemau acolo unii pe alţii.” spune Roman Petrovici Kumlâk. “Ţara
huţulilor” ocupă sudul regiunii Ivano-Frankivsk.
Într-o altă versiune “huţul” era “cel care se năpustea din munţi către populaţia din
vale”. Acest nume aminteşte, însă, şi de plutaşii care coborau cu buştenii pe apele
repezi ale munţilor.
În Evul Mediu muntenii români mai erau numiţi de către slavi, germani şi turci -
“valahi”, “vlohi”, “vlahi” sau “voloşti”. Făcând transhumanţă pe crestele Carpaţilor,
păstori valahi au ajuns să depăşească cu mult graniţele actualului teritoriu românesc.
(Ştefan Meteş în “Emigrări româneşti din Transilvania în secolele XIII- XX.”) Urmaşii
acestora au fost şi sunt numiţi şi acum huţuli, boiki, lemki sau gorali. Chiar se
autointitulează aşa. Mulţi poartă multiplă cetăţenie, fiind, în egală măsură, ucraineni,
polonezi, slovaci sau români.
Preşedintele Administraţiei de Stat raionale Verhovina, Petro Mihailovici, ne
mărturiseşte cu sinceritate :”în venele huţulilor se zbate şi sângele dacilor”.
Huţulii din Bucovina românească
În sec. al XVIII-lea, Constantin Mavrocordat acorda unele înlesniri huţulilor care
se stabileau pe pământurile sale. Din Carpaţii Orientali, aceştia au migrat spre
Moldova, au coborât pe Valea Ceremuşului, până la Vijniţa, şi pe Valea Putilei, până
în bazinele Sucevei, Moldovei şi Bistriţei Aurii. În prezent huţulii se mai găsesc
printre polonezi, ucraineni şi români în satele din apropierea graniţei de nord a
României : Moldova Suliţa, Brodina, Cârlibaba, Ulma şi Moldoviţa.
Câteva idei şi … obiecte
„Odinioară, huţulii îşi părăseau ţările de baştină şi căutau noi teritorii. Apoi, se
chemau acolo unii pe alţii”, spune Roman Petrovici Kumlâk. Profesor de muzică, el s-a
născut în munţi la patru kilometri de graniţa cu România. Are 55 de ani şi de o jumătate
de viaţă colecţionează obiecte ce au aparţinut, cândva huţulilor. „Pe cele mai multe
dintre ele, le-am plătit. Altele mi-au fost donate. Majoritatea însă mi-au rămas de la
mama. Cu 25 de ani în urmă, când am început să strâng diverse obiecte, toţi credeau că
vreau să le predau la Kiev, povesteşte gazda noastră amuzată şi precipitată. Se
grăbeşte să ne spună cât mai multe despre huţuli, să ne arate instrumentele la care
cântă cu plăcere tuturor vizitatorilor cu aceeaşi plăcere.
Povestea începe
“În 1740, pe vremea legendarului haiduc Olexa Dovbuş - spune profesorul - casele
erau situate în munţi, la mari distanţe unele de altele. Existau sate cu câte o singură
ciupaga,as they used to call it. It was an emblem of the Hutsul, “poor, but proud”. On
Sundays they entered the church with their bartkas. Farther we see telenka- the pipe,
the jew's harp- a feminine instrument- and the bagpipe used by the rich and known by
the Ukraineans as VOLANCA, DUTKA, or KOZA. “The names of the instruments
bear the stamp of Austria”, specifies the teacher. He slowly moves around the room
pointing to each other and every object, and goes on…”for all that, our music
resembles yours very mich. The Hutsuls sing all kinds of songs, similar to the
Moldavian ones.”
“I understand Romanian but I cannot speak it”, answers Roman to one of our
questions.And he continues: “As a dialect, the language of the Hutsul resembles Polish.
We understand it”. The popular costumes are also very much like those from Bukovina.
In 1876, Mihai Eminescu wrote that the “Hutsul led an original, free, solitary life “.
He also mentioned that “the Romanians understand their language, without being able
to speak it , and they understand Romanian”. In the Romanian Cernauti of old times,
only this “Mihai Eminescu, the poet of all the Romanians”. A few words, with Cyrillic
letters, on a bronze plate, on the façade of a small highschool downtown.
In USSR's Time
“My family's faith was the same as that of the Hutsuls that took flight / went into
hiding and settled down somewhere else. In 1950, my father was killed and my mother
was banished to Habarovsk. From 3 to 18 I was taken care of my mother's sister. In
1968, when they let us know that we could come back to Ukraine, we decided to settle
down near Simferopole . One by one, we came back.
Then, if you were from Verkovina, for example, you couldn't come back there. You
had to be given another region. That's why we went Simferopole. When Stalin ruled
allowed to visit your birthplace only for 3 days . My aunt broke this rule and had to
spend 7 years in prison”. With these words, the tour of the museum ended. Roman
Petrovici Kumlak resumes the talk about his hobby and confesses to us : “Maybe in 5
years' time we will have a state museum here and then I'll hand over my collection”.
”The anthropological research on the people living in the Carpathians, starting with
the Moravian Wallachia together with the linguistic and historical research, show that
the Romanian ethnical branch had an important contribution to the formation of the
Czech, Polish and Ruthenian ethnical elements”. ( Gustave le Bon, French philosopher,
in “Graiul Romanesc”, Gr. Nandris).
A piece of news which completes the reportage: the HUTSULS' FESTIVAL
Between 29th and 31st of August 2003 in Vajnita town ( the North of Bukovina
Ukraine) takes place the 13th edition of the Hutsuls' Festival. “This year we'll have
participants from the regions Cernauti , Ivano-Frankivsk, Lviv (Lvov), Transkarpatia
and Rahiv district They all belong to the “Hutsulscina” district, tells us Marciuc Vasili
Grigorievici, the president of the Hutsulcina society. In the first day of the festival, a
scientific conference on the topic : “The years and the life of those on the mountains”.
The next day, there will be a contest between 3 folk ensembles (professionals and
amateurs) from eacdistrict having a Hutsul population. Only Vijnita district has 60 000
people, out of which half are Hutsulmen.
casă ce purtau numele proprietarului. Una dintre aceste aşezări, Crasnu Ilea, are,
acum 500 de familii. La 1700, locuia un singur om pe circa 1000 de hectare, Gheduşco,
şi considera tot pământul ca fiind moşia lui”.
Povestea continuă
Roman ne invită, apoi, într-o cameră cu tavan de lemn unde obişnuieşte să cânte la
cimpoi, ţambal, vioară sau drâmbă. Îşi trage sufletul şi începe să ne depene povestea
fiecărui obiect, împănând naraţiunea cu descrieri ale obiceiurilor şi superstiţiilor
locale. Aproape că este greu de urmărit. ”În trecut, ai noştri nu foloseau verighete…
Femeile nu trebuiau să se uite la măcinatul macului, căci nu le pria la noroc… Buciumul
pe care îl vedeţi aici are trei metri şi era folosit la înmormântare. Huţulii nu acceptau
cor”.
Ne arată cu mândrie farfurii din Polonia, Ungaria,
Austria, adăugând „Ceramica huţană e lucrată pe fond
închis. Cei mai săraci însă foloseau vase de lemn”.
Trecem, apoi, pe lângă cântare Krups, foarfeci
Solingen… Şi ajungem la bartkă baltag sau ciupaga, cum i
se zicea odinioară. Era semnul huţulilor, „populaţie
săracă, dar mândră”. Cu bartka se intra, în zilele de
sărbătoare în biserică.
Câţiva paşi mai încolo vedem telenka fluierul tilincă -,
drâmba un instrument feminin şi cimpoiul folosit de
bogaţi şi cunoscut la ucraineni drept volâncă, dutkă sau
koză. „Denumirea instrumentelor poartă pecetea
Austriei”, ne precizează profesorul. El face încet înconjurul
camerei, se opreşte lângă fiecare obiect, şi continuă…
„totuşi, ca muzică suntem foarte aproape de români. La noi, la huţuli, se cântă tot felul
de melodii, asemănătoare cu cele moldoveneşti”.
“Limba română o înţeleg dar nu o pot vorbi”, răspunde Roman unei întrebări. Şi
continuă… “Ca dialect huţula seamănă cu limba poloneză. Noi înţelegem această
limbă”. În ceea ce priveşte portul popular este foarte apropiat de portul din Bucovina.
În 1876, Mihai Eminescu scria că huţulii duceau o “viaţă de pasăre pribeagă,
originală şi liberă. ”Mai amintea că ”românii le pricep limba lor fără s-o poată vorbi, şi
ei pricep pe cea română.” În Cernăuţiul românesc de odinioară, doar atât: „Mihai
Eminescu, poetul tuturor românilor”. Câteva cuvinte, cu litere chirilice, pe o placă de
bronz, pe faţada unui mic liceu din centrul oraşului…
Pe vremea URSS-ului
“Soarta familiei mele a fost la fel ca cea a tuturor huţulilor plecaţi în bejenie şi
stabiliţi pe alte meleaguri. În 1950, tatăl meu fost omorât şi mama deportată în
Habarovsk. De la 3 la 18 ani, am fost lăsat în grija mătuşii mele după mamă. În 1968,
când am fost anunţaţi că putem reveni în Ucraina, am decis să ne stabilim în
apropierea oraşului Simferopole. Şi aşa, unul după altul am revenit.
Fundaţia BALTAGUL Câmpulung Moldovenesc, 2003
112 Pe urmele strămoşilor uitaţi - III
FORGOTTEN WORLDS
THE HUTSULS - THE SMALLEST POPULATION IN THE WORLD ,
LIVING SCATTERED THROUGH THE VILLAGES IN BUKOVINA
No one could exactly go back to the origins of the “Hutsul” people. It dates back to
around 2000 years before. Some say that the “hutsuls” are
the descendants of the free Dacians and that they have
been there eversince but other say they were influenced by
the Slavs and the Gothes .Others call them Slavs who
came in the North of Moldavia at the beginning of the
Middle Ages. Yet, there are some who think even more
back in time, bringing the old Etruscans in the
foreground, thus giving them great honour . Arrived here
in great number from Pocutia and Galitia, today we can
find several thousands spread in the whole world. Most of
them live here in our area shaping out a triangular one out
of the three villages Brodina Moldova Sulita - Izvoarele
Sucevei.At the foot of the Rarau Mountains BALTAGUL
organisation was founded . It is run by a kind-hearted man
named Gică ILIESI and its purpose is to promote the
hutsul's civilisation. From the old original hutsul
population, there are left only BALTAGUL the only hutsul ethnical proof and the
hutsul horses in whose saddles kings without a country used to ride, especially in the
North of the Carpathians.
Like in the Wild West
If you know how it is to be carried by two speedy hutzul horses in the dark night
passing through the firtrees, then you will certainly shiver a little bit. The sledge stongly
balances in the footpath in the mountains, which weren't leveled smoothly by the tractor
plough, that's why when you pass by the corners you almost touch the ground. In front
of us, two lads, dressed heavily are talking .In the back it is us the “town gentlemen”
covering our knees with blankets and talking highly about our insignificance, our
“pettiness” in the world. We are afraid…a little. We are heading Moldova Sulita, the
village which has the most scattered houses we've ever seen : 20 km with houses here
and there. Likewise, villages like Botus, Benea, Breaza are all the same. They were
colonized in a special hutsul way, like in the wild West , that is the men built their houses
at the edge of the forest , or on the top of the hill this way to be able to think freely . There
has never been collectivisation here. There are some who say that those living at the
LUMI UITATE
HUŢULII - CEL MAI MIC NEAM DIN LUME,
TRĂIESC RISIPIŢI PRIN SATELE BUCOVINEI
edge of the forest have never raised a pig. They take their hunting from their own
orchard by using a gun bought in exchange of a votca from Ukraine or they simply take
their hunt from their own orchard because sometimes the stag catches its leg into the
fence of their house.
At the latest census, not even a single mountain man from Moldova Sulita declared
himself hutsulman, except for the Carlibaba village where 20 men did that and there
were also some in Panaci village as well. People are ashamed of being considered
hutsulmen, as they were considered stupid illiterate,
anyway- during the Communists' time. In the old
times they were fooled by by the Jews who could read
their open, shy , gullible nature.Yet, if you meet any
carter on the lanes of the village he will tell you
proudly that his ancestors are the Goral men, and he
will boast around that they came from Poland riding
their small but strong horses. They are fair- haired ,
with big nose and red faces- the proof of their good
health. They speak a strange language , a mixture of
Polish, Ukrainian, Macedonian and Romanian.
Although they live isolated on the peak of the
mountain, far away from their neighbours they are
hard-working, thrifty people. The children walk for
hours to get to their schools. They say they are greedy
and ill-tempered people, though they are shy and
…free.
But you can find more than you can in any census, in Lali's pub, where every night
people gather around. A policeman introduces us to the pubman just to show us what a
heavy hand he has . Indeed, he has such a big hand comparable in size to my foot- with
such a hand you can split wood.
“Do you see what a <<wing >> he's got. It's the largest one I've seen since I started
working here.” Leaning against the counter, I can here that there are only a dozen
hutsulmen : they live lonely at the edge of the village and they do not talk much around.
Who doesn't know the old man Bohar, Vasile Michitin or the wise man Danila who died
at the age of 104 years old? They are much respected and feared of by the community
people: Old Lali thinks it's not appropriate to disturb them at this late hour.But then a
hutsulman, red-faced, shows up saying he has found out and asks us to get back to the
sleigh.
Where is our Hutsulship…?
We are waiting on the pathway… Will he receive us? In the chamber , the light is
flickering and then the light turns on . Sitting on the porch, the dark, red-faced
Ruthenian waves at us.”Come in, come in! He's a little sick ; he's 83 the old man, so you
should speak louder”. In a room with a low ceiling, having wedding pitures on the wall,
smelling sour like of some severe deadly illness, there lies an old woman half a metre
tall, crouched and kindly weeping “Please, come in and please excuse me for not being
able to get out of my bed”. On the other bed the old hutsulman Vasile Michitin sits
proudly covering his frail calves with a sheepskin coat. The old man is considering our
Nimeni n-a putut stabili cu exactitate originile neamului huţul. Se pierde aiurea, în
urmă cu vreo 2000 de ani. Unii spun că huţulii sunt urmaşi ai dacilor liberi şi c-ar fi fost
aici de când lumea, dar influenţaţi apoi de slavi şi goţi. Alţii le zic slavi, veniţi în nordul
Moldovei la începutul Evului Mediu. Ba mai sunt şi alţii, care gândesc departe, spre
slava vechilor etruşci. Veniţi în număr mare altădată din Pocuţia şi Galiţia, au mai
rămas astăzi câteva mii prin toata lumea, dintre care cei mai mulţi trăiesc la noi,
adunaţi în triunghiul Brodina -
Moldova Suliţa - Izvoarele Sucevei.
Astăzi, la poalele Rarăului s-a
înfiinţat Fundaţia "BALTAGUL",
pentru promovarea civilizaţiei
huţule, condusă de inimosul Gică
ILIESI. Din solemnitatea vechii spiţe
au mai rămas BALTAGUL - marca
etnică huţulă - şi caii ageri, în şeile
cărora călăreau altădată regi fără
ţară, prin Nordul Carpaţilor. Ei,
huţulii.
Ca-n Vestul Sălbatic
Dacă aţi şti cum e să fii purtat sub cetini, printr-o noapte neagră, în trap întins de doi
cai huţuli, iuţi ca văpăile, atunci cu siguranţă coloana vertebrală v-ar furnica niţel.
Sania se balansează în spasme pătimaşe pe jgheaburile - adânci până la piatră - nu prea
bine netezite de cu seară de tractorul cu plug, iar pe la curbe aproape atingi cu cotul
neaua înaltă. În faţă, doi flăcăi mari, înveşmântaţi în camuflaj, stau la taifas în goană. În
spate suntem noi, "domnii de la oraş", acoperiţi cu pături pe genunchi, şi vorbim cu
mare artă despre cât de mici suntem. Ne temem... puţin. Mergem către Moldova
Suliţa, cel mai risipit sat din câte am văzut: 20 de kilometri, cu case ici-colo. Botuş,
Benea, Breaza, toate aşezările de pe aici sunt aşa. Au fost colonizate huţuleşte, ca-n
Vestul Sălbatic: omul şi-a clădit casa la lizieră, pe vârful dealului sau, ca să-l poată
supraveghea mai lesne şi ca să poată gândi în tihnă. Niciodată n-a fost colectivizare pe
aici. Ba chiar, zic unii din Moldova Suliţa, cei de la poalele codrului n-au crescut un porc
toată viaţa lor. Îşi iau vânatul direct din ogradă, cu puşca semiautomată cumpărată pe
votcă din Ucraina, sau pur şi simplu cerbul îşi mai prinde picioarele în gardurile caselor.
La ultimul recensământ, nici un suflet muntenesc din Moldova Suliţa nu s-a mai
declarat huţul. La Cârlibaba s-au declarat 20, au fost câţiva şi la Panaci. Huţul, huţan,
era acelaşi lucru pe timpul comuniştilor - le e ruşine acum sărmanilor oameni de etnia
aceasta, pentru că de foarte mult timp se zice că "cine-i huţul îi prost" - oricum
neştiutor de carte tot este. Pe vremuri, îi păcăleau evreii de-i uscau, le iscodeau pe dată
firea lor deschisă, timidă, încrezătoare în orice. Totuşi, dacă-l întrebi, orice căruţaş de
pe uliţele satului îţi va spune astăzi ca el e huţul din neamuri uitate, se va fuduli
Fundaţia BALTAGUL Câmpulung Moldovenesc, 2003
116 Pe urmele strămoşilor uitaţi - III
questions carefully by answering shortly, promptly and very precisely. << In our parts
there are 100 authentic Hutsulmen left.There is much hunger here, where is our
hutslship? ... We are asking very innocently, and the old man is answering our
questions… I can see fiery dances, in the yellow sun, with the sweat girls and the
handsome lads, wearing the hatchet and water canteen at their hips. I can see high boots
playing <<hutsulca>> dance in the dust from Brodina village.I can also see the violins,
the drums and whistle and the people
wearing a kind of long, coarse-stuff
peasant coat or polecat waistcoats,
coming from Galitia on their small
horses. << Where's our hutsulship?>>
The church from our village , where all
the religious services the old Orthodox
rituals- are now attended by everybody
was built by all the Hutsulmen. I can
see Dovbus, a great outlaw, who is the
leader of 12 people. He climbed on a
hill together with his people , carrying
a big golden bucket.He was so stout
that he threw his hatchet around 200
metres away until it was thrust in the land.He said that there would be the altar and then
he gave his golden bucket to Mironda, asking him to build the church in 7 years.Instead,
Mironda made himself a fortune and when Dovbus found out about it he killed him right
away. The Ruthenian aggreed to what the old man was saying as he had heard about this
story for a very long time.Dovbos's church had been demolished and was offered to the
people from Benea village. Now they had a new church made out of stones.
In the end, from behind the stove , the old man Michitin gets his long, 100 hundred
years old hatchet, which is the most precious thing in his life. This hatchet had been kept
here by 3 generations of hutsulmen and that is the reason why he wanted , he actually
had to pass it to someone else on his deathbed. <<Come on, Michitin, you will survive
us all. Look at me ! What do you think? Am I 50? The Ruthenian is roaring on the door.
But the old man holds even tighter the decorative weapon , just like a baby. He starts
muttering again as if for himself : << Where is our hutsulship?>> I'll get out of the bed
and I'll show you the steps of the hutsuldance. He asks us to send him a picture of him
carrying the hatchet, so that he could be burried together with it. Then he asks us if we
have some more questions because it is rather late. I place two cheap rum chocolates on
his bed and I leave without looking behind. Only outside , in the cold weather, I could
realize what OUR hutsulship means: a magic dance, a foreign religion, a solidarity
among migratory people, or maybe just a kind of nationalism of the countryless riders.
DUMITRU MANOLACHE
”The Guardian”- 30 of July 2003
P.S. Bătrânul huţul s-a stins, cu baltagul la piept, la câteva zile după această
întâlnire…
he attended, about his awards, losses, the money he earned , in some words about his
other side of his life , his every day life. I've got everything , he said grinning ironically at
me. Then, he mumbled a couple of words that I can't help but utter when I'm waiting my
wages, while he was showing me some crosses hanging on a wire. I understood his
answer and I gave up. I looked around the workshop one more time, reprimanding me
for asking the questions.I had forgotten for some minutes that I was in a temple, where
the uttered words can chase the spell away. Embarassed, I said good-bye to Florin
Colibaba, but joyful and illuminated, because, for a short while, I tasted a piece of
Eternity.
I've always been fascinated by the mystery of the pottery. I think they are alive as they
bear in their essence the energy of the hand moulding the clay.There is something sacred
in this business, resembling the way mothers knead the bread in the trough, knowing
that the wheat grain out of which it is ground has the face of God in its substance. That's
why, each time I drank water from a pot, I touched its brink with the same humbledness I
kiss the icons . I avoided to visit the place in which the clay is softened by water and thus
turns to life, for fear of not disturbing the mystery, that surrounds the pots. Yet, this
summer, I decided to enter Florin Colibaba's workshop in Radauti. A temple where,
daily, the artist , just like a priest, holds a religious service of the clay, recreating life out
of the earth's life, in dozens of models, in a matrix of the time the timemarkers being
known only by him.
CUPRINS
1. PREFAŢĂ 3
2. COORDONATE ISTORICE ALE LUMII CARPATICE Pavel BLAJ 5
3. CĂLĂTOR PRIN MUZEELE DIN CARPAŢI Mihai SPÂNU 13
- muzee din Polonia 13
- muzee din Slovacia 21
- muzee din Ucraina 41
- muzee din România 61
4. ECOTURISMUL. TURISM DURABIL ŞI COMPLEX ÎN MILENIUL III Gică ILIESI 69
5. LUMEA CARPATICĂ VĂZUTĂ DE JURNALIŞTI 77
- Urme româneşti în Polonia: Goralii.
BOGDAN LUPESCU (Formula AS) 77
- Urme de civilizaţie ale păstorilor valahi
DUMITRU MANOLACHE (Gardianul) 89
- Biserica valahă din oraşul L'vov
DUMITRU MANOLACHE (Gardianul) 97
- Huţulii românii de la graniţa României
SÂNZIANA CONSTANTINESCU (România Pitorească) 101
- Lumi uitate. Huţulii
BOGDAN LUPESCU (Formula AS) 107
- Ceramistul Florin Colibaba
DUMITRU MANOLACHE (Gardianul) 113
SUMMARY
1. FOREWORD 4
2. HISTORICAL BACKGROUND OF THE CARPATHIAN WORLD - Pavel BLAJ 6
3. CARPATHIANS MUSEUM TOUR - Mihai SPÂNU 14
- museums in Poland 14
- museums in Slovakia 22
- museums in Ukraine 42
- museums in Romania 62
4. ECOTOURISM. DURABLE, COMPLEX TOURISM IN THE 3RD MILLENIUM - Gică ILIESI 70
5. CARPATHIAN WORLD THROUGH THE JOURNALISTS' EYES 78
- Romanian Traces in Poland: Gorals.
BOGDAN LUPESCU - (”Formula AS”) 78
- Traces of civilization left by wallachian shepherds
DUMITRU MANOLACHE - (“The Guardian”) 90
- The wallachian church from L'vov
DUMITRU MANOLACHE - (“The Guardian”) 98
- Romanians at the border of Romania - the Hutsuls
SÂNZIANA CONSTANTINESCU - (“România Pitoreascã”) 102
- Forgotten worlds. The hutsuls
BOGDAN IACOB LUPESCU - (”Formula AS”) 108
- The ceramist Florin Colibaba
DUMITRU MANOLACHE - (”The Guardian”) 114
Fundaţia BALTAGUL
Director executiv: Gică ILIESI
Coordonator programe: Cornel LUPESCU
725100 Câmpulung Moldovenesc
Jud. Suceava ROMÂNIA
Tel / fax : +40 230 314741, +40 722 272626;
E-mail : baltagul@flash.ro
Redactare texte:
Pavel Blaj, Mihail Spânu, George Sârbu, Gică ILIESI
Reportaje :
Bogdan Lupescu, Dumitru Manolache, Sânziana Constantinescu
Traducere:
Alex Diaconescu, Irina Proţop
Culegere şi machetare:
Cornel LUPESCU
Foto:
Mihail Spânu, Gică ILIESI
Foto coperta I:
Dan Boca
Foto coperta IV:
Dan Cimpoeşu
Editura I.P.I. Bucovina
Tipar :