Chapter VIII

VIII. TECHNIQUES AND SKILLS CONCERNING
TRADITIONAL CRAFTS

    Elena POSTOLACHI, Varvara BUZILĂ, Ion BĂLTEANU

       Artistic crafts are the most expressive part of traditional culture. By definition, to be a craftsman implies knowing and practising in a very specific field of creation better than others, by using specially acquired skills. The acquisition and transmission of this knowledge, of work habits, procedures for processing raw material and crafting objects require apprenticeship or transition from other family members. Under the virtue of the syncretism of traditional culture the crafts cover a vast area of human activity, which treasure an extensive and reach experience of communities to use local resources for creation of objects needed to maintain life. The foundation of the crafts is the tradition as a set of mechanisms through which the essential characteristics of the culture are transmitted. All crafts follow the models confirmed and promoted permanently by the community. The objects produced by traditional crafts are very valuable for understanding the spirit, strength and greatness of artistic and technical creativity of the communities. The shape of the objects is adapted to the practical functions, but they tend to enroll in aesthetic patterns. The embellishment of created objects results from a double action artistic and technical. The priority of the decoration is to combine colors and patterns according to artistic criteria, but these criteria in their turn result from used technique.
    The traditional artistic crafts make use of all the natural resources from the living areas of communities. The processing of wood, stone, clay, bulrush, reed, straw, wicker are old activities, which are promoted till nowadays to create new objects of the fist need. Other crafts were developed through basic and secondary occupations.
     Wool and leather processing for manufacture of clothing and interior fabrics, as well as processing of the horn are crafts developed in close connection with farming and livestock. Weaving fabric from hemp and linen fibers, clothing manufacturing with were affirmed due to agriculture development.  
More than the raw material, from which the object are manufactured, the decoration reflect through patterns the universe of social, mythic, folklore, symbolic, historical representations of communities, which hold this patrimony. That is why in the elaboration of the list of elements of the intangible cultural patrimony from this section we took into account several criteria, which can highlight and value the knowledge and skills treasured by communities through crafts:

  1. Practical and ritual-symbolic functions of  objects;
  2. The raw material used in manufacturing of objects;
  3. The techniques of manufacturing and decoration of the objects;
  4. The structure and artistic composition of a decorative ensemble.


The behavior has the following structure:

Artistic processing of wood
Artistic processing of stone
Artistic processing of metals
Pottery
Weaving of natural fibers
Processing leather, fur, horn and bone
Female traditional costume
Male traditional costume
Weaving fabrics
Embroideries
Crochet    
Egg decoration
Ritual bread


Artistic Processing of Wood
VIII.1. Knowledge about the properties of different wood essences, about their use in manufacturing and repair/maintenance/preservation of wooden objects.

VIII.2. Techniques and procedures during the artistic processing of Wood: Carving, notching, Stamping, incising, combing, bending, straightening, darkening, cutting, painting and other related activities to the processing of wood, including tools and spaces used for the practicing of this craft

VIII.3.  Housing and household outbuildings (gates, fences, cellars, fences, basements and others), together with building wooden architectural elements (doors, windows, balconies, pediments, galleries, etc.) with traditional shapes, ornamental motives and patterns.

VIII.4. Churches and architectural wooden elements: Royal gates, icons, chandeliers, thrones and chairs, candlesticks, crucifixes, and triptychs, doors, windows, balconies, pediments, galleries, etc.) with traditional shapes, ornamental motives and patterns.

VIII.5. Wells, buckets, arrows, crucifixes and other elements like that located around.

VIII.6. Technical systems: mills (water, wind, underground, oil), irrigation wheels

VIII.7. Bridges across water and other transportation methods.

VIII.8. Tools for practicing various occupations: agriculture (grain, wine, fruit, vegetables), natural fibers and their weaving/preparation, fishing, grazing fish, hunting beekeeping, etc.

VIII.9.  Musical Instruments.

VIII.10. Utensils for the kitchen, household and dishes with traditional shapes, ornamental motives and patterns.

VIII.11. Furniture pieces (shelves, closets, tables, chairs, beds, dowry boxes, chests, jewelry box, swings etc) with traditional shapes, ornamental motives and patterns.
(see Knowledge, Practices and Symbols about Man, Nature and Cosmos).

Artistic Stone Processing
VIII.12. Knowledge about the properties of various types stones, about their various construction purposes and keeping/preservation of stone objects.

VIII.13. Techniques and procedures of artistic stone processing: drilling, polishing, carving, notching, carving, stamping, flat topography, bass relief, incising, combing, cutting, finishing, painting and other related process activities including the tools and facilities used to practice this craft.

VIII.14. Artistic Stone Processing center in Orheiul Vechi region together with other localities from where the specifics of stone object traditions derived from.

VIII.15. Artistic Stone Processing center in Cosauti, Soroca region together with other localities from where the specifics of stone object traditions derived from.

VIII.16.  Housing and household outbuildings (gates, fences, cellars, fences, basements and others) with stone architectural elements (galleries, benches, grinders, millstones, wells etc) with traditional shapes, ornamental motives and patterns.

VIII.17. Churches, communion tables, grave slabs, crosses, crucifixes, remembrance tables with other associated spaces.
    (v. Knowledge, Practices and Symbols about Man, Nature and Cosmos).
Artistic Metal Processing
VIII.18. Knowledge about the properties of various metals, about their use in the manufacturing of various objects, about keeping/preservation of metal objects.

VIII.19. Artistic techniques and procedures for processing metals: cold, for the making of wire(bending, twisting, cutting) and sheets (hammering, drilling, bending, cutting, drilling); hot, for making iron tools and objects(hardening, drilling, incising, welding, casting, caulking) with traditional shapes, ornamental motives and patterns. And other related process activities including the tools and facilities used to practice this craft.

VIII.20. Farmer tools (plows, harrows, scythes, pruning knives, etc), agricultural, carpenter, stave tools (compasses, knives, chisels, saws, axes drills, axes), masons (spades, compasses, trowels, rasps, picks).

VIII.21. Architectural elements that enhance the functionality of parts (hinges, locks, latches, nails, etc) metal coating of doors, crates, trunks, clamps, hinge, fencing, locks).

VIII.22. Costumes jewelry and pins, bracelets, buckles, earrings, crosses, rings, necklaces, links).
(see Knowledge, Practices and Symbols about Man, Nature and Cosmos).
 Pottery

VIII.23. Knowledge about the properties of clay (red clay, green clay, blue clay, white clay), clay objects and increasing the quality and the preservation/conservation over time.

VIII.24. Techniques and procedures for working with clay in order to give it plastic qualities: clearing impurities, kneading the paste (beating with feet, animals, hands), vessel molding techniques (using a wheel or hand rolls), casting architectural details techniques, decoration of the vessels by applying anagobe using a brush, glazing (grinding the enamel and applying it on the interior and exterior walls of the vessel), incision (printing ornaments with a bone/stick), drying parts, firing  of parts (once/oxidizing – for red ceramic, or twice/reducing - for the black ceramic; first and second firing for glazed pottery), and other related process activities including the tools and facilities to practice this craft.

VIII. 25. Furnaces for firing clay parts: after positioning them on the ground (semi-buried surface) by the type of construction (circular, median, combined); by the combustion chamber (with arches built out of two earth semi-circles, perforated grill, masonry plate, with a circular ditch, covered with a median groove, elliptical, semi-spheroid, conical-ovoid), by the furnace floor (organized or unorganized; several mouths of fire: one, two or three).

VIII.26. Ceramic vessels for food preservation (Pots, milk jugs, soup vessels), for food transportation (jugs, tubs, etc), for food preparation (pans, pots), for food consumption (cups, bowls, plates) with traditional shapes, ornamental motives and patterns.

VIII.27. Architectural ceramic parts: tiles with figurative friezes, brackets on the cornice parts of the houses, ceramic gutter parts, tiles. And also kindergarten decorational elements like decorated bricks, flowers.

VIII.28. Iurceni ceramic center, with shapes, techniques and specific décor together with related ceramic production and marketing areas.

VIII.29. Hoginesti ceramic center, with shapes, techniques and specific décor together with related ceramic production and marketing areas.

VIII.30. Cinişeuţi ceramic center, with shapes, techniques and specific décor together with related ceramic production and marketing areas.

VIII.31. Ţigăneşti ceramic center, with shapes, techniques and specific décor together with related ceramic production and marketing areas.
    (see Knowledge, Practices and Symbols about Man, Nature and Cosmos).
 Weaving natural fibers

VIII.32. Techniques and processing procedures used in willow weaving objects: peeling, splitting cooking, forming models, free weaving, and model weaving, polishing, and cutting.

VIII.33. Willow woven objects (tables, chairs, beds, sofas, shelves, racks, dishholders, mirror and photo frames), baskets (for carrying fruits, vegetables, clothes), fishing tools (goblets, nets). And also other related process activities including the tools and facilities used to practice this craft.

VIII.34. Soroca weaving center, with traditional shapes, ornamental motives and patterns.

VIII.35. Teleneşti weaving center, with traditional shapes, ornamental motives and patterns.

VIII.36. Ştefan Vodă weaving center, with traditional shapes, ornamental motives and patterns.

VIII.37. Techniques and procedures used while working with cane: building roofs, household fences for animals, cages for catching fish, and bear outfits for the theatrical representations on New Year’s and St Basil.

VIII.38. Techniques and procedures in weaving of reed objects: mats, baskets, hats, slippers, including "Papurada" (Reed) clothing used during rain invoking rituals.

VIII.39. Techniques and procedures used in straw woven items: hats, baskets, lamp shades, including clothing like bear outfits for the theatrical representations on New Year’s and Saint Vasile.

VIII.40. Techniques and procedures used in corn leaf woven objects: baskets, vases, hats, masks.

VIII.41. Techniques and procedures related to the creation of brooms (from corn) and brushes (out of grass, hair).

(see Knowledge, Practices and Symbols about Man, Nature and Cosmos).

Leather, fur, horn and bone processing

VIII.42. Techniques and procedures used by leather and fur workers for processing leather and fur: scraping useless layers, drying, cleaning and other related processing activities including the tools and facilities used to practice this craft.

VIII.43. Techniques and procedures used by Cappers and Furriers to manufacture clothes out of processed leather and fur: hats for men (out of lamb and sheep skin), coats for women and men (flared or straight; embroidered with multicolored leather decorations, tassels of wool or lamb/ferret leather), belts (with buckles, studded with tacks), suspenders. And also other related process activities including the tools and facilities used to practice this craft.

VIII.44. Techniques and procedures used by shoemakers to manufacture boots, slippers, and shoes for men and women out of processed leather. And also other related process activities including the tools and facilities used to practice this craft.  

VIII.45. Techniques and procedures used for bone and horn processing (soaking in water and cleaning, immersion in hot alkaline, bleaching cutting, notching, splitting, incising, polishing, drilling, pressing, carving, sanding) for the manufacture of: hair accessories (needles, combs), canes, pegs, wine vases (horns, cups), pouches for storing gun powder, pointy horns (for hunting, fighting) with traditional shapes, ornamental motives and patterns.
(see Knowledge, Practices and Symbols about Man, Nature and Cosmos).
Female folk dress

VIII.46. The ways of wearing hair everyday and on feasts (loose, plaited in one, two, three, four tresses, worn backwards or in front, chopped off) and of setting the tresses on the head (a circle around, loop at the nape of the neck, loop on the head top, tightened behind ears; disposed on a device of fallen hair, of tissue, wire, wood), together with other accessories for girls ("cositarul", wreath of flowers, ribbons, flowers) and for women (covering with red/white cap, with "moada"/"modiţa", corner).

VIII.47. Techniques and materials for producing head covers, worn daily or on feasts: head towel/"mâneştergură"/"năframă"; "maramă" (made of floss silk); corner/horn (embroided, with laces/"tandica"); headkerchief/"tulpan"; "berta", "şalinca", its forms and decour, together with the ways of their arranging and composition, and with the specific accessories.

VIII.48.Techniques and materials for producing ornament articles: for hair and its accessories (needles, pins, wreaths, "cosiţare", "fruntare"); for ears (golden ear-rings, made of silver or other metals); for neck (necklaces/"lefţi"/"mamudele", beads, "gherdane", collar, cross); for hands (bracelets) and fingers (rings, links); for waist (coats with rings, coats with keys, buckles).

VIII.49. Techniques, materials and cuts for designing the female shirt, daily worn or on feasts: of tunic type, with wavings at the neck level (with joint or separate hems), with patches/insets (at the neck, at the back, in front, backwards), together with the specific of decorating them. 

VIII.49.1. The art of the traditional blouse with embroidery on the shoulder ("altiță") – an element of cultural identity of the Republic of Moldova.

VIII.50. Techniques and materials for designing details that cover the hems of the female shirt, worn daily or on feasts: "catrinţa" constituted of one sheet (with narrow vertical strips and bete up and down; with select vegetal and geometrical motifs; with orange and white strips dispozed horizontally in the inferior part); "fota" of two pieces, apron, together with the specific of decorating them.

VIII.51. Techniques and materials for designing belts, worn daily and on feasts, having the purpose to fix the vestimentary details: barnet, girdles, girths, ropes.

VIII.52. Techniques and materials for designing upper clothes, worn on cold seasons: "bondiţa"/"pieptar","cojoc", "ilic", "suman", together wih the specific of decorating them.

VIII.53. Techniques and materials for producing shoes: "opinci" (without gurgui, with unifrom weavings in the superior part; with gurgui; with gurgui and shoe horn); shoes, slippers, boots ("cizmă"/"ciubotă"); home slippers/"totocei" (crocheted from hemp or wool; designed from home thick cloth).

    (see Traditions and Expressions of Verbal Art, having Language and Word Meaning as main Vehicle for Cultural Expression; Traditions and Expressions of the Musical Art or Practice; Traditions and Expressions of Choreographic Art or Practice; Celebrations, Customs and Rites).

Male folk dress
VIII.54. Ways of wearing hair daily and on feast days (cut on the pot, locks on the back, chopped off), beard (big, short) and moustaches (small, twisted, on the pot).

VIII.55. Techniques and materials for designing head-covers worn daily or on feasts: "căciula"/"cuşma" made of lamb/yearling; straw hat (with large brims, with high or narrow calotte), hat of thick felt (for shepherd or "razeş"/peasant, free holder), together with the ways of arranging, composition and the specific accessories.

VIII.56. Techniques and materials for designing ornament elements: feathers, tassels of multicolour wool, flowers, "negară", ribbons for decorating the hats of young lads; flowers, ribbons for "căciuli"/"cuşme" worn by lads during the wedding customs, of leaving for army, on Christmas, New Year/St. Basil.

VIII. 57. Techniques, materials and cuts for designing the male shirt: shirt of tunica type (with long hems, straight or turned down collar), shirt with patch/platca (with long hems, with short hems: with cuffs), together with the specific ornamental motifs.

VIII. 58. Techniques, materials and cuts for designing male trousers: "izmene" (of hemp, flax, cotton); "cioareci" (of goat wool, in 4 threads), "iţari" (of goat wool, in 4 threads), "nadragi"/"bernevici" (of domestic, battered cloth), "meşini" (of fur), together with the specific ornamental motifs and the ways of wearing them.

VIII.59. Techniques and materials for designing male belts: broad belt sifted with the spindle; broad belt weaven in 4 threads; rope, "bârneţ"/"bârneaţă"; girth; money belt, belt, girdle, together with the decorative motifs and the specific attributes.

VIII.60. Techniques and materials for designing the upper clothes, worn during the cold season: bondita/pieptar; cojoc (long, short), ilic, suman, burca, cloak, zabun; together with the specific of their decoration.

VIII.61. Techniques and materials for designing shoes: "opinci" (without gurgui, with uniform weavings in the superior part; with "gurgui"; with "gurgui" and shoe strip); slippers, boots ("cizme"/"ciobote"), shoes, together with the specific details and ornaments.

    (see Traditions and Expressions of Verbal Art, having Language and Word Meaning as main Vehicle for Cultural Expression; Traditions and Expressions of the Musical Art or Practice; Traditions and Expressions of Choreographic Art or Practice; Celebrations, Customs and Rites; Knowledge, Practices and Symbols about Man, Nature and Cosmos).
    
Interior  textures
VIII. 62. Techniques, proceedings and tools for preparing threads of hemp, flax and wool for weaving.

VIII.63. Knowledge, techniques, proceedings and materials for dying threads of wool, hemp, flax and cotton using natural colours, especially vegetal ones.

VIII.64. Techniques, proceedings and materials for weaving "toluri" (simples carpets) for laying them down (on the bed, sofa, oven, floor), together with the specific decor for them.

VIII. 65. Techniques of weaving "paretare" (wall carpets) in several threads, and materials (in squares, "in scaune", "in vrâste", "cu alesături"), together with the decor specific for them and with the proceedings of finishing them (margins crocheted from multicolour wool, tassels, joint fringes).

VIII. 66. Techniques, proceedings and materials for weaving "laicere" (sofa carpets) sifted and battered with the comb ("in vrâste", "in scaune", with select motifs), together with the specific decorative ornaments.

VIII. 67. Techniques, proceedings and materials for weaving "scoarţe" (rugs) sifted and battered with the comb, together with the specific decorative motifs (geometrical, vegetal, anthropomorphic, zoomorphic, scale-morphic).

VIII. 68. The centre of weaving scoarte from Causeni, together with the techniques, proceedings, materials and cosecrated decorative motifs.

VIII. 69. Techniques, proceedings and materials for weaving "războaie" (rugs), sifted and battered with the comb, together with the specific decorative motifs (geometrical, vegetal, anthropomorphic, zoomorphic, ladder-morphic).  

VIII. 70. Techniques, proceedings and materials for weaving rugs, sifted and battered with the comb, together with the specific decorative motifs (geometrical, vegetal, anthropomorphic, zoomorphic, scale-morphic).  

VIII.71. Techniques, proceedings and materials for weaving "cergi" (rugs) sifted and battered with the comb, together with the specific decorative motifs (geometrical, vegetal, anthropomorphic, zoomorphic, scale-morphic).  

VIII.72. Techniques, proceedings and materials for weaving elements with curled decour / fluffy texture: rumbe, macaturi, niturci, iorgane, pillow slips, together with the specific decorative motifs (geometrical, vegetal).

VIII. 73. Techniques of nividit, materials and decorative motifs used for weaving paretare, counterpanes, curtains and table cloths.

VIII. 74. Techniques, proceedings and materials for weaving towels, tissues for covering clothes, culmi/drainitare, together with the specific decorative motifs.

VIII.75. Techniques, proceedings and materials for weaving zolnice, towels, table cloths, napkins, together with the specific decorative motifs.

VIII.76.Techniques, proceedings and materials for weaving tissues for household usage: veretce, sack tissue, traiste, desagi (peasant bags), together with the specific decorative motifs.  

Seams
VIII.77. Techniques, proceedings and materials used for knitting objects: shirts, ii (traditional shirts), corners, "năframe", "nafrămiţe", hand/headkerchiefs, towels, table cloths, napkins, ways (cross-like, battered on two sides, key, joint with the thread, joint with the crochet, festooned, oldman point, hemstitched with holes); "bondite"/"cheptare", "cojoace"/"cojocele" (embroidred according to the drawing, knitting the applications), together with the specific decorative motifs.

Crocheting
VIII.78. Techniques, proceedings and materials used for weaving dress elements: stanuti, flanele, blouses, big blouses, socks/coltuni, gloves, shawl, details at the hem of female and male shirts, together with the specific decorative motifs.  VIII.79. Techniques, proceedings and materials used for weaving interior elements: table cloths, curtains, corners for towels, together with the specific decorative motifs.   

Painting eggs
VIII.80. Techniques, proceedings and materials used for painting paschal eggs, together with the specific decorative motifs.

(see Celebrations, Customs and Rites; Knowledge, Practices and Symbols about Man, Nature and Cosmos; Knowledge regarding Traditional Alimentation).

Designing folk masks
VIII.81. Techniques, proceedings and materials used for designing anthropomorphic masks used in on Christmas and New Year.

VIII.82. Techniques, proceedings and materials used for designing zoomorphic masks used on Christmas and New Year.

VIII. 83. Techniques, proceedings and materials used for designing masks used during wedding customs, on "Ziua Moaşei"/"Ziua Babei" (Day of the Midwife/Old woman), "Imprăştierea Rusaliilor" (Pentecost).

    (see Celebrations, Customs and Rites)
    
Modeling the ritual bread
VIII.84. Knowledgen techniques, proceedings and materials used for art modeling and baking of ritual bread: sculptural forms obtained through twisting and interweaving the dough rolls which represent the calendaristic feasts (Christmas Eve, Christmas, St. Basil, the Saints, Easter); discoidal forms ("lipii", "turte"); sculptural forms specific for birth customs ("colacii" of the godfathers, "pupaza" of the midwife/old woman); forms specific for the wedding ("colaci", jemne, double "jemna", bride’s "pupăza"); funeral forms ("colacii", "crestatile", ladder, doves/pigeons, "pupeze", sieve, trough), together with the specific decorative motifs.
    (see Celebrations, Customs and Rites; Knowledge regarding Traditional Alimentation)

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