Showing posts with label Blog. Show all posts
Showing posts with label Blog. Show all posts

Tuesday, April 14, 2009

Vaser Valley and Mocanita




Wood” and “water” are two words that best define Maramureş. The history, the traditions and the life of the people of Maramureş are carved in the wood of the churches and gates, and numerous rivers and streams are spread along the land like a cobweb, forming famous valleys: Mara, Iza, Vişeu, and Vaser.
Among these, of special interest for tourists is the Vaser Valley, which crosses the Maramureş Mountains in the middle of one of the most wild and beautiful landscapes in Romania. The Vaser River is about 60 kilometres long, forming a spectacular canyon-like valley, where precipitous cliffs alternate with dense forests, beautiful clearings and mineral water springs.

The access point to the Vaser Valley is the town of Vişeu de Sus, which is also the starting point for Mocăniţa, a narrow gauge steam train, the only means of transportation in the valley. The railway runs along the Vaser River and is one of the last remaining steam rails still in active use in Europe, and the only one in Romania still used for hauling logs down from the mountains. Built after the First World War for the express task of transporting wood, it is still – surprisingly – used for the original purpose.

Nowadays, in spite of its old age, the steam locomotives have been given one more task: that of transporting tourists. As this place is one of the few where one can ride along in a wagon pulled by steam power, every year the old Mocăniţa attracts thousands of tourists from all over the world, and offers them unforgettable railway trips.
Travellers can go by train all the way up to the end of the valley and back, enjoying the beauty of the nature. It is also possible to stop on the way, get off at one of the several halts, halte, and start a hiking trip to the mountains.

In the Heart of the Mountains
It all starts at the Vişeu de Sus railway station (Căile Ferate Forestiere Vişeu de Sus, or simply CFF Vişeu de Sus). Since this is not a regular railway station, but a forestry station, there are no passenger platforms. The place looks more like a lumberyard than a railway station, smelling of freshly cut wood.
Very early in the morning the Mocăniţa is made ready for the day’s trip. Both the tourist wagons and the forestry wagons are attached to the steam locomotive, wood and water provisions are made – they are the fuel of the steam engine – and the mechanic starts the engine. After some time off the train goes with a long whistle, puffing along the way.
Following the cascading river, the train first passes among the houses of Vişeu de Sus. Then, after about seven kilometres, the tracks start to go deep into the wild forest, passing among the steep cliffs of the gorge, and penetrating the mountains through dark tunnels.
The silence of the nature is broken not only by the on-rushing tumultuous river and the puffs and hisses of the train, but from time to time also by the sharp whistles of the locomotive. The Mocăniţa creeps slowly up the abrupt slopes and often gives the impression that it can no longer advance and that the steam power is not sufficient. However, it manages to continue the journey and carry the tourists to picturesque places. The journey is long and with several stops. As it ascends, the train drops off empty wagons, which are picked up on the return, piled high with logs. The train also stops when locals are taken on board along the way. They use the train to bring cheese down to the town to sell, and to visit nearby villages. Moreover, several fuelling stops are required, as new provisions of water need to be made. Then the locomotive is unhitched from the wagons and is taken to the river. At its return it gives the tourists a strong shake, just to let them know that they should be ready for continuing the trip. The fuel tender also needs to be filled with firewood. The train can also fall off the rails, but at the slow speed of 10 km/hour that poses no danger. The passengers (who are experienced in the matter) help get the train back on the rails using anything they can lay their hands on: cut pieces of wood, chains, axes, or hooks. A forestry tractor that manages to wallow on in the torrent can give the final push so that the trip can continue.
What Else You Should Know Before Getting on the Train
When travelling with the Mocăniţa up the valley one should keep in mind that this is like a journey back in time: after leaving the Vişeu station there is no cell phone signal, and any contact with the modern times is lost; the train is pulled by an antique steam locomotive, and therefore one should pay attention to the soot and sparks that might stain or burn one’s clothes; along the way there are no shops, and provisions of food, water and other consumables have to be made before departure. “Unforeseen” is a key word in the mountains, and it is advisable not to plan anything for the afternoon, as there is no certainty about the return hour: something might break (one has to keep in mind that the line is more than 70 years old and the locomotive can be even older!), and there might be either trees or rocks on the tracks. As the weather in the mountains is very unstable, appropriate shoes, warm clothes and a waterproof coat are necessary. The Vaser Valley is in the border zone, and a valid identity card or passport has to be brought along.


For safety reasons one can get on and off the trains only at the halts, and it is forbidden to jump on or off the train while it is moving. One may only travel in the specially designed passengers’ wagons, and it is strictly forbidden to ride in the production wagons or on the stairs. As these are working trains, one should be very careful when manoeuvres with logs and other equipment are being made. The halts, the majesty of the mountains and the untamed forests, the frenzied river that competes with the noise and sounds of the train, the lumberjacks, the train itself with its conductor, all are a cause for enjoyment, a feeling of adventure, of enchantment. On this train one has to forget the destination, the time it supposedly takes to reach the end of the line, the schedules and other mundane worries of our frantic modern life.





Friday, April 10, 2009

Adrian Mutu




Born 08 January 1979
Birthplace Calinesti
Weight 71 kg
Height 1.78 m
Position Forward




Adrian's contract at Chelsea was cancelled in October 2004 after he received a seven-month ban for a positive cocaine test.



Club history
Arges Pitesti
01.07.1996 01.07.1999
Dinamo Bucuresti
01.07.1999 04.01.2000
Inter Milano
04.01.2000 01.07.2000
Verona
01.07.2000 31.08.2002
Parma
31.08.2002 14.08.2003
Chelsea
14.08.2003 29.10.2004
Juventus
13.01.2005 01.07.2006
Fiorentina






MORANDI- Angels

MORANDI is a romanian dance-pop project created in 2004 by MARIUS MOGA (production/voice, born on december the 30th of 1981 in Alba Lubia) and ANDREI ROPCEA (production).


MORANDI is an acronym taken from MOGA for MO, witch add by the R from ROPCEA and ANDI, le nickname from ANDREI.

Wednesday, April 8, 2009

ARGES MONASTERY




The Episcopal Church, or the Monastery of Curtea de Arges, was founded by prince Neagoe Basarab between 1514-1517, on the site of a metropolitan church which had been raised in the 14th century and acknowledged by the Archbishopric of Constantinople in 1359.The legend has it that one day, a very wealthy and religious Wallachian prince, the Black Prince, rode with nine masons and their master Manole to find a place and build a church more beautiful than anyone may have seen before. The masons started to work, but whenever they reached to the top, the walls would colapse before they could ever finish it. They decided that the first human being they would lay their eyes upon was to be sacrificed in order to see their work done. And it so happened the Manole 's wife showed up to bring her husband's lunch, so that he had to keep his vow and immure his own wife alive within the church walls. The place of this immolation can still be seen between two walls of the southern front side of the church. This is how the monastery could be finished, and the prince was pleased to find that it was as beautiful as it could be. But the prince would not want Manole to build another church that could match his own. So he ordered the scaffolding removed, which left Manole stranded on the roof. In an attempt to escape, Manole made himself a pair of wings from shingles, but they were of no avail, and he would crash to the ground like Icarus and die. Upon his crash, on that very spot, a spring would gush forth, which is now called Manole's well. Today people would throw coins in its basin, to make their wishes come true.
Indeed Neagoe Basarab (1512-1521) would be known in history as the Black Prince, and it is a real fact that the church master builder's name whom he had brought from Nicosia was Manole. Again it is no less true that the prince himself supervised the construction of the monastery all the way, from the beginning to the end. The church one can see today is not Manole's original creation of 1517, but a recreation of 1875-1876 by the Frenchman Lecomte de Nouy, who grafted on all the pseudo-moorish accretions.
Like with so many other cultural sites of the world, at Curtea de Arges Monastery legend and truth intermingle and form up an inseparable whole, lending a special flavour to the flow of historic facts and figures.
The Monastery Curtea de Arges, built in Albesti stone along with marble and mosaic brought from Constantinople by Neagoe Basarab (1512-1521), has the classical harmonious aspect of an Orthodox church: the pronaos (also a necropolis), the nave and the altar have a peculiar architecture and rich ornaments: a boxy structure enlivened by whorls, rosettes and fancy trimmings rise into two octogonal belfries, each having eight narrow windows frames, each festooned with little spheres and the three armed cross of Orthodoxy. The roofs of the four belfries seem to have been made by a goldsmith, whereas the chains which support the crosses seem to be large pieces of jewelry.
A belt carved in stone as a rope twisted in four goes all around the church dividing its exterior walls into two sides, namely the lower side, decorated with rectangular tall panels framed in carved stone, with narrow windows, and the upper side, with a range of largely opened arches which encircle the church. The decorations of the disks which link the arches have Arabian, Persian and Georgian motifs, in green, in blue and golden colours.
Prince Neagoe Basarab died before he saw his "temple" finished. His son-in-law Radu from Afumati (1522-1529) took over and brought Dobromir of Targoviste to paint the interior walls (1526). Unfortunately, the paintings restored in 1875 by Emile Lecomte de Nouy's brother are inferior to the original ones. Fragments of the genuine frescoes made by Dobromir can still be seen at the Art Museum and at the National Museum of History in Bucharest.
Along time, the church was successively damaged by wars, plundering, earthquakes, fires and was restored during the rules of Princes Matei Basarab (1632-1654), Serban Cantacuzino (1678-1688) and Bishop Iosif Sevastis at the end of the 18th century.
Whatever the patrons and artists who designed this church, it remains impressive by its votive paintings, by its marble gilted bronze, by its onyx iconostasis, by its twelve columns with floral ornaments representing the twelve apostles. In the pronaos there are the tombs of its founders, Neagoe Basarab and Radu from Afumati, as well as of the first couples of Romanian kings and queens (Carol I and Elisabeta, Ferdinand and Maria) which render this church not only a princely, but also a royal necropolis, alongside a splendid monument of Romanian art and history.
The white marble tombstones of Carol 1 (1839-1914) and his poet wife Elizabeth 1853-1916) lie on the right in the monastery`s pronaos (entrance hall). On the left of the entrance are the tombstones of King Ferdinand 1(1856-1927) and the British-born Queen Marie (1875-1938) whose heart, upon her request, was put in a gold casket and buried in her favourite palace in Balcic in southern Dobrogea. Folowing the ceding of southern Dobrogea to Bulgaria in 1940, however, her heart was moved to a marble tomb in Bran. Neagoe Basarab and his wife Stina are also buried in the pronaos.
In the park opposite lies the legendary Manole`s Well (Fintina lui Manole). Legend has it that Manole tried - and failed - to fly from the monastery roof when his master Neagoe, removed the scaffolding to prevent him building a more beautiful structure for anyone else. The natural spring marks his supossed landing pad.
The Old Princely ChurchThe saint patron of the chapel is "The Saint & Martyr Filofteia" who has been protecting the monastery for 8 centuries and whose relics are inside the Episcopal Cathedral. In 1517, the canonization of Saint & Hierarch Nifon, The Patriarch of Constantinopole, the Metropolitan of Wallahia took place here.
This is also the place where the relics of the Saint Nifon are preserved in a coffin made of silver and plated with gold. The Saint’s head and hands represent a present got by Neagoe Basarab from the monks who live in The Athos Mountains. There is also a coffin with the relics of the Saint Serghie, Vach and Saint Martyr Tatiana.


Timisoara




Timisoara city is situated in West part of Banatului Field between the rivers Timis and Bega, being one of the most important city of the country. The city is a harmonious combination between historical centre and the development which had been periodical in arround of this centre. In this way, the oldest buildings had made since beginning of the XVII. Century, in the periode when in Europe enters the Baroque style. Was supposed that the city had founded much earlier of this building’s lifting. The testimony in this sense give the Huniade castle, which still keeping numerous documentations from XIII. Century. Due to its strategical position (connection point between Austro-Hungarian Empire and East Europe) Timisoara knew a fast development being builded in arround of the city a fortress which was the wish of the all sultans of Turkish Empire (suited to the writings of the Turkish chronicler Mustafa Seldzade). The city’s conquest by the Turks (1551) made to the ethnical change of the city and also to the commerce’s development. Since 1716 the city is under Austrian-Hungarian empire’s rule. The German colonies, which peopled more and more the city, had a big role in Timisoara’s development. Between 1728 and 1761 were created the first navigation canals on the rivers Bega and Timis, which lead to river commerce’s development. Also in this periode was changed the fortify plan of the city, increasing the city’s surface. The city-fortress was organized in arround of 2 squares: Piata Paradei (today Piata Libertatii) and Piata Iezuitilor (Piata Sfantul Gheorghe). Later in north of the city was builded the Piata Unirii square, where were lifted the Cathedral, the Episcopal Palace and Governor’s Palace. At the beginning of XIX. century had part the city’s industralization which lead to apperance of : public lighting with gaslamp, the city’s connectation to European railways network, public transport with horse-drawn trams, the telegraph’s and the telephone’s appearance, replace of wood bridges with stell bridges, later (1884) the city’s electrical lighting (the first city from Europe) and apparition of the electric tram (1899). Between 1890 and 1910 the city’s fortress were demolished being replaced by parks, Timisoara being named as the “Parks’ City” or the “Flowers’ City”. Between the 2 world wars, the city knew a magnificent development through building of many cultural institutions (Metropolitan Cathedral and National Theatre). After the Second World War the city’s industralization grew up: new districts, cultural and education institutions (schools, museums, theatres, concert halls) and also the entertainment possibilities’ growth (terraces, restaurants, bars, discos, night clubs). Today Timisoara fills the all conditions to be named an European city.

NICOLAE CEAUSESCU Biography


Nicolae Ceausescu (1918-1989) was a Romanian leader whose attempts to fuse nationalism and communism resulted in such a brutal dictatorship that the Romanians overthrew his regime.
Nicolae Ceausescu was born of a peasant family on Jan. 26, 1918, in Scornicesti in the Olt country. At the age of 11 he began working in the factories of Bucharest. He participated in the social movements at the beginning of 1930s and joined the revolutionary working-class movement in 1932. The following year Ceausescu became a member of the Union of Communist Youth (UCY) and of the Romanian Communist party (RCP). He was successively secretary of Prahova and Oltenia regional committees of UCY and was a representative of the democratic youth in the Antifascist National Committee (1934).
Met Influential Communists in Prison

Between 1936 and 1938 Ceausescu was imprisoned several times for his revolutionary, patriotic, and antifascist activities. It was there that he met and became close with Gheorghe Gheorghiu-Dej, who led the Romanian Communists and took Ceausescu under his wing. Ceasescu took part in organizing the huge antiwar demonstration in Bucharest on May 1, 1939, in defense of Romania's independence against the Nazi danger. He then was elected member and secretary of the Central Committee of the UCY (1939-1940). Sentenced in absentia (1939), he was later arrested and imprisoned (1940-1944). During World War II he took an active part in the struggle to overthrow his country's fascist regime, to force Romanian withdrawal from the anti-Soviet war, and to free Romania from Hitler's domination.
After Romanian liberation from fascism, Gheorghiu-Dej helped Ceausescu again become secretary of the UCY Central Committee (1944-1945). Ceausescu then worked as secretary of the regional party committees of Dobrogea and later of Oltenia; in 1948 he was appointed general secretary. After serving as deputy minister of agriculture (1949-1950), Ceausescu joined the army staff and became deputy minister of the armed forces, holding the function of head of the Army High Political Department (1950-1954). Around this time, he married Elena Petrescu.
Used Power to Weaken Rivals
When Gheorgiu-Dej died suddenly in 1965, Ceausescu became first secretary of the RCP. Although many in the party felt Ceausescu was weak enough to be controlled, he used his new power to weaken his rivals. Subsequently, on Dec. 9, 1967, the Grand National Assembly elected him president of the State Council of the Socialist Republic of Romania, thus making him head of state.
Ceasescu's first years of authority were good for the country and people believed he was a bright ruler. When he boycotted the Soviet Union's 1968 invasion of Czechoslovakia, he won international support. However, these times belied his true nature. Armed with complete power, he began to impose his version of the ideal Communist society on the Romanians: rapid industrialization in the manner of Stalin, pursuit of Puritanism concerning individual and family life, and systemization, which included destroying churches and housing the population in concrete high-rise buildings. These actions were especially harsh in Bucharest, whose history was bulldozed to make way for Ceausescu's ideal city. In keeping with his luxurious lifestyle, Ceausescu began constructing the largest building in the world, "The People's Palace." All the while, life was crumbling for the average Romanian, many of whom had to survive without heat or electricity. In December, 1989, the Romanian people revolted, and killed both Ceausescu and his wife.

Tuesday, April 7, 2009

Constantin Brâncuşi




Constantin Brâncuşi (February 19, 1876 – March 16, 1957) pronounced [konstanˈtin brɨnˈkuʃʲ]), was an internationally renowned Romanian sculptor whose sculptures, which blend simplicity and sophistication, led the way for modernist sculptors.
Brâncuşi grew up in the village of Hobiţa Romania, Gorj, near Târgu Jiu, near Romania's Carpathian Mountains, an area known for its rich tradition of folk crafts, particularly ornate woodcarving. The simple geometric patterns of the craftsmen is seen in his mature works.
His parents, Nicolae and Maria Brâncuşi, were poor peasants who earned a meagre living through back-breaking labor, and from the age of seven he herded the family's flock of sheep. He showed remarkable talent for carving objects out of wood. Strong-willed and determined, he often ran away from home to escape the bullying of his father and older brothers.
At the age nine Brâncuşi left the village to work at menial jobs in the nearest large town. At 13 he went to Craiova, where he worked at a grocery store for several years. When he was 18, impressed by Brâncuşi's talent for carving, his employer financed his education at the Craiova Şcoala de Meserii (School of Crafts). There he indulged his love for woodworking, taught himself to read and write, and graduated with honors in 1898.[1]
He then enrolled in the Bucharest School of Fine Arts,where he received academic training in sculpture. He worked hard, and quickly distinguished himself as talented. One of his earliest surviving works, under the guidance of his anatomy teacher, Dimitrie Gerota, is a masterfully rendered écorché (statue of a man with skin removed to reveal the muscles underneath) which was exhibited at the Romanian Athenaeum in 1903.[2] Though just an anatomical study, it foreshadowed the sculptor's later efforts to reveal essence rather than merely copy outward appearance.
In 1903 Brâncuși traveled to Munich, and from there to Paris. In Paris, he was welcomed by the community of artists and intellectuals brimming with new ideas.[3] He worked for two years in the workshop of Antonin Mercié of the École des Beaux-Arts, and was invited to enter the workshop of Auguste Rodin. Even though he admired the eminent Rodin he left the Rodin studio after only two months, saying, "Nothing can grow under big trees."[1]
After leaving Rodin's workshop, Brâncuşi began developing the revolutionary style for which he is known. His first commissioned work, "The Prayer", was part of a gravestone memorial. It depicts a young woman crossing herself as she kneels, and marks the first step toward abstracted, non-literal representation, and shows his drive to depict "not the outer form but the idea, the essence of things." He also began doing more carving, rather than the method popular with his contemporaries, that of modeling in clay or plaster which would be cast in metal, and by 1908 he worked almost exclusively by carving.In the following few years he made many versions of "Sleeping Muse" and "The Kiss", further simplifying forms to geometrical and sparse objects.His works became popular in France, Romania and the United States. Collectors, notably John Quinn, bought his pieces, and reviewers praised his works. In 1913 Brâncuşi's work was displayed at both the Salon des Indépendants and the first exhibition in the U.S. of modern art, the Armory Show.
In 1920 he developed a notorious reputation with the entry of "Princess X"[1] in the Salon. The phallic shape of the piece scandalized the Salon, and despite Brâncuşi's explanation that it was an anonymous portrait, removed it from the exhibition. "Princess X" was revealed to be Princess Marie Bonaparte, direct descendant of Napoleon Bonaparte. Brâncuşi represented or caricatured her life as a large gleaming bronze phallus. This phallus symbolizes the model's obsession with the penis and her lifelong quest to achieve vaginal orgasm, with the help of Sigmund Freud. Freud, the father of psychoanalysis, condemned orgasm by clitoral stimulation and praised vaginal orgasm with a penis as the superior and only legitimate type. His condemnation echoed the social mores of his era which condemned masturbation as both morally harmful and as a cause of mental disorders. Her search for the elusive vaginal orgasm led her to have two unsuccessful surgeries and numerous affairs throughout her life with wealthy and famous men.
Around this time he began crafting the bases for his sculptures with much care and originality because he considered them important to the works themselves.
He began working on the group of sculptures that are known as "Bird in Space" — simple shapes representing a bird in flight. The works are based on his earlier "Maiastra"[2] series. In Romanian folklore the Maiastra is a beautiful golden bird who foretells the future and cures the blind. Over the following 20 years, Brâncuşi would make 20-some versions of "Bird in Space" out of marble or bronze. Edward Steichen, a prominent photographer, purchased one of the "birds" in 1926 and shipped it to the United States. However, the customs officers did not accept the "bird" as a work of art and placed a duty upon its import as an industrial item. They charged the high tax placed upon raw metals instead of the no tax on art. A trial the next year overturned the assessment.[4][5] Athena Tacha Spear's book, Brâncuși's Birds, (CAA monographs XXI, NYU Press, New York, 1969), first sorted out the 36 versions and their development, from the early Maiastra, to the Golden Bird of the late teens, to the Bird in Space, which emerged in the early '20s and which Brâncuși perfected all his life.
His work became popular in the U.S., however, and he visited several times during his life. Worldwide fame in 1933 brought him the commission of building a meditation temple in India for Maharajah of Indore, but when Brâncuşi went to India in 1937 to complete the plans and begin construction, the Mahrajah was away and lost interest in the project when he returned.
In 1938, he finished the World War I monument in Tîrgu-Jiu where he had spent much of his childhood. "Table of Silence", "Gate of the Kiss", and "Endless Column" commemorate the courage and sacrifice of Romanian civilians who in 1916 fought off a German invasion. The restoration of this ensemble was spearheaded by the World Monuments Fund and was completed in 2004.
The Târgu Jiu ensemble marks the apex of his artistic career. In his remaining 19 years he created less than 15 pieces, mostly reworking earlier themes, and while his fame grew he withdrew. In 1956 Life magazine reported, "Wearing white pajamas and a yellow gnomelike cap, Brâncuşi today hobbles about his studio tenderly caring for and communing with the silent host of fish birds, heads, and endless columns which he created."
Brâncuşi was cared for in his later years by a Romanian refugee couple. He became a French citizen in 1952 in order to make the caregivers his heirs, and to bequeath his studio and its contents to the Musée National d'Art Moderne in Paris.

"Work like a slave, command like a king, create like deity(God)"

Roumania Simply Surprising 3

The song used is "The Flames" from Damian Draghici.


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