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Agrement of Romania Tourism Ministery n° 5206 / 11.12.2001  |
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| When
we talk about the Village Museum we can not ignore the context of what the international
sociology called "The Sociological School from Bucharest" founded and
led by professor Dimitrie Gusti. It was a new inter-disciplinary experiment, well
commented upon even today in Europe and the U.S.A., interested mainly in the rural
community. | | "The Sociological
School from Bucharest" supported Gusti's principles, within which the research
activity was based on a permanent connection between "knowledge" and
"action". From this perspective, the Village Museum in Bucharest is
one of the "action" results, built upon the explicitly asserted desire
to globally demonstrate the sociological structure of the Romanian village. |  |
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is obvious that the research activity was more ample than the one summarised in
the previous chapter. The objects that had been disassembled and transported to
Bucharest in 1936 are a proof in this respect. They illustrate elements of the
traditional life that are specific to other villages as well. It is a testimony
for the Sociological School and its coryphaeus's attention to cover the entire
land that represented Romania at that time. | | |  |
 | Unfortunately,
we don't have enough records that could show us the entire road that was walked
until the concrete organising of the museum. We know few context elements. It
was in 1932 that the ample activity of hydro-amelioration for the regulation of
the Colentina and Mostistea Rivers began. It was meant to create the chain of
lakes from the northeastern part of the Capital-city, including the Herastrau
Park. These works will reach to an end in 1937. | From
the point of view of the planimetric setting, the dwelling proper is, generally,
composed of three rooms: 1. Narrow room disposed on the width of the construction
("tinda"), placed on a median position, allowing access inside the house
and destined to activities concerning the processing of the textile fibres (from
animal or vegetal source) necessary to weaving; 2. The guest room, often named
"the parade house" or "the cold room" because it lacks any
heating system; it always gives to the street and has the most beautiful objects
a family has (furniture, ceramics, textile pieces), disposed in such a manner
that their display determine favourable remarks on the family's diligence; the
girl's dowry will be selected from these objects and together with other goods
(cattle, sheep, poultry, land, etc.) will accompany her when she will get married;
3. The family's room ("by the fire") where the entire family lives.
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access inside the two rooms is, most often, made through the "tinda."
This median room is rarely missing from a rural house the access being thus made
directly from outside. If there were no administrative orders imposed to the rural
communities the peasant would build his house facing the south, so that it should
receive light during the entire day and be protect from the dominant winds and
precipitations, which, in Romania, come from the northern and eastern sides of
the country. | At the present moment the exhibition
has 76 distinct complexes, with a total of 322 constructions (47 dwellings, household
dependencies, 3 wooden churches, 3 windmills, technical installations that use
the force of the water etc.) The Village Museum had a troubled history. The Elisabeth
Palace began to be built in 1937 and in order to clear the place for this site,
some buildings brought from Caliacra, Basarabia, an installation for preparing
and preserving the fish from the Danube Delta and circa 6 wind mills from Dobrudja.
Nobody re-assembled them; then the change of the country's borders imposed a reducing
of the exhibition area. Finally, the museum lost from its name even the adjective
"Romanian" because the cultural authorities of that time considered
that this word might exclude the policy of good interethnic co-habitation that
was promoted by the communist state, a fact that had been there for hundreds of
years in the, anyway, Romanian village. |  |
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