The Ethnographic Museum in Radauti, Romania, is one of the oldest institutions
of its kind in the Moldavia region.
Established in 1934, it was originally known as the Museum of Antiquities and
Ethnography. The museum is housed in a neoclassical building constructed in
1860, which itself is a historical monument. Its founding was driven by local
intellectuals who aimed to preserve and showcase the rich cultural traditions
of Bucovina, a region known for its diverse heritage and craftsmanship.
The museum's collection includes approximately 8,000 ethnographic items, with
around 1,000 on permanent display across eleven exhibition rooms. These
exhibits cover a wide range of traditional artifacts, such as folk costumes,
household tools, agricultural implements, religious objects, and decorative
textiles. Visitors can see finely embroidered shirts, woven rugs, carved
wooden utensils, and sheepskin vests, all reflecting the daily life and
artistic expression of the people from northern Romania. The museum also
features reconstructions of traditional interiors, offering insight into rural
domestic environments.
Beyond its role as a repository of artifacts, the museum serves as a center
for cultural preservation and education. It documents the customs, beliefs,
and practices of Bucovina's inhabitants, helping to maintain a connection
between past and present. Through its exhibitions and research, the museum
contributes to the understanding of regional identity and the continuity of
folk traditions. It stands as a testament to the resilience and creativity of
rural communities in Romania.
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Hall: The Main Centers of Folk Art in Suceava County
In the
entrance hall of the Ethnographic Museum in Radauti, visitors are
greeted by a large illustrated map titled "The Main Centers of Folk Art
in Suceava County."
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This map does more than mark geographic locations; it identifies the
ethnographic hubs where distinct traditional crafts and techniques
flourished. Each town or region is paired with visual representations
of its characteristic folk art, such as pottery, weaving, embroidery,
and costume-making. The map functions as a thematic overview, linking
the museum's rooms to the broader cultural landscape of Bukovina.
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Serving as a geographical index, the map introduces the visitor to the
diversity and richness of Suceava's material culture. It establishes
context for the exhibits in Rooms 0 to 10, each of which explores a
specific craft or tradition rooted in one of the highlighted centers.
By visually connecting places like Marginea, Dolhesti, Radauti, and
Kuty to their respective artisanal legacies, the map prepares the
viewer for a deeper understanding of how geography and community
shaped the evolution of folk techniques in the region.
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Room 0: Marginea Dolhesti Paltinoasa Pottery
«The black
pottery of Marginea, similar in identity to the Geto-Dacian pottery of
the Carpathian-Danubian region, proves its archaeological existence
through numerous pieces of evidence that maintain the same ancestral
process of submerged firing, interior waterproofing, and exterior
decoration with the aid of river stone.
The pottery of Marginea
enriched its inventory of forms in the second half of the last century
(20th century) and today stands as the most important specialized center
in the country.»
«Half a century ago, potters from Marginea settled in Ptilnoasa.
Here,
black pottery was produced, later transitioning to the production of
glazed vases, similar in form to those of Marginea.»
«The Dolhesti pottery center, known since the Neolithic period, has
developed over time, preserving tradition and valuing the good clay for
pottery from Buculeeni Hill.
Black and glazed pottery was produced
in parallel for domestic needs.»
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Room 0 is dedicated to the pottery traditions of Marginea, Dolhesti,
and Paltinoasa, three centers renowned for their craftsmanship.
Marginea is especially notable for its black pottery, which bears
strong resemblance to ancient Geto-Dacian ceramics. This pottery is
distinguished by its unique production method involving submerged
firing, interior waterproofing, and exterior polishing using river
stones. Over time, particularly in the latter half of the twentieth
century, Marginea expanded its range of forms and became the most
significant center for black pottery in Romania.
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The room also highlights the evolution of pottery in Paltinoasa and
Dolhesti. In Paltinoasa, potters originally from Marginea introduced
black pottery techniques, which later gave way to the creation of
glazed vases. Dolhesti, with roots tracing back to the Neolithic
period, maintained a dual tradition of producing both black and glazed
pottery. The area's rich clay deposits from Buculeeni Hill supported
this enduring practice, which served the domestic needs of local
communities. Room 0 thus offers a comprehensive view of regional
ceramic heritage, emphasizing continuity and adaptation across
generations.
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Room 1a: Pottery of Radauti
«The pottery of Radauti links
its origins to the reign of Alexander the Good (1400-1432), experiencing
continuous flourishing throughout the centuries.
Current
production, valuing traditional elements of form, decoration, and
technical processes, is intended for interior ornamentation.»
«After the vases are shaped on the potter's wheel and allowed to dry,
the base color is applied, they are ornamented with a
corno (potter's syringe), and fired for 8-10 hours; after which
the clear glaze is applied and they are fired again.»
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Room 1a presents the local pottery tradition, which traces its roots
back to the early fifteenth century during the reign of Alexander the
Good. Over the centuries, this craft has flourished, maintaining its
distinctive aesthetic and technical qualities. Today, Radauti pottery
continues to honor its heritage by preserving traditional forms and
decorative motifs, with a focus on creating pieces suited for interior
ornamentation.
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The production process remains faithful to time-honored methods. Vases
are shaped on the potter's wheel and left to dry before receiving a
base color. Artisans then decorate the pieces using a corno, a
potter's syringe that allows for precise application of ornamental
patterns. The pottery is fired for eight to ten hours, glazed with a
transparent coating, and fired once more to achieve its final finish.
This meticulous approach reflects the enduring craftsmanship and
cultural pride embedded in Radauti's ceramic art.
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Room 1b: Pottery of Kuty
«Kuty vases are
engobed (receive a thin layer of clay), are ornamented with
sgraffito (engraving of elements), and are fired; then the colors
are applied with a brush, they are glazed, and fired a second time.»
«The pottery of Kuty, a town on the banks of the Ceremusul River, became
known in the 17th century through the voids that represented the
processing/reworking of ancient Byzantine sgraffito (or graphite)
pottery.
In the last century (20th century), it spread throughout
Bukovina, giving rise to a local pottery produced by indigenous
masters.»
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Room 1b is dedicated to the pottery of Kuty, a town situated along the
Ceremusul River. This ceramic tradition gained recognition in the
seventeenth century for its reinterpretation of ancient Byzantine
sgraffito techniques. The distinctive style involves engraving
decorative elements into a thin layer of clay, known as engobe, before
the initial firing. Afterward, colors are applied with a brush,
followed by glazing and a second firing, resulting in richly
ornamented and durable pieces.
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During the twentieth century, the influence of Kuty pottery extended
across Bukovina, inspiring local artisans to adopt and adapt its
methods. Indigenous potters began producing similar works, blending
traditional motifs with regional aesthetics. The display in Room 1b
highlights this evolution, showcasing the technical precision and
artistic flair that define Kuty ceramics. It serves as a testament to
the enduring legacy of cross-cultural exchange and the preservation of
historical craftsmanship.
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Room 2: Processing of Vegetable Fibers
«The cultivation of
hemp and flax was known to the Geto-Dacians (an ancient population of
the region), as evidenced archaeologically by seeds found in the
provisions pits of the settlements and mentioned by the ancient
historian Herodotus.
These two textile plants were cultivated in
Bukovina in extensive areas, covering in the past all clothing needs and
partially those of the household inventory (utensils/furniture).
Known
in all cultural zones of the country.»
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Room 2 explores the historical cultivation and use of hemp and flax,
two essential textile plants deeply rooted in the region's past.
Archaeological evidence, including seeds found in ancient storage
pits, confirms that the Geto-Dacians were familiar with these crops.
The historian Herodotus also referenced their presence, underscoring
their longstanding role in local life. In Bukovina, hemp and flax were
grown extensively, serving as the primary raw materials for clothing
and contributing to the production of household items such as textiles
for furniture and utensils.
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The display in this room emphasizes the widespread cultural
significance of these plants across Romania. Their cultivation was not
limited to Bukovina but extended to all ethnographic zones of the
country. Through tools, samples, and reconstructed scenes, the museum
illustrates the processes of harvesting, processing, and weaving,
offering insight into the labor and craftsmanship involved. Room 2
stands as a tribute to the enduring utility and cultural importance of
hemp and flax in Romanian rural traditions.
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Room 3: Wool Processing
«The dominant occupation in
Bukovina, herding, favored the development of a remarkable wool
industry.
The processing of the raw material was practiced
especially in a domestic environment, with a small but ingenious and
efficient inventory. Women obtained yarn for all the needs of the family
and the household.
Technical evolution then led to the appearance
of some water-powered spinning machines.»
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Room 3 focuses on wool processing, a craft deeply intertwined with the
pastoral lifestyle of Bukovina. Herding was the region's primary
occupation, and it naturally supported the growth of a robust wool
industry. Most wool processing took place in domestic settings, where
women used simple yet effective tools to transform raw wool into yarn.
This yarn met the clothing and textile needs of the household,
reflecting both the resourcefulness and skill of rural families.
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As technology progressed, the traditional methods were complemented by
the introduction of water-powered spinning machines. These innovations
allowed for greater efficiency while preserving the essence of the
craft. The exhibits in Room 3 illustrate this transition, showcasing
both manual tools and mechanical devices. Through these displays, the
museum highlights the continuity of wool processing practices and the
adaptability of local communities in integrating new techniques
without losing their cultural identity.
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Room 4: Weaving of Finished Garments
«The ancestral
technique of weaving on a horizontal loom – locally called a
stative (loom) – has achieved true virtuosity in Bukovina.
Skillfully
utilizing all the possibilities offered by the warp and weft, the
weavers obtain finished garments such as: briie (belts/sashes),
stergare de cap (head towels), and catrinte (aprons).»
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Room 4 showcases the traditional art of weaving finished garments
using a horizontal loom, locally referred to as a stative. This
technique, passed down through generations, has reached a high level
of refinement in Bukovina. The weavers demonstrate exceptional skill
in manipulating the warp and weft to produce intricate and functional
textiles. Their work reflects both technical mastery and aesthetic
sensibility, rooted in centuries of cultural practice.
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The garments produced include briie, which are decorative belts
or sashes, stergare de cap, used as head towels, and
catrinte, traditional aprons worn by women. Each item carries
symbolic and practical significance, often featuring regional motifs
and patterns. The room offers a detailed look at the weaving process
and the cultural context of these garments, emphasizing the role of
textile arts in expressing identity and preserving heritage.
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Room 5: Weaving of Blankets and Vegetable Coloring
«The
laicere (blankets/runners), paretare (wall tapestries),
and other interior textiles represent the greatest creation of the
technique and compositional sense of the weavers of Bukovina.
The
use of vegetable dyes is defined as a complex technology that ensures
perfect chromatic harmony.»
«The dye plants, harvested at certain times of the year, are slowly
dried in the shade and then simmered. After the plant has released all
its color, the material is placed to be dyed and left until the desired
shade is achieved.
The color is fixed with bors (a fermented
wheat bran broth) or moare (pickle/brine liquid). The dyed
materials are then dried in the shade.»
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Room 5 highlights the artistry involved in weaving interior textiles
such as laicere and paretare. These items, which include
blankets, runners, and wall tapestries, are considered the pinnacle of
weaving technique and design in Bukovina. The weavers demonstrate a
refined sense of composition, creating pieces that serve both
functional and decorative purposes. Their work reflects a deep
understanding of textile structure and visual harmony, rooted in
regional tradition.
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A key aspect of this room is the use of vegetable dyes, a
sophisticated process that contributes to the textiles' vibrant and
balanced colors. Dye plants are carefully harvested at specific times,
dried in the shade, and simmered to extract their pigments. The fabric
is then immersed in the dye bath until the desired hue is achieved. To
fix the color, artisans use natural substances such as bors or
moare. The dyed textiles are again dried in the shade,
preserving their quality and ensuring lasting chromatic integrity.
This method exemplifies the blend of natural resources and skilled
craftsmanship in Bukovina's textile heritage.
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Room 6: Hand Sewing Traditional Techniques
«As a direct
manifestation of creative sense and technical skill, hand-sewing has
ennobled the garment.
A Bukovina shirt, similar to Dacian shirts,
represents a capodora (masterpiece) of Romanian folk costume,
both for its fantasy and chromatic refinement, as well as for its
variety and technical perfection.»
«Essential in the wedding ceremony, the cloth diapers/handkerchiefs (for
the groomsmen and bridesmaids), the (decorative) apples for the bride
and groom, as well as those intended for the vatajei (ceremony
officials), are distinguished by a rich variety of motifs with symbolic
meaning and perfection in technical execution.»
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Room 6 is dedicated to traditional hand-sewing techniques, showcasing
the artistry and precision that elevate garments into cultural
masterpieces. Central to this display is the Bukovina shirt, which
shares stylistic and structural similarities with ancient Dacian
attire. These shirts are celebrated for their imaginative designs,
refined color schemes, and technical excellence. Each piece reflects
the creative spirit and manual dexterity of the artisans, embodying
the aesthetic values of Romanian folk costume.
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The room also highlights the ceremonial textiles associated with
weddings, including cloth handkerchiefs for groomsmen and bridesmaids,
decorative apples for the bride and groom, and items for the
vatajei, or ceremony officials. These objects are adorned with
intricate motifs that carry symbolic meanings, often linked to
fertility, protection, and prosperity. The precision and variety in
their execution underscore the cultural importance of hand-sewing in
marking life events and preserving tradition. Room 6 offers a vivid
portrayal of how needlework serves both functional and symbolic roles
in Bukovina's heritage.
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Room 7: Woolen Coat Making (Sumane)
«Known as winter
clothing since the time of the Geto-Dacians, the woolen coat
(Suman), woven using a Piua (beating/compacting mill), is
worn in many areas of the country, sometimes in its ancestral form.
The
Bucovina Suman with wide clini (sections/panels)... is
applied locally only to cut elements. The straight-cut
Suman cloak/cape, to which the decorations are added,
represents...»
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Room 7 is dedicated to the traditional craft of woolen coat making,
focusing on the Suman, a winter garment with ancient roots
dating back to the Geto-Dacians. These coats are made from thick
woolen fabric that is compacted using a Piua, a type of beating
mill. The Suman has been worn across various regions of
Romania, often retaining its original form, and serves as a symbol of
both practicality and cultural continuity.
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In Bukovina, the Suman is distinguished by its wide
clini, or panels, which are applied only to specific cut
elements of the garment. Another notable variant is the straight-cut
Suman, which resembles a cloak or cape and is adorned with
decorative elements. These garments not only provide warmth but also
reflect regional identity through their construction and
embellishment. Room 7 presents these coats as both functional attire
and expressions of local craftsmanship.
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Room 8: Manufacturing of Fur Coats (Cojoace)
«The
flared coats (cojoace) and vests (cheptare), and the
straight-cut bundita (short coat) also found in other areas of
the country, feature valuable embroidery that distinguishes them by
ethnographic zones.
With its distinct structure, the Radauti men's
vest (cheptar) stands out as a valuable and superior achievement
of the cojocaritul technique (leather coat making) in Bukovina.»
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Room 8 is dedicated to the manufacturing of traditional fur coats and
vests, known locally as cojoace and cheptare. These
garments, including the straight-cut bundita, are notable for
their elaborate embroidery, which varies by ethnographic region and
serves as a marker of local identity. The craftsmanship involved in
their creation reflects a deep understanding of materials and
decorative techniques, blending utility with aesthetic refinement.
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Among the displayed items, the Radauti men's vest, or cheptar,
holds particular significance. Its unique structure and detailed
ornamentation exemplify the highest standards of the
cojocaritul technique, which refers to the traditional art of
leather coat making in Bukovina. This vest is considered a superior
achievement within the regional tradition, showcasing both technical
precision and cultural symbolism. Room 8 offers insight into how
clothing functions as both protection and expression in Romanian folk
heritage.
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Room 9: Peasant Technical Installations and Auxiliary Inventory
«The functional installation or use of certain manual machines
met numerous needs for processing raw materials, ensuring all the
requirements for food and comfort for the respective rural community.
The
large number of installations found in the Bucovina territory: mills,
piuas (compaction mills), demonstrates the high level of material
popular culture and the ingenuity of its creators.»
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Room 9 presents a range of peasant technical installations and
auxiliary tools that played a vital role in rural life. These manual
machines were designed to meet the practical needs of processing raw
materials, contributing to both sustenance and domestic comfort. Their
presence in everyday village life reflects a deep understanding of
functionality and resourcefulness, with each device tailored to
specific tasks such as grinding grain, compacting wool, or preparing
food.
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The abundance of such installations in the Bucovina region, including
mills and piuas, illustrates the ingenuity and craftsmanship of
local communities. These tools are not only mechanical solutions but
also expressions of material culture, shaped by generations of
experience and adaptation. Room 9 emphasizes how technical knowledge
was embedded in rural traditions, enabling self-sufficiency and
reinforcing the connection between environment, labor, and cultural
identity.
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The “COLIBABA” Ceramics Studio
The “Colibaba” Ceramics
Studio, located within the Ethnographic Museum in Radauti, is a central
attraction that offers visitors a direct encounter with traditional
pottery-making.
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The studio recreates a working pottery workshop, allowing guests to
observe the full process—from shaping clay to decorating and firing.
This immersive setup provides insight into the tools, techniques, and
rhythms of ceramic production, bridging past and present through
hands-on demonstration and visual storytelling. The studio reflects
the museum's commitment to preserving and showcasing regional
craftsmanship.
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The Colibaba family, whose legacy spans nearly two centuries, is
prominently featured in this space. Originating in the early 1800s
with Vasile Colibaba, the dynasty has passed down its knowledge
through generations, maintaining a distinctive style rooted in local
traditions while also experimenting with prehistoric motifs such as
Cucuteni painted ceramics. Their work is known for sgraffito
decoration and vibrant glazes, combining historical depth with
artistic innovation. The studio not only honors their contributions
but also serves as a living archive of Bukovina's ceramic heritage.
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See Also
Sources
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