IE + ZADII: Difference between revisions
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{{Infobox|title = Info|header1 = | {{Infobox|title = Info|header1 = IE + ZADII|label2 = Language|data2 = |label3 = Date|data3 = 1960-1970|label4 = Creator of object|data4 = Dominica Stan and Stan Maria (mother and daughter)|label5 = Contact|data5 = iain|label6 = Subject|data6 = |label7 = Author|data7 = |label8 = Publisher|data8 = |label9 = Size|data9 = 40cm x 70cm x cm|label10 = Type|data10 = Physical Object|label11 = License|data11 = |label12 = Format|data12 = |label13 = Country|data13 = |label14 = Museum|data14 = |label15 = Omeka|data15 = [https://cineg.org/omeka/items/show/121 Link]|label16 = Talk Page|data16 = [[IE_+_ZADII_talk | Link]]}} | ||
{{#widget:Iframe|url=|width=640|height=480|border=0}} | |||
[https://culturality.museum/omeka/items/show/121 Omeka] | |||
[ | The items are part of a girl’s traditional costume. Historically the girls | ||
of the ethnographic area of Lăpuș used to wear such clothing attire as daily | |||
outfit, but with the passing of time the traditional costume is worn only on | |||
special occasions such as on holidays, weddings, etc. | |||
The traditional costume is one of the most important manifestations | |||
of traditional culture, the result of the creative effort of a whole community | |||
and a real identity brand. The dominant note of the elements that compose | |||
the Romanian folk costume is the use of white fabrics made of natural | |||
f | |||
ibres (plant and animal). Particular attention is paid to the long and difficult | |||
technological processes of producing clothing elements in the world of the | |||
traditional village, weaving a whole system of beliefs and customs in this | |||
regard. The traditional production of costumes relied on local resources | |||
such as wool, hemp, linen, and cotton. | |||
The most relevant piece of this attire and the element that | |||
establishes the genesis of the Romanian folk costume is the shirt, which | |||
synthesises the most traditional elements and, at the same time, the most | |||
numerous artistic elements of ornamentation. In traditional spirituality, the | |||
embellishments that are used to decorate the shirt are not just decorative | |||
signs, but they have a much deeper spiritual meaning and play a protective | |||
role for the person wearing the clothing item. The symbols and various | |||
shapes embroidered on traditional costumes embody the identity of the | |||
people in a mixture and contraposition of sacred and mundane, faith and | |||
pagan superstitions, creative genius and practical functions.[[Category:Movable]] | |||
{{:IE_+_ZADII_talk}} | |||
{{: | |||
Latest revision as of 12:14, 14 September 2024
| IE + ZADII | |
|---|---|
| Date | 1960-1970 |
| Creator of object | Dominica Stan and Stan Maria (mother and daughter) |
| Contact | iain |
| Size | 40cm x 70cm x cm |
| Type | Physical Object |
| Omeka | Link |
| Talk Page | Link |
The items are part of a girl’s traditional costume. Historically the girls of the ethnographic area of Lăpuș used to wear such clothing attire as daily outfit, but with the passing of time the traditional costume is worn only on special occasions such as on holidays, weddings, etc. The traditional costume is one of the most important manifestations of traditional culture, the result of the creative effort of a whole community and a real identity brand. The dominant note of the elements that compose the Romanian folk costume is the use of white fabrics made of natural f
ibres (plant and animal). Particular attention is paid to the long and difficult
technological processes of producing clothing elements in the world of the traditional village, weaving a whole system of beliefs and customs in this regard. The traditional production of costumes relied on local resources such as wool, hemp, linen, and cotton.
The most relevant piece of this attire and the element that
establishes the genesis of the Romanian folk costume is the shirt, which synthesises the most traditional elements and, at the same time, the most numerous artistic elements of ornamentation. In traditional spirituality, the embellishments that are used to decorate the shirt are not just decorative signs, but they have a much deeper spiritual meaning and play a protective role for the person wearing the clothing item. The symbols and various shapes embroidered on traditional costumes embody the identity of the people in a mixture and contraposition of sacred and mundane, faith and pagan superstitions, creative genius and practical functions.