Professional Documents
Culture Documents
TEFWC
Culegere de
custuri populare
. . . de la lume adunate
i iari la lume date" . . .
Anton Pann
EDITURA
DACIA
CUVNT
NAINTE
SCURT ISTORIC
j|
if
\
I
|
1|
|
Portul ranilor r o m n i din Muntenia, Oltenia, M o l d o v a i
: mai ales Bucovina, n general, este bogat ornamentat. Cmaa
de srbtoare la femei este ncreit la gt cmaa c u brezru
Ca pe metopele monumentului de la A d a m c l i s i . C u timpul, unele
flrance, mai mult d i n spirit practic, au nlocuit aa care ncepea
jA se rup dup un t i m p de folosin, c u un gulera m i c de 1 c m .
Aa apare cmaa c u ciupag. Pe ciupag se brodeaz un fragment
din modelul de pe alti.
;
|
*
tipuri:
6
aS*C
CTEVA
4*f
#
"ii"i
r
12
mm mm.
:::;
::i!
i.Wt
!!!!mm
j ambele fee ale pnzei. n acest caz se lucreaz linii oblice att
. pe fa ct i pe d o s , pe fire numrate, apoi se revine cu firul de
[ a pentru a completa jumtile de fire oblice rmase. n felul
acesta dispar firele verticale de pe dosul pnzei. Cruciuliele snt
fauprapuse i pe d o s .
i 4 -
mm
- t i - -
mm
1
I
]
|
j
|
1 i
1
1
1
A
wA
U
1 1
r
m
i:
3 z l
puin
dou
punct
obl
m
mi
"
mA
mm
I
K
V - ]^Ht
ZL ^
m
era;! icrv^ic^c-iiai
|-3ir-a( 3>>*2aciM
nrmf.'H
anii
laiiiiiiimBPiiiiiniiiBB
"iiiiiu
m i i m
aimiiiiKa-uiiiiiiuB
H I - u i U I
a
;r
buh-p-uiiua
mm--
mm
n = a = = a M
-Ra i ' i B
i i n
--im
m i ilwiuxuo'h'ra
n ^ a c i u
b i lafc
aannaaa
iriiiinnaeiinaa
BES-aa
BiiiaBir*aaiuiBBB
bbbb
a-im
na
>
!E
dt
I I I
Bflfl
aa-mi
a
==la
aa
==t
ac
i i i
am
iiiiiiiiuijuaiiaiiJSFiiiia
a n u a l . .aiiuaanuBBB
B1BLIOQRAF1E
IUI
IUI
JK
Jt
=;
BB
BBB==
IUI
IUI
JB . , a
E=ils=
=;
3
aaaaa.iiiiniiiiiiiiluijjnuuiit.iiiaa
aa... aiuuaijiiuBLiiuaaa
BBB BIII)lllllltlillMnii*!mT3fc/i:iB
BIIJ m i B B " " ' r i i r B a B
mm--.-,
nu
Se
aa
aa = .
-ic
ir
mmm
BBBB
Bri
IUI
] [
==1
BBBB
= :'
=lf
3F
aia
Baasaa
Biiiuiiiirrr^iiiiB
aB==e=aa
iniBamamiaBa
BBB==BB
MB==
Lr
B::rr~l
BB
BBBsMiina
a---a
macrr-iiina
a
~ a
n a
BBBaiiiiuna
bbiiiibb
miiiii==-iiuii i
bb>i a a
ibb
BBBIIIIIIIIIIBB
BllllB
BBIIUI1UIIBBIIHIIII 1 BB
BIIIB
IBB
mm
Avtamescu,
E l e n a ; 13 o b u F i o r c s c u , F i o r e a Bro
deriile la romni. Editura de stat, Bucureti, 1959.
B l a g a , A u r e l i e ; D u n r e , N i c o l a e Nestemate
bihorenc.
Editura tehnic, Bucureti, 1974.
C e a u a n u , F l o r i e a; S i m i o n e s c u , S a n d a Manual dc
custuri i vopseli vegetale. Editura Universul, 1945.
C o m a , ' D i m i t r i e - Din ornamentica
romn Album artistic
reprezentnd 284 broderii i esturi dup originale rneti, Sibiu,
1904.
C o s m a , M i n e r v a Modele de custuri romneti. Editura Robert
Beyer, Timioara, 1905.
Grigorescu, V i c t o r i a
G h . hvoade dc custuri
naionale.
Cartea Romneasc, Bucureti.
Ione,
E u g e n i a Tainele industriei casnice rneti. Manuscris
aflat la Muzeul din oraul Rdui Suceava^.
I o n e , E u g e n i a hvoade de custuri romneti. Editura Librriei
Ostaul Romn", Cernui, 1 9 2 3 .
Kolbenheyer,
E r i c h Motive ale industriei casnice din Buco
vina. Imprimeria curii i statului, V i e n a , 1912.
Petrescu, Paul; Secoan, Elena; Doag,
A u r e l i a
Custuri romneti. Editura didactic i pedagogic, 1973.
tefnuc,
Leocadia;
Dunre,
N i c o l a e hvoade
populare din ara de Sus. Editura Dacia, Cluj-Napoca, 1974.
Tomida,
E c a t e r i n a
D . Custurile i broderiile
costumului
popular din Romnia. Editura tehnic, Bucureti, 1972.
3)
C O L L E C T I O N
O F
O R N A M E N T A L
F O L K
MOTIFS
lllustrations
patterft
PLATE
1. Ornamentation
on the sleeve of a blouse
found
at Boju, zone
of
Cluj, the beginning
of the 20 th century.
It combines
the following
stitches:
"over
the thread",
crosses,
zigzag,
beads sewn on the cloth and five beads on a
string,
then sewn on the decoration
of the motif.
Black is predominant,
alongside
with
othe'r
bright
colours,
as shown in the
illustration.
PLATE
2. Richly
decorated
century.
1) The embroidered
tern is narrower
than in other
two kinds of geometric
patterns.
shirt,
zone of Vrancea,
the beginning
of the 20 th
area on the shoulder
(altia) in a geometric
patethnographic
zones;
2) Oblique
ornaments
made
of
The colours
are two shades of red, yellow and
blue.
PLATE
3. Stitching
from
the subzone
of Humor,
Suceava.
1) A
embroidery
sewn in crosses and filled
with golden-yellow
in the point
of
on a man's shirt for special
occasions;
2) Pattern
on a wall
towel.
mostea,
PLATE
4. Patterns
Suceava,
in the
of flowers,
1920 s.
PLATE
5. Three
patterns
are sewn in crosses with various
occur in towels of more recent
free-hand
drawing,
sewn
on towels
from
of flowers
and grapes,
free hand drawings.
colours
of mouline.
These are the patterns
date.
beautiful
filling,
ZaThey
that
PLATE
6. Woman's
shirt,
zone of Oa, the end of the 19 th century.
Characteristic
of the Oa shirt is the right-angled
inset (cheptar) displayed
around
the
neck;
it is brightly
colored
and used to have geometric
motifs
in the past,
but
nowadays
floral
motifs
are also common.
The shirt
is buttoned
up at the
back.
The loose sleeves are decorated
with a single stripe and the lower part of the
sleeve
displays
a bracelet
cuff
sewn on the folded
area, that bas the same motifs
as
the inset and a flounce
(fodor) embroidered
in a rhombic
pattern.
1) Narrow
collar, round
the neck;
2) Marginal
pattern
to be found
on the bracelet,
notshown
In the illustration;
3) The main
pattern
on the inset; 4) The embroidery
on the
lower part of the sleeve which forms
the flounce;
5) A single
middle
stripe
from
the shoulder
to the
cuff.
PLATE
7 . Blouse
( i e ) with
"brezru" from
Vatra
Moldoviei,
subzone
of
Cmpulung
Moldovenesc.
1) The embroidered
area on the shoulder
'(alti)
consists
of an ornament
with "suns";
2) The folding
is a geometric
combination
sewn in
cros-
20
PLATE
11. Ornamental
pillow
cases from
Northern
Moldavia.
1)
Intrlcott
ornament
consisting
of "ram horns",
"snail antennae"
and "host" ("prescur") s t / t c h t r f
on homespun
linen,
zone of Dorohoi,
the end of the 19 th century.
The
followlnf
techniques
have been used: "before
the needle" for contour,
crosses, chain
llnkt,
"over the thread"
and small
beads stitched
on the linem one by one; 2)
CbromatlC
diagonal
composition
on an ornamental
pillow
case discovered
in Northern
Buce
vina dating
from the early
20 th century.
It is sewn in crosses with black and r4
mouline.
PLATE
12. Blouse (ie) with " b r e z r u " f o r young
girls, Breaza,
zon
of Prahova,
the 20 th century.
It is sewn in crosses on thin cotton
cloth with
sllk,
The pattern
between the rows of little
roses is cream-colored;
one row little
rosei
Is bright
red and pink with green
leaves, the second one is blue and yellow
and
green leaves
again.
The sleeve is short and has an embroidered
area on the shoulder
(alti), fol
ding and oblique stripes.
Itends
in a honeycomb
pattern
and a string
to help it
fold,
The pattern
on the brest
is displayed
in angles.
It has about nine row,
of
little
roses. It terminates
with a row of edges sewn with cream
colored
thread
In
point "over the thread".
The back of the shirt displays
scattered
little
flowers
about
5 cm
apart.
PLATE
13. The ornamental
composition
which
has in its pattern
the "spun
ribbon"
free-hand
drawn
leaves sewn on a napkin;
corner
of a
doily.
represents:
1) Corner
of a
tablecloth
and various
flowers;
2) Cherries
with
3) Another
motif with cherries
for the
PLATE
14. Geometric
combinations
on:
from
Bistria;
3) A pillow
case from
Dorohoi.
sewn with woolen thread
in "double
cross point".
three shades of
blue.
PLATE
15.
has two marginal
with
flowers.
PLATE
vina, Moldova
it sewn both
Stitching
patterns
1) A towel
from
Dej;
It is made of sackcloth
There are three shades
on a peasant tablecloth
Sbdu,
Bihor.
and in the middle
is decorated
with birds
This
and
2) A towcl
or
canvas
of red and
tablecloth
branche;
16. 1) Pattern
for doilies,
pillows
and tablecloths
discovered
in Bu< o
and Muntenia
at the beginning
of the 20 th century.
We have s e e / i
with beige and brown
on the edge. The pattern
in the corner
:.ewn
21
with bright
red and "Vorone
blue" was particularly
Flticeni,
the 19th century,
sewn in ancient
point.
impiessivc;
PLATE
17. Towel, zone of Brlad,
the 19th century.
It is made of very
thin
homespun
cotton
fabric.
The stitching
is fine,
on double
thread
with one
mouline
thread.
Patterns
1) and 3) have the contour
sewn in red and are filled
with
black.
Pattern
2) is sewn in black and filled
with
red. It is worth
noticing
the
delicacy
of the embroidery
consisting
of points
of contour,
"atranga" and the point
of
filling.
PLATE
18. Blouse with collar
and the slit in the front, subzone of Huedin,
the
20 th century.
It is sewn in crosses.
The slit has an ornament
of a row of half
crosses.
The slit is pink cotton perle.
1) The motif on the collar
and slit;
2)
Floral
motifs which decorate the front of the blouse and parallel
the main row on the
sleeve;
3) Stylized
leaves and flowers
that go down from
the shoulder
to the end of the
sleeve which is loose and finished
in 4) the same pattern
which decorates
the
collar.
AII
ted
and
PLATE
of them
on the
PLATE
20. Free-hand
cornflowers.
drawn
phytomorphic
There
doilies.
indica-
are lots of
bluebells
PLATE
21. Blouse
(ie) with "brezru" from
Botoani,
the end of the 19 th
century.
It is made of floss sewn with black and yellow
mouline.
1) The
embroide
red area on the shoulder
(alti) is sewn in points
of contour
while the edge is a
row of crenellated
crosses.
The wreaths
on the " a l t i a " are sewn in points
of
contour
and filled
with black;
2) The folding
sewn in stitch following
points
of contour
and
points
of filling;
3) Stripes
on the sleeve consisting
of a middle
ornament
and two
lateral
rows.
PLATE
22. Patterns
from
Banat.
the cloth.
It is used for men'sshirts.
2)
cally and the sewing
on the back of
women's
blouses.
The colours
are black,
old blouses have a dense decoration
on
1) Horizontal
patterns
sewn on the back
of
Pattern
sewn in the Banat point,
but
vertithe cloth is oblique.
It is used for
young
yellow
and a little
blue and green.
The
the sleeve like the ones from
Hunedoara.
PLATE
23. Elaborate
ornamentation
made
ler one on the edge and a wide one with "cuts"
Boju, Cluj. Severa! colours
are used, but mauve
of two distinctive
patterns
a
("tieturi") on a pillow
case
is
predominant.
PLATE
24. Blouse (ie) for young
girls,
zone of Neam,
the beginning
20 th century.
The techniques
used are: stitch following
points
of contour,
filling
"over the thread"
and stitch inthechain
links. It is a fine and elegant
The predominant
colours
are: black for the contour,
light blue and golden
rest. 1) The embroidered
area on the shoulder
(altia); 2) The folding;
3)
stripes
on the sleeve; 4) Stripes
on the breast and the back of the shirt.
PLATE
25. Ornamentations
on a blouse
(ie) with
zone of Cluj, the beginning
of the 20 th century.
On the
fine motif,
sewn in crosses,
on the collar;
2) A stripe
so-called
"Sibiu
hammers"
framed
in a successfully
stylized
are rendered
by three stitches only; 3) Stripes on both sides
22
smalfrom
of the
zigzag,
sewing.
for the
Vertical
collar
(ciupag) from
Boju,
sleeve one may see: 1) A
that resembles
a little the
grapevine
the
grapes
of the motif in the
middle.
composition,
in various
and patterns
of flowers
colours,
on a dowry
pillow
sewn in
case from
crosses
Nort
PLATE
27. The sleeve of a costume
from Hunedoara
(costum de
"Pdureanc"),
the 19 th century.
It is made of thick hemp or cotton
cloth.
The ornamentation
on
the sleeve is dense, sewn in the so-called
"old point",
"curled
point"
and the
point
"over the thread".
The ornamental
area is red for girls and young
women and
black
for older women.
The flowers
and leaves are of various
colours.
PLATE
28. Old stitching
on blouses employed
on tablecloths.
1) Pattern
from
Bistria
Nsud
discovered
on a floss kerchief.
It is sewn in crosses.
The
colours
are black,
red, golden
yellow
and blue;
2) Doily
on which a blouse pattern
from
Ilfov has been employed.
Besides black and red silver metallic
thread
has been
used.
PLATE
29. Woman's
shirt from Budieni,
Gorj.
It is made of thick linen
in the old Romanian
point with thick black cotton
thread,
colored
beads and
lettes.
It has a narrow
collar
which supports
the foldings
of the breast, back
sleeves of the shirt.
1) The pattern
on the collar;
2) Embroidery
11 cm wide
the breast on both sides of the slit; 3) The cuff called
there "the collar
of the
4) The embroidered
area on the back bordering
the sleeves;
the back is covered
a vest. The sleeves have the same geometric
diagonal
embroidery
30 cm wide
starts 8 cm below the collar
and ends at the cuff. It is of a dense texture,
decorated,
brightly
colored
owing to the various
beads and
paillettes.
PLATE
30. Man's
shirt from
Huedin,
Cluj,
the 20 th century.
It is
and richly
colored.
1) The collar one can see the festoon
and the opening
shirt decorated
in zigzag
only;
2) Floral
motif,
on the shirt,
across the
3) Shoulder
motif with brightly
colored
flowers,
sewn on the sleeve; 4) Motif
rating
the lower part of the
shirt.
sewn
pailand
on
shirt";
by
which
richly
brightly
of the
shoulder;
deco-
PLATE
31. Flower
motifs
on towels from various
zones.
1) Towel from
Sbdu, Bihor, the end of the 19 th century.
It has a particular
stitching.
The
contour
of the flowers
is sewn in crosses with blue thicker
cotton.
The filling
is "over
the
thread"
stitching
closely
following
the pattern;
2) Squash flowers
and leaves
sewn
on a towel
from
Tulcea;
3) Vine leaves and grapes
on towels from
the zone
of
lai.
PLATE
32. 1) Pattern
on a blouse
made of chiffon,
zone of Sibiu.
It is sewn
in black and only on the "hammer
joint"
is it sewn in silver
and golden
metallic
thread.
In this pattern
the "hammer
joint" has its edges sewn in dots "over
the
thread",
then long crosses sewn behind
one single
thread
on the edge
decoration.
The flowers
bordering
the chain of hammers
are sewn in finely
stitehed
crosses
on
double
thread.
2) Pattern
on a shirt,
zone of Trnave made of chiffon,
decoration
across
the elbow not in
stripes.
3) Shirt from zone of Fgra,
made of floss. The little
flowers
on the edges
are sewn in black mouline.
The "hammer
joint"
is stitehed
in longer
crosses.
PLATE
33. Towel from
Moneasa,
Arad,
woven around
Is the fact that il has one pattern
at one end and a different
weaver
used red, black and orange
thick cotton
thread.
1850. Peculiar
to it
one at the other.
The
PLATE
34. Phytomorphic
motifs
on towels
from
the beginning
Century.
1) and 2) Motifs
sewn in crosses on towels from Brlad;
3)
O f ) a towel from
Roznov,
Neam;
4) Grapes sewn with black mouinle
towel
from
Brlad.
of the 20 th
Flowers
sewn
on an
old
i
9f
PLATE
35. Ornamental
composition
to be found
with the Saxon
population
Transylvania.
PLATE
36.
The atranga
sewing
technique
discovered
on kerchiefs
from
Brlad
patterns
1) and 2); Patterns
3) and 4) selected from "Custuri romneti"
by Minerva
Cosma,
Timioara,
1904; 5) Pattern
found
in Boju, Cluj, sewn on a
papkin-kerchief
in 1900;
6) Stripes
on a blouse
from Mleti,
zone of Dolj;
7)
Stripes
on a blouse from
the zone of Vlaca,
the end of the 19th century;
8) and
9) Patterns
for men's shirts selected from "Izvoade de custuri naionale" by
teacher
Victoria
Gh. Grigorescu
from
Maia,
Ilfov,
Editura
Cartea
Romneasc.
We have selected them for their beauty and craftsmanship,
too. The "atranga"
$ewing
requires
harder
work
than the crosses but it is more exquisite.
It is also
easily
sewn on both
sides.
PLATE
37. Sewing in crosses of blue cotton on a blouse (ie) with collar (ciupag)
from Boju, zone of Cluj,
the 20 th century.
1) and 4) Ornamental
motifs
on the
collar
and the lower part of the sleeve, which is loose. The sleeve is decorated
with
three stripes
that go down from
the shoulder;
2) Main
pattern
of stylized
leaves
and flowers;
3) On both sides of the central
pattern
there are two rows of
leaves
and
grapes.
PLATE
38. Boy's shirt from
Huedin,
Cluj,
the 20 th century.
It is made
of
cotton
sewn in crosses.
The colours
are black and red. 1) A straight
collar
sewn
In the "ram-horn
patern";
2) The opening
of the shirt has the same pattern;
3) A
row of "bent flowers"
displayed
from the collar
to the breast;
4)
"Bent-flower-ornament"
on the sleeve across the shoulder;
5) Geometric
motif
on the lower part
of
the sleeve and on the lap of the
shirt.
PLATE
39. Old towel,
zone of Cluj,
the beginning
of the 20 th century.
It
Is made of thicker
cotton fabric.
At both ends the towel has red woven stripes.
The
remaing
white section
is embroidered
with stylized
motifs
of leaves sewn with
red
and black "peasant
cotton thread"
while the red sections
have geometric
motifs
spe
cific to this zone, also sewn with white and black thick cotton
thread
in the
point
"over
the
thread".
PLATE
40. Braids
of stitching
from
Suceava.
1) Stitching
on a boy's
shirt;
2) Pattern
employed
on shirts,
but also for doiIies;
3) Oblique
stripes
employed
for little
girls'
blouses;
4) Embroidery
on a man's shirt.
Besides the
predominant
black
other colours
have been
introducea
PLATE
41. Blouse (ie), zone of Vllcea, the end of the 19 th century.
1)
Embro
idered area on the shoulder
(alti); 2) Stripes;
3) The cuff; 4) The collar;
5)
The
opening
of the shirt;
6) The breast of the shirt; several "old points"
have been
used:
crosses, half crosses filling
points over double thread, points of contour
and lines,
criss-
two
PLATE
42. Old towel,
zone of Cluj,
the beginning
of the 20 th century.
It
Is made of thicker
cotton fabric.
At both ends the towel has red woven stripes.
The
remaining
white section
is embroidered
with stylized
geometric
motifs
sewn
with
black and red "pesant
cotton
thread".
Patterns
specific
to this zone are sewn
with
red and black
"peasant
cotton"
on the red
stripes.
PLATE
43. Hungarian
stitching
from
Transilvania.
They are sewn
exclusively
in crosses;
the colour
is red. 1) The patterns
represents
a towel with birds
and
branches
in blossom,
sewn with red cotton;
2) Pattern
for a pillow
case or
towel;
3) Pattern
for
towels.
PLATE
44. Blouse (ie), zone of Gorj,
the end of the 19 th century.
Made
of
homespun
cotton.
It is embroidered
with black cotton thread,
golden or silver
metallic
thread
and paillettes.
1) The embroidered
area on the shoulder;
2) The
folding;
3) The motif on the sleeve is one single
row of sewing
following
the pattern
of the
"alti".
The breast and the back of the blouse are decorated
with squares that
follow
the same
pattern.
PLATE
45. Pattern
discovered
on the velvet that covers the lectern in the
Romanian Orthodox
Chapel,
the Cemetery
of Deva. Considering
the fabric
and the
exclu
sive sewing
in crosses
it seems to go back to the end of the 19th century
and
it
was specially
made for the church.
The golden thread
is predominant,
alongside
with
black and
red.
PLATE
46. Woman's
shirt
"sptoi" "spcel" from
Brusturi,
Bihor,
the
end of the 18 th century,
made of cotton.
1) The narrow
collar,
which
is a
"stripe"
(benti), supportsthefoldings
of the shirt;
2) Sewing with a double
role:
it
strengthens and hides the piece of cloth attached
to the shoulders
of the shirt (spete)
meant
for long wear;
3) Geometric
style embroideries
on the spete or spcel; 4)
Three
rows of ornaments
on the sleeve from shoulder
to cuff; 5) Cuffs (pumnarii) 10 cm
wide, buttoned
up with colored
buttons
sewn on the foldings
of the sleeve at
about
10 cm higher
than the lower
end.
PLATE
47.
to collector
from
or wall
towels.
Hungarian
motif
belived
to belong to the 18 th century,
according
where it has been reproducea.
It is used in decorating
pillow
cases
PLATE
48. Specific
Hungarian
motif
sewn in crosses with red cotton
the end of the 19 th century.
The pattern
is used in decorating
dowry
pillow
or wall
towels.
thread,
cases
PLATE
49. Patterns.
1) and 2) discovered
in the zone
of Cluj,
on
men's
shirts are sewn in crosses with black and red mouline;
3) Geometric
coronets
containing
"flower
wreaths"
embroidered
on girls'
dresses and doilies
zone of
Rd
ui, Suceava.
Black mouline
is used, the flower can be sewn in red or blue;
4)
Frag
ment of a very old blouse from Dorohoi.
The pattern
is part of the
ornamentation
called "the tree of life".
The stripes
on the sleeves and breast have been
reproducea.
It is sewn in crosses with black and red. This pattern,
the middle
of it and a part
or all the "branches"
can be embroidered
on tablecloths
and
doilies.
P L A T E 50. Ornamental
composition
with:
1) "Spun
ribbon";
2)
Geometric
3) Ancient
stitching
In "over the thread"
point
sewn
on both sides;
4)
of a doily
sewn in crosses. If it is to be used on both sides the stitch
fol
points
of contour
(atranga) and the point
of filling
have to be
employed.
PLATE
51. Blouse
( i e ) with collar
(ciupag) from
Zhreti,
Suceava,
the be
ginning
of the 20 th century.
1) The embroidered
area on the shoulder
( a l t i ) ; 2)
The folding,
an alternation
of horizontal
and vertical
lines;
3) Oblique
stripes;
4) The pattern
on the "ciupag" a little
collar;
5) The flowers
on the breast
of
the
blouse.
motif;
Corner
lowing
PLATE
52. Blouse (ie) with
century.
1) The embroidered
area
tern",
the rows divided
by chains
which
is sewn in the weaving
point
on the sleeve; 4) Theway
the motif
yed on the breast and the back of
PLATE
53. Blouse (ie) from Neam,
the beginning
of the 20 th century.
It has
a simple
geometric
ornament
and it is worn on special
occasions.
1) The
embroi
dered area on the shoulder
(altia) bordered
by rows of chains sewn in metalic
thre
ad; 2) Vertical
stripes
on the sleeve; 3) The narrow
collar
(ciupagul) which
supports
the foldings
of the blouse;
4) The ornamentation
on the breast of the blouse;
5) The
ornamentation
on the back.
PLATE
54. Blouse
with foldings
( i e cu brezru) from
Bistria-Nsud,
the
20 th century.
1) The embroidered
area on the shoulder
(altia) consists
of
oblique
stripes
sewn in crosses with black mouline
and enclosed
by cherry-colored
red; 2)
The breast of the shirt;
3) The back. We should
mention
that the blouse with
fol
dings
and embroidered
area on the shoulder
is an influence
from Moldavia.
The
old local shirt is the one with "bracelet"
(fodor) and patterns
across the elbow
common to the neighbouring
Transylvanian
zones.
PLATE
55. Blouse ( i e ) from
Arge, the beginning
of the 20 th century,
sewn
in crosses,
stitch following
points
of contour
and "fir trees".
1) The
embroidered
area on the shoulder,
where the "fir trees" are to be found;
2) The folding
sewn in
points
of contour;
3) The sleeve geometric
motif
obliquely
displayed;
4) The
cuff with zigzag
ornamentation;
5) The openning
of the blouse;
6) The breast
of
the shirt which has an easy pattern
successfully
employed
in decorating
tablecloths,
too; 7)
Skirts.
PLATE 56. Blouse (ie) with embroidered
area on the shoulder
(alti) and fol
dings at the neck from Mehedini,
the end of the 19 th century.
The embroidery
on
the shoulder
is quite
wide,
sewn in black,
Romanian
stitch.
The folding
is sewn
in crosses,
the colours
are yellow,
red and black.
From the folding
down on the
sleeve there are three stripes
that follow
the pattern
on the
shoulder.
PLATE
57. Blouse
with foldings
(ie cu brezru) from
Bistria-Nsud,
the
beginning
of the 20 th century.
The embroidered
area on the shoulder
(altia) and
the stripes
on the sleeve are finely
stitehed
in crosses,
on a double
thread,
with
cherry
coloured
and light
red mouline.
There is no cuff on the sleeve,
it is only
folded
like around
the neck.
The same stripes
are to be found
on the front.
The
pattern
on the back is made of stripes
of rhombuses
or the rhombuses
employed
in
the embroidered
area on the
shoulder.
2(!
1) The ornamentation
a trapezium
on the chest; 2) Stripes on the sleeve two only one toward tho
breast, the other toward
the back. The stripes start on the shoulder,
where the same
pattern
is embroidered
and go down to the lower part of the sleeve where a Iar ger
pattern
is to be found;
3) The pattern
on the lower part of the sleeve. The somt .
pattern
is to be found
on the lap of the shirt,
which
is rather
short.
PLATE
59. Braids
of embroidery
Suceava.
It is usually
sewn in crosses
girls.
for
with
little
black
zone
red
|
PLATE
60. Blouse (ie) with "brezru", zone of Bacu.
The simple
geoffjft
ornamentation
confers
elegance.
1) The embroidered
area on the shoulder
(altl
2) The folding
that may be sewn in red for young girls and yellow
for oldcr
W O K
3) Oblique
stripes;
4) Flowers
on the lower part of the sleeve; 5) The way th
wers are displayed
on the breast of the
shirt.
PLATE
61. Blouse
(ie), zone of Muscel,
the end of the 19 th century,
made of thin cotton
fabric
sewn thin cotton
thread,
silk thread,
silver and f ,
thread
and
paillettes.
The sleeve:
1) The embroidered
area on the shoulder
(altia) has an orna
motif
made of two elements.
The upper side with "fir trees",
the lower
sld
"starlets"
emerging
from
the black
area;
2) The folding
consists
of a geo
pattern
with paillettes;
3) Vertical
stripes
which are to be found
on the rest f ;
blouse,
too.
v
PLATE
62. Ornaments
from Dorohoi,
the beginning
of the 20 th
century,
ornaments
are sewn in crosses and points
of contour,
the colour
is
prcdomlnQ
black.
1) Vertical
stripes
on the sleeve of a work shirt,
the pattern
consists of "b
ches".
The pattern
is called
"the tree of l i f e " ; 2) Stripes
on a child's
shirt;
3)
embroidered
area on the shoulder
(alti) of o shirt for special
occasions;
4) Ool
stripes
on the sleeve.
f,
PLATE
63.
Four
corners
of doilies.
The patterns
century.
PLATE
64. Man's shirt with ancient
stripes
from Dmbovia,
the 19 th centUf
1) The collar
and the opening
of the shirt;
2) A wider
pattern
employed
on
lap of the shirt,
the lower part of the sleeve and across the
shoulder.
*:
,.
:
PLATE
65. Blouse (ie) from Slite,
zone of Sibiu. It is sewn in black moull \
on chiffon.
The sleeve
is loose.
1) It has a narrow
co,'/or(ciupag) decorated
wl _
little flowers,
then follows
2) the fold-sewing
on the edges of the foldings.
There foK,
lows a vertical
ornamentation
made of: 3) wider
"hammers"
bordered
by 4) and 6)
floral
motifs;
5) There is only one row ornament
on the shoulder,
called
"umera";
7) Below the elbow there is a fold with sewing
on the edges of the foldings.
There
follows
the "bracelet"
(fodor).
PLATE
66. Blouse ( i e ) with "brezru", Ilfov, the end of the 19 th
century.
1) The embroidered
area on the shoulder
where
instead
of stripes
there is a tlny
pattern
which frames
the main geometric
motif.
In the middle
there is a star sewn
'.7
In
of
4)
in
point
"over
the thread".
Other points
are crosses and stitches
following
contour;
2), 3) Stripes
on the sleeves. The main motif is the "ram-horn
The pattern
of the cuff; 5) The collar; 6) The opening
of the shirt; 7) Pattern
rows on the breast and in squares on the back; 8) Pattern
for the
skirt.
points
pattern";
displayed
PLATE
67. Ornaments
from different
parts of the country.
1) Ornament
dis
covered on a house from Rdui;
2) Motif sewn on the folding
of the sleeve
zone
of Cluj;
3) and 4) Motifs
sewn on men's shirts
from
Rlmnicul
Srat;
5)
Embroi
dery sewn in Romanian
stitch
on a man's
shirt for special
occasions
Dorohoi;
6) and 7) Sewings
in crosses on little children's
shirts zone of
Vaslui.
PLATE
68. Ancient
stitchings,
zone of Cmpulung
Moldovenesc,
the end of the
19 th century.
1) Sewing
in crosses for a man's shirt;
2) and 3) Patterns
that
can
be embroidered
on kerchiefs,
too; 4) Another
pattern
that decorates
a shirt for
spe
cial
occasions.
PLATE
69. Stitching
patterned
after
phytomorphic
free-hand
drawings,
zone
of Cluj.
1) Leaves to decorate
a tablecloth;
2) A bunch of daises with leaves
for
the corner
of a tablecloth.
The illustration
is in black only so that it can also be
used for lace, but other colours
cna be
employed.
PLATE
70. Plate selected
from the album
"Motive ale industriei casnice din
Bucovina", Vienna
1912 to prove that the "atranga" in the Romanian
stitching
has
been employed
all over present
day
Romnia.
PLATE
71-. Patterns
sewn
in
crasses
on
towels
and
scarveszone
of
Cluj.
PLANA
1. O r n a m e n t
XX,
flit
In satul Boju
xona C l u j .
Ea are c u i t u r l m b i n a t e d i n p u n c t e l e : p e i t e u n f i r , c r u c i . i ' | x a g . m r g e l e p r i m e d i r e c t
plnx al u n n u m r de 5 m r g e l u t e nirate pe u n f i r de | | , apoi p r i m e In d e c o r u l m o t i v u l u i .
P r e d o m i n i iul.i ea n e u r . a l t u r i de o c r o m a t i c v i a . a i * cum aa r . h . . . - i aie
p*
P L A N A 2. C m i
bogat
o r n a m e n t a t , d e la n c e p u t u l s e c o l u l u i X X , d i n z o n a
Vrancea.
I) A l t i a cu c t m p o r n a m e n t a t g e o m e t r i c e s t e m i c o r a t fa de alte z o n e . 2) O r n a m e n t e costisate
o r m a t e din dou feluri de modele g e o m e t r i c e . Culorile folosite snt: rou de dou nuane, galben
i albastru.
m
-
ti
deceniul
al
treilea
al s e c o l u l u i
X X
P L A N A S.
Trei m o d e l e de flori i struguri, liber desenate. Elesnt cusute n c r u c i ,
iiuihnr ,,- d e d i f e r i t e c u l o r i . C u a c e s t e m o d e l e s n t m p o d o b i t e t e r g a r e l e m a i n o i .
foia
P L A N A 6. C m a
femeiasc
d e la s f r i t u l s e c o l u l u i X I X d i n z o n a O a . P o r t u l d i n O a
n aspect tineresc ia t o a t e vrstele. C m a a a r e o n o t caracteristic, dispus n jurul g t u l u i
>rma unei platei d r e p t u n g h i u l a r e c h e p t a r " , viu c o l o r a t , cu o r n a m e n t e g e o m e t r i c e in t r e c u t ,
i f o l o s e s c i o r n a m e n t e f l o r a l e . C m a a s e n c h e i e l a s p a t e . M n e c i l e l a r g i , s n t d e c o r a t e c u
incot
nnlirarS
oeste
ncret.
PLANA
Cmpulung
7.
le cu
Moldovenesc.
b r e z r u d e la s f r i t u l s e c o l u l u i X I X d i n c o m u n a
Vatra
Moldoviel. iubi<
1) A l t i a . alctuit d l n t r - u n o r n a m e n t cu s o r i " . 2) I n c r e u l ,
H,,s n u a n e de m u l i n e g a l b e n . 3) Ruri c o s t i a t e , d e s p r i n s e
mbin
d i n or|
P L A N A 8.
F a i d e m a s f o a r t e v e c h e l u c r a t p e s t o f d e l n alb e s u t n cas. M o d e l u l
e x e c u t a t cu f i r d e l n v o p s i t v e g e t a l . P u n c t e f o l o s i t e : p e s t e f i r e " si c u s t u r a n a p o i a a c u C u l o r l l e f o l o s i t e : c a s t a n i u p e n t r u c o n t u r , r o u , v e r d e - a l b a s t r u , a l b a s t r u i f r e z p e n t r u u m p l u t u r .
!l!!IIH!!!f!!il!lff!l:!fLI:-rxi:l!"l=
'-ft-.'-i
EllH:;:-.'!'-!!'!!''!!!!!
i i
P L A N A 1 1 . R e p r e z i n t p e r n i e de o r n a m e n t din a r a de Sus. 1) O r n a m e n t c o m p l i c a t cari
a r e n c u p r i n s u l l u i c o a r n e l e b e r b e c u l u i " , c o r n i e l e m e l c u l u i " , p r e s c u r a " , r e a l i z a t p e p n z d e ii
e s u t n c a s , la s f r i t u l s e c o l u l u i X I X , n z o n a D o r o h o i . S n t f o l o s i t e p u n c t e l e : n a i n t e a a c u l u i
d e c o n t u r . c r u c e a , l n u j e l u l , p e s t e u n f i r i m r g e l e m i c i , p r i n s e p e p n z c t e u n a . 2 ) C o m p o
ziic c r o m a t i c realizat n diagonal, pe o perni de o r n a m e n t din p r i m e l e decenii ale secolului
X X , a f l a t n n o r d u l B u c o v i n e i . E s t e l u c r a t i n c r u c i , cu m u l i n e n e g r u i r o u .
P L A N A 1 2 . le cu b r e z r u p e n t r u t i n e r e l e f e t e , d i n B r e a z a z o n a P r a h o v a , s e c o l u l
X X ,
l u c r a t n cruci pe pnz t o p i t cu m t a s e filoflos m t a s e D . M . C . j u r u b i e . Este folosit c r e m u l
p e n t r u m o d e l u l d i n t r e r n d u r i l e d e t r a n d a f i r a i , p e n t r u t r a n d a f i r a i u n i r c u r o u a p r i n s i r o z .
f r u n z a v e r d e , a l d o i l e a r n d b l e u cu g a l b e n i d i n n o u f r u n z a t o t v e r d e .
apoi
M n e c u a s c u r t a r e a l t i , i n c r e i r u r i o b l i c e ( c o s t i a t e ) . S e t e r m i n c u
cu u n nur c a r e o ncreete.
lucrtur
de
fagure
P i e p t u l a r e m o d e l u l d i s p u s n u n g h i . Se l u c r e a z c i r c a n o u r n d u r i d e t r a n d a f i r a i . Jos
t e r m i n cu u n r n d de c o l u r i , lucrate cu c r e m n punct peste u n fir. Spatele a r e f l o r i c e l e r a r e ,
aproximativ S cm.
se
la
P L A N A 1 4 . im binari g e o m e t r i c e r e a l i z a t e p e : 1) U n t e r g a r d i n D e j . 2 ) U n t e r g a r d i n Bis
t r i a . 3) O perni de o r n a m e n t din D o r o h o i . Pernia
e s t e c u s u t pe p n z d e sac sau c a n a v a , cu
l n , n p u n c t u l c r u c e d u b l " . A u f o s t f o l o s i t e t r e i n u a n e d e r o u i t r e i n u a n e d e a l b a s t r u .
Bihor.
Aceast
,A
. -
1)
Model
pentru
fa
de
mas. gsit
Bucovina,
E?di?;rr .
!
"">*
i P
Mode:
7\ F f S 2.
'" . .
_ .
u m p l u t e u r o u a p r i n s i a l b a s t r u d e V o r o n e , a v e a o d e o s e b i t d i s t i n c i e .
2) Faa d e m a s a d i n Flticeni secolul X I X , l u c r a t n p u n c t b t r n e s c .
U
r o >
? i
vffig
P L A N A 1 7 . tergar din zona Birlad, secolul X I X . Este lucrat pe pnz de bumbac esut
I n cas, f o a r t e s u b i r e . C u s t u r a este m r u n t , r e a l i z a t pe d o u f i r e , cu u n fir d e m u l i n e . M o d e l e l e
1 i 3 a u c o n t u r u l c u s u t cu r o u i s n t u m p l u t e cu n e g r u . M o d e l u l 2 , d i n m i j l o c , e s t e l u c r a t cu
n e g r u i u m p l u t cu r o u . Este de a d m i r a t gingia lucrturii r e a l i z a t d i n p u n c t u l d e c o n t u r , atrngi
i punctul de u m p l u t u r i .
P L A N A 1 8 . C m a f e m e i a s c c u g u l e r a m i c i c u d e s c h i z t u r a g u r i i n f a , d i n s e c o l u l X X
d i n s u b z o n a H u e d i n . Este l u c r a t n c r u c i . La g u r a c m i i a r e c a o r n a m e n t u n ir d e j u m t i d e
c r u c i . M a t e r i a l u l f o l o s i t la c u s t u r e s t e c o t o n p e r l e d e c u l o a r e l i l i a c h i e . 1 ) M o t i v u l d e l a c i u p a g
i g u r a c m i i . 2 ) M o t i v e f l o r a l e c a r e m p o d o b e s c f a a c m i i i n s o e s c p e m n e c i r u l p r i n c i p a l .
3 ) F l o r i i f r u n z e s t i l i z a t e , c a r e p o r n e s c d i n u m r p n la b a z a m i n e c i i , c a r e e s t e l i b e r i t e r m i n a t
cu 4 ) a c e l a i m o d e l c a r e m p o d o b e t e g u l e r a u l , s e a f l i j o s la m n e c .
dou
ornat
milieuri.
T o a t e se pot
realiza
pe
P L A N A 2 1 . l e c u b r e z r u d e la s f r i t u l s e c o l u l u i X I
b o r a n g i c c u m u l i n e n e g r u i g a l b e n . 1 ) A l t i a
este lucrat
u n i r c r e n e l a t d e c r u c i u l i e . R o t o c o a l e l e _ d e la a l t i s i n t
t o t cu n e g r u , n p u n c t d e u m p l u t u r : 2 ) n c r e u l , l u c r a t n
p e m t n e c c o m p u s e d i n t r - u n o r n a m e n t c e n t r a l i d o u i r u r i
P L A N A 2 2 . M o d e l e b n e n e . 1 ) M o d e l c u s u t p e d o s o r i z o n t a l . Se f o l o s e t e la c m i l e
b r b t e t i . 2 ) M o d e l c u s u t t o t n p u n c t b n e a n , d a r v e r t i c a l si cu c u s t u r a p e d o s o b l i c . E s t e
f o l o s i t la i i l e t i n e r e t i . C u l o r i l e f o l o s i t e s n t n e g r u , r o u , g a l b e n , p u i n a l b a s t r u i v e r d e . m b i n a r e a
culorilor d u n aspect de ceva foarte pastelat, ginga, iile vechi snt lucrate pe mnec compact,
ca c e l e d i n z o n a H u n e d o a r a .
P L A N A 2 4 . le p e n t r u t i n e r e t d e la n c e p u t u l s e c o l u l u i X X , z o n a N e a m . Se r e m a r c i p r i n
c u s t u r a d e c o n t u r , z i g z a g , u m p l u t u r p e s t e u n f i r , a t r a n g a si l n i o r u l . C u s t u r a , n a n s a m b l u
a r e o m a r e f i n e e i d i s t i n c i e . C u l o r i l e p r e d o m i n a n t e s n t : n e g r u p e n t r u c o n t u r , a l b a s t r u d e s c h i s
i a u r u l p e n t r u r e s t . 1 ) A l t i a . 2 ) t n c r e u l . 3 ) R u r i v e r t i c a l e p e m n e c . 4 ) R u r l p e c m a i n
f a i p e s p a t e .
P L A N A 2 5 . O r n a m e n t e p e o ie cu g u l e r a c i u p a g , d e la n c e p u t u l s e c o l u l u i X X d i n s a t u l B o j u
zona C l u j . Pe m n e c s e d i s t i n g : 1) M o t i v m r u n t , lucrat n c r u c i , p e g u l e r a . 2) U n ru c a r e se asea
m n p u i n cu c i o c n e l e l e " siblene n c a d r a t de o stilizare reuit a viei de vie b o a b e l e d e s t r u g u r i
s n t r e d a t e d o a r p r i n t r e i m p u n s t u r i . 3 ) R u r i d e o p a r t e i a l t a a m o t i v u l u i d i n m i j l o c . A r e i
e l la m i j l o c c i o c n e l e m r g i n i t e d e f r u n z e s t i l i z a t e . 4 ) F r u n z e r e d a t e cu a j u t o r u l m r g e l e l o r
deculoare
g a l b e n , n e a g r i p u i n r o u . 5 ) M o d e l r e a l i z a t d i n c u s t u r n c r u c i c u m u l i n e n e g r u l u n z i g z a g
d i n m r g e l e g a l b e n e , la n l i m e a u m r u l u i .
P L A N A 2 6 . C o m p o z i i e g e o m e t r i c i f l o r a l l u c r a t n c r u c i , i p u n c t u l p e s t e
d i v e r s e c u l o r i , a f l a t la c p t i u l u n e i p e r n e d e z e s t r e d i n M o l d o v a d e n o r d
un fir"
cu
P L A N A 28. Custuri vechi de ii, folosite pentru fee de mas. 1) M o d e l din Bistria Nsud,
gsit pe o n f r a m de borangic. Este lucrat n cruci. C u l o r i l e folosite snt n e g r u , rou, galben-auriu
i a l b a s t r u . 2 ) M i l i e u , la c a r e s-a f o l o s i t m o d e l d e ie d i n j u d e u l I l f o v . Pe l n g c u l o a r e a n e a g r
i r o i e s-a f o l o s i t f i r u l m e t a l i c a r g i n t i u .
P L A N A 3 1 . M o t i v e f l o r a l e p e t e r g a r e d i n d i f e r i t e z o n e . 1 ) t e r g a r d e la s f r i t u l s e c o l u l u i
X I X d i n S b d u B i h o r . A r e o l u c r t u r a p a r t e . C o n t u r u l f l o r i l o r este lucrat n cruci cu b u m b a c
mai g r o s , a l b a s t r u . U m p l u t u r a este r e a l i z a t cu custura peste u n f i r " r e s p e c t n d u - s e m o d e l u l . 2)
F l o r i i f r u n z e d e d o v l e a c , c u s u t e p e u n t e r g a r d i n T u l c e a . 3 ) F r u n z e i b o a b e d e s t r u g u r i
lucrate
pe tergarele din zona lai.
stnt
Florile care ngrdesc lanul de ciocnele snt lucrate n cruci, m r u n t , pe dou fire.
2) M o d e l pe cma din zona T r n a v e lucrat pe sifon, nu n r t u r i ci peste cot.
3) M o d e l de cma din zona Fgra, lucrat pe pnz de borangic. Floricelele de pe margine
lucrate eu m u l i n e n e g r u . Punctul de ciocnele este lucrat din cruci prelungite.
P L A N A 3 3 . t e r g a r d i n c o m u n a M o n e a s a j u d e u l A r a d , e s u t p e la a n u l 1 8 5 0 .
I n t e r e s a n t la a c e s t t e r g a r e s t e f a p t u l c la u n c a p t a r e u n m o d e l , i a r l a c e l l a l t ,
esut a fost folosit f i r u l de b u m b a c g r o s in c u l o r i l e r o u , n e g r u i p o r t o c a l i u .
altul.
La
P L A N A 3 4 . M o t i v e f i t o m o r f e p e t e r g a r e l e d e la n c e p u t u l s e c o l u l u i X X . 1 ) si 2 ) M o t i v e
cusute n cruci pe tergarele din Brlad. 3) Flori cusute pe un tergar din Rconev N e a m . 4)
S t r u g u r i l u c r a i c u m u l i n e n e g r u i f r u n z e c u c r c e i d e v i l u c r a i c u m u l i n e r o u , a f l a t e p e u n
tergar vechi din
Brlad.
PLANA
35.
Compoziie
ornamental.
ntlnit
la
populaia
sseasc
din
Ardeal.
P L A N A 3 6 . C u s t u r a a t r a n g a " g s i t n m o d e l e l e 1 si 2 p e n f r a m e d i n B t r l a d , 3 s i 4
e x t r a s e d i n C u s t u r i r o m n e t i " a l e M i n e r v e i C o s m a , T i m i o a r a 1904 . 5) M o d e l gsit In satul
Boju C l u j , lucrat pe un erveel n f r a m din anul 1 9 0 0 . 6) Ruri pe o ie din Mleti z o n a
D o l j . ) ) R u r i d e p e o i e d e l a s f r i t u l s e c o l u l u i X I X d i n z o n a V l a c a . 8 ) i 9 ) M o d e l e p e n t r u c m i
brbteti extrase din Izvoade de custuri naionale" ale nvtoarei Victoria G h . Grigorescu
din Mala Ilfov, editura Cartea
Romaneasc.
L e - a m r e d a t n u n u m a i p e n t r u p u n c t u l a t r a n g a " f o l o s i t , c i m a i m u l t p e n t r u g i n g i a i f r u m u
seea lor In ansamblu. C e r e mal mult munc dect crucile dar, are mult mai mult finee. Punctul
atranga" se realizeaz uor pe dou fee.
P L A N A 3 9 . t e r g a r b t r n e s c d e la n c e p u t u l s e c o l u l u i X X d i n z o n a C l u j , e s t e r e a l i z a t p e
o e s t u r i d e b u m b a c m a i p l i n i . La c a p e t e , t e r g a r u l a r e d u n g i e s u t e n c u l o a r e a r o i e . P e s p a i i l e
a l b e s n t c u s u t e m o t i v e s t i l i z a t e d e f r u n z e l u c r a t e cu b u m b a c r n e s c " d e c u l o a r e r o i e i n e a g r ,
iar p e s p a i i l e roii apar m o t i v e g e o m e t r i c e specifice acestei z o n e , l u c r a t e t o t cu b u m b a c gros de
c u l o a r e a l b i n e a g r n p u n c t u l p e s t e u n f i r " .
>
a r a
-
i *
mmmu
mm
mm
***o
_!_
__
mm
iii
iii
ai
ii i
"a
P L A N A 4 1 . le d i n z o n a V l c e a d e la sfritul s e c o l u l u i X I X n c e p u t u l s e c o l u l u i X X . 1) A l t l a .
R u r i . 3 ) M a n e t a . 4) G u l e r . 5 ) G u r a c a r n a i i . 6 ) P i e p t .
La a c e a s t ie s-au f o l o s i t m a i m u l t e p u n c t e b t r n e t i : c r u c e a , j u m t a t e d e c r u c e , p u n c t d e
u m p l u t u r peste dou fire, punct de contur i linii, p r i n t r e r n d u r i , din punctul naintea acului.
C u l o r i l e f o l o s i t e : n e g r u , d o u n u a n e d e r o u i g a l b e n . M o d e l e l e 1 i 2 d e la a c e a s t i e s e p o t f o l o s i
cu b u n e r e z u l t a t e la f e e l e de m a s .
2)
P L A N A 4 2 . t e r g a r b t r n e s c d e la n c e p u t u l s e c o l u l u i X X d i n z o n a C l u j . Este r e a l i z a t p e o
t e i t u r i de b u m b a c m a i p l i n i . La c a p e t e , t e r g a r u l a r e d u n g i e s u t e n c u l o a r e r o i e . P e s p a i i l e
a l b e s t n t c u s u t e m o t i v e g e o m e t r i c e s t i l i z a t e , l u c r a t e c u b u m bac r n e s c " d e c u l o a r e r o i e si n e a g r .
P e s p a i i l e r o i i s t n t c u s u t e cu b u m b a c r n e s c " r o u i n e g r u , m o d e l e s p e c i f i c e z o n e i .
P L A N A 4 3 . C u s t u r i m a g h i a r e d i n A r d e a l . A c e s t e c u s t u r i s n t l u c r a t e e x c l u s i v tn c r u c i ,
f o l o s i n d u - s e c u l o a r e a r o i e . 1) R e p r e z i n t un t e r g a r cu psri i r a m u r i n f l o r i t e , c u s u t e cu b u m b a c
r o u . 2) M o d e l p e n t r u c p t i d e p e r n sau t e r g a r e . 3) M o d e l p e n t r u t e r g a r e .
ttttrt
P L A N A 4 6 . C m a f e m e i a s c s p t o l " s p c e l d e la s f r i t u l s e c o l u l u i X I X d i n c o m u n a
Brusturi judeul B i h o r , d i n p n z de c n e p cu b u m b a c . 1) G u l e r a ngust b e n t i " c a r e susine
c r e u r i l e c m i i . 2 ) C u s t u r c u d u b i u r o l : n t r e t e i m a s c h e a z a p l i c a r e a s p e t e l o r " , o a p l i c a i e
d e p n z d e a s u p r a u m e r i l o r c a r e a s i g u r i d u r a b i l i t a t e a c m i i . 3 ) B r o d e r i i cu m o t i v e g e o m e t r i c e
e x e c u t a t e n a i n t e a acului sau c h i a r e s u t e , a f l a t e pe s p a t e " sau s p c e l " . 4 ) T r e i r n d u r i de o r n a
m e n t e p e l u n g i m e a m n e c i l d e la u m r pn la p u m n a r ( m a n e t ) . 5 ) P u m n a r i i , lai d e 10 c m . , n c h e
i a i cu n a s t u r i c o l o r a i a p l i c a i p e s t e c r e u r i l e m n e c i i c a m la 1 0 c m d e t e r m i n a i a m n e c i i .
de
X I X .
la s f r i t u l
secolului
unmaan
*u
* B S
3na
Bl
IBBBBBBBBBBBBB
>>
fl
ar
aa...a
.aaaa...aaaaa.r
a...aaaaa.a
B
B B B B B a B .
B n . . . . . . B . . . . .
a a a l l a a a
ia
aaaaaaaaaaa a
a
a
a
I I
a i i
i i
aa a
a a aaa
aaa
a a aaa f a a i a
aa
aa
aa
a
I I
a
i i i i
a
a
a
a
a
a
i i
i
aaaaa
aaa
aa
aa
aaa
aaaaaaa
aaa
i a a aaa
aailaa
aaaaa
a a mm
mm mm
mm mm
aaaaaaa
aaaaaaaaa
aaaaaa
aaaaaaaa
a aa
aa
aaa aa
a a a
aa
aaa
u
an o aaa
a. a
a. a
a
aa- i aa
ss
aa
a
i i i i i i i i i i i
aaaaa
aaaaa aaaaaaaaaBBaa aaaaa
aia
ia
a
a
a
aa a
a
a
aaac
aaaaaa
a a
I
>
aaaaaaaaa
aaa
a aa
a
aa a
aa
aa
aaaa
aa
aa
a a a
aa
aaa
ta
aa a a a a a aaaa aa
aa
ia
aaaaa
aaaaaa
aaa
aaa
aaa
aaa
i i i i i i
aa
a
aaaa
aa
aaaa
aaaa
aa aa
aa
a
aa aa
aaaaaaa
>
aaaaia
aaaaaa
aaaaa
aaa
aa
aa
aaa
aaa
aa
aaaaaaa
aaa a
aaaaaa
aa aa
a a a a a aa
a a a aaa | a a a
aa
aa
aaa a
aaaaa
a
a
a
a
a
a
a
ai
a
a a a
aaaaaa
aaa
aaa
a a
aaa a a a a a
aa
a
aaa
ia
aa
a aa
aaaaaaa
aa aa a a i a aaa a l l a
aa:- aa aa a a a a a
aaa
aaa
aaa
aa
aaa
a aa
a aaa
a
a
a
a
a a aaaaa a
a aaaaaaaaa
aaaaa
aaa i a a a a a a a a a
a aa
a
a a a a a
aaa
a
a aaaaaaaaa
aaa
a BB
aa I aa aa a
a aaaaaaaaaa
aaaaaaaaaaaa
aa
a
aa aa
a
a
.
. . . . .
a.S. a S
aaaaaa
aa.
aaaaaaa
aaa
a a
aaa
aaaaaaaaaaaaaaa a
a a a a a
a a a a s a B a a a a a a a a a a BB
al
aasaaaasaaBaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa
aaa
a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a aa
aaaaaa.a.aa. a . . . . . . . . . . . . . . .
aaaaaaa aaaaaaaa aaaaaaaa aaaaaaaa aaaaaaaa a a a a a a a a a a . . . . . . s u i a
: : : : : : : : ::::sss!sss*!ss:!!!!!!!!
::::::;!!!:::!
a.aaaaaaa.aaa.
P L A N A
muline
pe
fi
negru
rochie
lucrate
parte din
In
cruci
de
cu
fetie
3)
poate coase
negru
pe fee
Coronie
gisite
albastru.
numit
rou.
Rdui
Frntur
pomul
Acest
de mas,
4)
mileurl.
zona
n
mijlocul
Cluj,
au
Suceava.
ie
pe
cimisi
fost
Se
parte
lucreaz
de
din
aaaaaaaaaaaaaaaaaaa
brbteti,
introduse
btrneasc
redat rurile
i
aaaaaaaaaaaaaaa.aa......
a a a a
care
dlntr-o
vieii". A m
model,
.a.i aaaaaaaaa...a....
geometrice
si m i l i e u r i , z o n a
sau
ornamentaia
cu
aa.
Modelele
rou.
rou
!;!st
49.
si
din
cu
muline
zona
pe mnec
crengi
lucrate
ghirlande
sau
de
negru,
Dorohoi.
si
tn
cruci
flori
cu
lucrate
florile
Modelul
pot
face
de
pe
piept.
chiar
In
ntregime,
Lucrat
se
P L A N A 5 0 . C o m p o z i i i o r n a m e n t a l e cu . . . 1 ) Panglic rsucit. 2) M o t i v g e o m e t r i c . 3) C u s
t u r b t r n e a s c ?n p u n c t u l p e s t e u n f i r " , s e r e a l i z e a z c u d o u f e e . 4 ) C o l d e m i l i e u , l u c r a t i n
c r u c i , i a r d a c v r e m s a i b d o u f e e f o l o s i m p u n c t u l a t r a n g a " i p u n c t u l d e u m p l u t u r .
P L A N A 5 2 . l e d e l a s f r i t u l s e c o l u l u i X I X d i n z o n a V l a c a . la a r e b r e z r u . D i s t i n g e m l a
e a : 1 ) A l t i a , c a r e p r e z i n t u n m o d e l cu c o a r n e l e b e r b e c u l u i , d e s p r i t n t r e r n d u r i p r i n l n u j e l e
l u c r a t e cu f i r m e t a l i c a u r i t . 2 ) i n c r e u l , c a r e o b i n u i t e s t e l u c r a t n p u n c t u l d e e s t u r , cu c u l o a r e
g a l b e n sau r o i e . 3) R u r i de m o t i v e pe m n e c i . 4) Felul c u m se a p l i c m o t i v u l d i n a l t i pe faa
c m i i i p e s p a t e l e e i .
P L A N A 5 3 . l e d e la n c e p u t u l s e c o l u l u i X X d i n N e a m . A r e u n o r n a m e n t g e o m e t r i c s i m p l u
si e s t e f o l o s i t p e n t r u i i l e d e s r b t o a r e . 1) A l t i a , m r g i n i t d e i r u r i d e t n u j e l e l u c r a t e cu f i r
"!"?''.':' ^
R u r i l e v e r t i c a l e de pe m i n e c . 3) C i u p a g u l sau g u l e r a u l ngust c a r e p r e c e d e c r e u r i l e
cmii. 4) O r n a m e n t u l de pe piept. 5) O r n a m e n t u l de pe spate.
P L A N A 5 5 . l e d i n A r g e , n c e p u t u l s e c o l u l u i X X , l u c r a t n c r u c i , p u n c t d e c o n t u r i b r d u i .
1) A l t i a , u n d e n t r e p u n c t e l e de o r n a m e n t g s i m b r d u i i " . 2 ) I n c r e l u c r a t n p u n c t de c o n t u r .
3) M n e c a m o t i v g e o m e t r i c dispus costiat. 4 ) M a n e t a cu o r n a m e n t d e z i g z a g . 5) G u r a c m i i .
6 ) P i e p t u l , a r e u n m o d e l c a r e se l u c r e a z u o r i e s t e d e m a r e e f e c t p e f e e d e m a s . 7 )
Poale.
BBBBBBBBaaBBaBBBBBBBaBBBBBBSBBBBBaBaBBaaaaBaaBBaBaBaBBBBBBBaaaB
BBBBaaaaBBaaBBBBaaaaBBBBBBBBaBaaaaBaaaaaBBBaflBaBaaaaaBBaaBaaBBaaaaaaaaaaaaaaaa
a
M B i i i a m
I
a a
a B
a
a a
aaa
a
bbb aaa aaa aaa bbb a a a a
B
B B
B
B B
B B
B B
B B
BB BB
BBB
BB BB
BB BB
BB BB
aa
b b aa
BB
BB
BB
BB
BB BB
BB BB
B B
BB
B
!
BB
BB
aa
bb
aaa
aaaa
a a aa
aaa
aa
bb
a
bbb
a
aaaaa a
a
b
aa
aa
bb
aa
a
a
a aaa
s:s
* " " " "
r
" " " """""
" "
aaa
a
a
b
bb
aa
aa
aa
a
a
aaa a
bb
bb
BB
BB
BB BB
BB
BB
aa
sa
BB
BB
BB -
BB
BB
aaa
B B
B B
BB BB
BB BB
bb
aa
BB
BB
BB BB
BB
BB
aa
aa
BB
BB
BB BB
BB
B B
a
a
aia
aa aa
aa
aa
aa
aa
a
a
a
a
a aaaaa a
a
a
aa
aa
bb
bb
a
a
a aaa
a
a
bb
aa
bb
bb
a
b
aaa a
b
a
aa
aa
bb
aa
a
b
a aaa
b
a
aa
bb
aa
aa
b
b
aaa a
b
a
aa
aa
aa
aa
b
b
a aaa
aa
aa aa
BB
BB '
BB B B
Ba
8 B
BB
a a aaa aaa i
aaaaaal
a a
a
a a
aa
aa
aa aa
aa aa
bb
aa
aa
aa
aa
aa
aa
aa
aa
a
aa a *
aa aa
aa b b
i a
a a
a a
a a
a a
9 m
aaa a a aaa aaa a a aaa aaa
aa
ia
aaj
""*
I "
a " !
i
i
i
a
al
i a
aa i a
aa i a
a a aa
aa
aa
aa
aa
aa
aa
aa
aa
aa
aa
aa
aa
aa
aa a a
aa
aa
aa aa
aa
aa
aa
aa
aa
aa
aa
aa
aa
aa
aaa
aa a
aa aa
aaa
aa aa
aa a a
a a
aa aa
a a aa aaa aaa Baa
aa
a a
a
a a
a a
a a
a a
a a a a a i aaa
ai
a a
a
a a
a a
a a
a i
a a
i i
::
5" 5 5
: " : :
:" : : " : : :
: 5 "5 " * : S !
aaaaaaBBBaaaaaaaaaabbbabbbbaaaaaaaaaaaaaaaabbbaaaaaaaaaaaaabbbaaaaabbbbbbbbaaaabbbbaaaa
PLANA
dini. Altia
56.
Cma
ie
cu a l t i i ,
n c r e i i la g t , d e la s f r i t u l s e c o l u l u i
a r e d i m e n s i u n i a p r e c i a b i l e , b r o d a i cu n e g r u , n punctul
z a t p r i n c u s t u r a n c r u c i f o l o s i n d u - s e c u l o r i l e g a l b e n , r o u i n e g r u .
pornesc trei ruri
desprinse
din
modelul
de pe
altii.
De
romnesc,
la
ncre,
X I X
ncreitul
pni
)os
din
Mehe
este
la
reali
mneci,
viiniu
lucrate
P L A N A 6 0 . le cu b r e z r u d e la n c e p u t u l secolului X X , d i n z o n a Bacu. A r e o r n a m e n
t a i a s i m p l , g e o m e t r i c , c a r e - i d m u l t d i s t i n c i e . 1) A l t i a . 2 ) n c r e u l , c a r e p o a t e fi cusut cu
r o u p e n t r u t i n e r e sau cu g a l b e n p e n t r u f e m e i m a i v r s t n i c e . 3 ) R u r i c o s t i a t e . 4 ) F l o r i p e p a r t e a
de jos a m n e c i i . 5) C u m snt dispuse f l o r i l e pe piept.
I
' I
I
P L A N A 6 2 . O r n a m e n t e l e d e la n c e p u t u l s e c o l u l u i X X d i n D o r o h o i . O r n a m e n t e l e s n t l u c r a t e
7 n c r u c i s i p u n c t u l d e c o n t u r . d e r e m a r c a t c p r e d o m i n c u l o a r e a n e a g r . 1 ) R u r i v e r t i c a l e p e m n e c
unei cmi de toat z i u a , r e a l i z a t e din c r e n g i . M o d e l u l se n u m e t e p o m u l v i e i i " . 2) Ruri pe o
c m a d e c o p i l . 3) A l t i a u n e i c m i de s r b t o a r e . 4) R u r i c o s t i a t e pe m n e c .
1)
i
P L A N A 64. Cma
brbteasc cu ruri
btrneti secolul X I X . din Judeul D m b o v i a .
Se o b s e r v i g u l e r u l i g u r a c m i i . 2 ) M o d e l u l m a i l a t , f o l o s i t la p o a l e l e c m i i , jos la m n e c i
peste
umr.
P L A N A 6 5 . le d i n S l i t e z o n a S i b i u . E s t e l u c r a t cu m u l i n e
l a r g . 1 ) La g i t a r e u n c i u p a g n g u s t m p o d o b i t cu f l o r i c e l e , u r m e a z 2 )
muchie de creuri.
V e r t i c a l , pe m n e c u r m e a z o o r n a m e n t a i e f o r m a t d i n : 3) c i o c n e l e , c u l i m i m a i p r o
n u n a t e i m r g i n i t e cu ( 4 i 6 ) m o t i v e f l o r a l e . 5 ) L a u m r g s i m u n o r n a m e n t d e u n s i n g u r r n d ,
d e n u m i t u m e r a . 7) M a i jos d e c o t , m n e c a r e d i n nou n c r e i t u r cu c u s t u r peste m u c h i e de
creuri. Urmeaz volanul fodor.
P L A N A 6 6 . le c u b r e z r u d e l a s f r i t u l s e c o l u l u i X I X , d i n j u d e u l I l f o v . 1 ) A l t i a , l a c a r e
o b s e r v m n locul d u n g i l o r un m o d e i mic c a r e n c a d r e a z m o d e l u l g e o m e t r i c p r i n c i p a l . In m i j l o c
s e a f l o s t e l u l u c r a t n p u n c t p e s t e u n f i r " . A l t e p u n c t e f o l o s i t e s n t c r u c e a i a t r a n g a . 2 ,
3)
R u r i p e m n e c . La m o d e l u l p r i n c i p a l se d i s t i n g c o a r n e l e b e r b e c u l u i . 4 ) M o d e l p e m a n e t . 5 ) G u l e r a u l . 6 ) G u r a c m i i . 7 ) M o d e l p e n t r u s t a n i d i s p u s n r n d u r i p e p i e p t i n p t r a t e p e s p a t e .
8) M o d e l p e n t r u p o a l e l e c m i i .
P L A N A 6 9 . C u s t u r i d u p m o d e l e f i t o m o r f e , l i b e r d e s e n a t e d i n z o n a C l u j . 1) F r u n z e p e n t r u
o r n a t o f a d e m a s . 2 ) B u c h e t d e m a r g a r e t e cu f r u n z e p e n t r u c o l u l u n e i f e e d e m a s . P l a n a le
r e d n u m a i tn n e g r u , p e n t r u a p u t e a f i f o l o s i t i p e n t r u d a n t e l , d a r e l e s e p o t l u c r a i n d i f e r i t e
culori.
PLANA
71. Modele
lucrate
n cruci
pe t e r g a r e , n f r m i
zona
Cluj.