Folk Masks of the World
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The Kunstkamera (or Kunstkammer; Russian: Кунсткамера) is the first museum in Russia. Established by Peter the Great and completed in 1727, the Kunstkammer Building hosts the Peter the Great Museum of Anthropology and Ethnography (Russian: Музей антропологии и этнографии имени Петра Великого Российской академии наук), with a collection of almost 2,000,000 items.
Our Saint Petersburg blog: travel-pics-tips.blogspot.com/2020/01/traveling-to-saint-...
The National Museum of Ethnography and Folklore is one of the most beautiful museums in La Paz.
Among his most remarkable collections, we find outstanding Indian masks, as well as a whole section dedicated to the art of the feathers.
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La salle des masques
Le Musée National d’Ethnographie et du Folklore est un des plus beaux musées de la Paz.
Parmi ses collection les plus remarquables, on trouve notamment des masques indiens extraordinaires, ainsi que toute une section dédiée à l'art des plumes.
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Musée d'Ethnographie - La Paz - Bolivie / Museum of Ethnography - La Paz - Bolivia
This house was built in Popivka village of Zinkivskyi district of Poltavska Region in the second half of 19th Century. This is unique farmer’s dwelling of Poltavshchyna’s second half of 19th Century, with its five rooms, carved konyky on tips of its logs, “washed” linden walls.
This house was the property of Skorupa M.M., who inherited it from her mother. Since first building, the house has never been reconstructed or redesigned, except for the stove (inside the house).
A house from Popivka village of the second half of 19th Century represents a late, well-developed type of a house “in two parts”. There are five rooms therein: a solar, a room, a home, a storeroom and a mudroom. The mudroom has two walk-through doors – a direct path from the main façade of the garden.
This is a log-house made of linden. The walls outside are clayed on processed wood and whitewashed. Inside walls of all the premises have their structure open and “washed”. They washed the walls with water-alkaline solution (thick layer of stove ashes had to be filtered with warm water).
The house is supported by oak-tree piles.
The top longitudinal logs of the house are opened on sides with tips konyky, decorated with traditional carving. These konyky are constructively interconnected with transverse linden lumbers, which support rafters.
Logs of the house, pairs are rafters are fixed with oak-tree nails tyblia.
The house is covered with sheaves of rye straw on pairs. The pairs and rafters are made of linden; the lower logs of the houses are made of oak tree.
Perimeter walk of the house is high, outlined brightly. Small windows have one-leaf shutters in house, in solar they are outlined with red clay.
Floor of the house is made of well-packed clay; the storeroom’s floor is made of oak boards on lumbers. The ceiling is made of round sticks, laid on beams, clayed from the both sides.
The chimney is twiggen longitudinally and clayed from inside and outside.
In front of the entrance, there is an awning on two columns.
This is a linden “wooden” house. Its plan is the one of a well-developed “two halves” dwelling. Having divided the solar, the owner received one more space – a “room”. The log walls outside are clayed and whitewashed. Internal walls in all the premises are “washed”. The lower logs of walls are made of oak. The roof is covered with sheaves of straw.
Area - 69.49 square meters (11.96 х 5.81)
Хата з с.Попівка, Зіньківського р-ну, Полтавської обл.
Хату було побудовано в с. Попівка Зіньківського р-ну Полтавської області у другій половині ХІХ ст. Унікальне селянське житло Полтавщини другої половини ХІХ століття, п’ятидільна, з різьбленими «кониками» на причілках, з «митими» липовими стінами.
Належало житло Скорупі М. М., яка одержала його у спадок від матері.
Від часу побудови хата не зазнала серйозних конструктивно – планувальних переробок, за винятком печі (у хаті).
Хата з села Попівка другої половини ХІХ ст. – пізній місцевий розвинений тип хати - «хата на дві половини». В ній п’ять приміщень: світлиця, кімната, хатина, комора, сіни. Сіни мають двоє наскрізних дверей – безпосередній прохід з боку головного фасаду в сад (чи город).
Хата рублена. Вінці зрубу з липи. Зруб ззовні обмащений по клинцьованій деревині, побілений. Всередині стіни всіх приміщень мають відкритий зруб і «миті». Мили стіни водним розчином лугу (проціджували теплою водою шар пічної золи).
Хата поставлена на дубові стояни.
Верхні подовжні вінці зрубу виходять на причілки «кониками», які оздоблені самобутнім різьбленням. «Коники» конструктивно зв’язані між собою поперечними липовими брусками, на них покладено причілкові крокви.
Вінці зрубу, лати і крокви між собою кріпляться дубовими тиблями.
Хата вшита парками з житньої соломи по латах. Крокви і лати з липи. Нижні вінця зрубу хати – дубові.
Призьба хати висока з яскравою підводкою. Малі вікна мають одностулкові віконниці з боку хатини, а з боку світлиці обведені червоною глиною.
Долівка в хаті глиняна, трамбована і мазана; в коморі підлога дощата по лагах, дубова. Стеля із круглого хворосту, покладеного на слижні, знизу і зверху мазана глиною.
Бовдур плетений подовжньо лозою і обмазаний глиною з внутрішньої та зовнішньої сторін.
Перед входом до хати – піддашок на двох стовпчиках.
Хата липова, «мита». За своїм плануванням – це розвинений тип житла на дві половини. Переділивши світлицю, господар отримав ще одне приміщення – «кімнату». Зруб ззовні обмащений глиною і побілений. Всередині стіни всіх приміщень «миті». Нижні вінця зрубу – дубові. Покрівля солом′яна, парками.
Площа - 69.49 м2 (11.96 х 5.81)
Wielkopolski Ethnographic Park in Dziekanowice is part of Museum of the First Piast at Lednica.
The construction of the museum began in September 29, 1975. The first exhibition opened to the public June 1, 1982.
The museum presents houses, stable, barn with equipment. The individual buildings are organized into pens and oriented in such a way that all created life-size village. The composition is complemented by wooden church, a chapel with a cemetery, the baroque mansion with grange, inn, windmills, water mill. The youngest building dates from 1935 and the oldest parts date back to 1602. There are already 53 objects and the collection is growing steadily.
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Wielkopolski Park Etnograficzny w Dziekanowicach jest częścią Muzeum Pierwszych Piastów na Lednicy.
Budowę skansenu rozpoczęto w 29 września 1975. Pierwszą ekspozycję udostępniono zwiedzającym 1 czerwca 1982.
W skansenie prezentowane są domy, budynki inwentarskie, stodoły wraz z wyposażeniem. Poszczególne budynki zorganizowane są w zagrody i zorientowane w taki sposób by całość tworzyła naturalnej wielkości wieś. Kompozycję uzupełniają drewniany kościół, kaplica z cmentarzem, barokowy dwór z folwarkiem, karczma, wiatraki, młyn wodny. Najmłodszy budynek pochodzi z 1935 roku a najstarsze elementy datowane są na rok 1602. Jest ich już 53 i kolekcja sukcesywnie powiększa się.
Svan tower (georgian: სვანური კოშკი) — fortress defensive structure in the form of a square tower typical of the Svaneti, a historic mining region in Northwest Georgia. Built in the VIII — XVIII centuries, these ancestral structures were used both as housing and as guard posts to protect against frequent invasions.
Due To the unique combination of Alpine landscape and villages that have preserved their medieval appearance, the village of Chazhashi, Svan community Ushguli in Mestia district of Upper Svaneti has been under UNESCO protection since 1996. There are more than 200 Svan towers, Svan fortress houses and medieval churches.
photo: Svan tower in the Ethnographic Museum of Tbilisi
Un air satanique
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Musée d'Ethnographie - La Paz - Bolivie / Museum of Ethnography - La Paz - Bolivia
Tokarnia is a village in the administrative
district of Gmina Chęciny ,
within Kielce County ,
in south - central Poland
Szentendre is a riverside town in Pest County, Hungary, between the capital city Budapest and Pilis-Visegrád Mountains. The town is known for its museums (most notably the Open-Air Ethnographic Museum), galleries, and artists.
PP work in Lumniar AI HDR filters.
View on the small skansen from the wooden walkway :)
The open-air ethnographic museum in Kwiatkówek, near Tum, is a new tourist attraction created in the years 2011-2013. It consists of several essential parts: architectural buildings, shrine, buildings presenting industry and rural crafts (trestle-type windmill, oil mill, smithy) and accompanying objects. The buildings are reconstructions of buildings characteristic of the Łęczyca area from the second half of the 19th century to the beginning of the 20th century. An exception is the renovated historic windmill from 1820, as well as the oil mill from the mid-20th century and the smithy from the beginning of the 20th century. The furnishings of the homestead reconstruct a typical interior of a country family home from the end of the interwar period. Thanks to lively activities in the form of workshops, shows (including those involving local artists and craftsmen) or folk events, it is a living facility, showing old traditions of rural life and allowing visitors to actively participate.
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Widok na skansen z drewnianego pomostu spacerowego :)
Skansen w Kwiatkówku, obok Tumu, to nowa atrakcja turystyczne powstała w latach 2011-2013. Składa się z kilku zasadniczych części: budynków architektury mieszkanej, kapliczki, budynków prezentujących przemysł i rzemiosło wiejskie (wiatrak typu kozłowego, olejarnia, kuźnia) oraz obiektów towarzyszących. Budynki są rekonstrukcjami obiektów budownictwa charakterystycznego dla okolic Łęczycy od 2. połowy XIX po początki XX wieku. Wyjątkiem jest odnowiony, zabytkowy wiatrak z 1820 roku, a także olejarnia z połowy XX wieku i kuźnia z początku XX wieku. Wyposażenie domostwa rekonstruuje typowe wnętrze domu rodziny wiejskiej z końca okresu międzywojennego. Dzięki ożywionej działalności w postaci warsztatów, pokazów (w tym z udziałem lokalnych twórców i rzemieślników) czy imprez ludowych jest obiektem żywym, pokazującym dawne tradycje życia wiejskiego i pozwalającym zwiedzającym na aktywne uczestnictwo.
Zelene village church, Ternopil region, 1817.
Church typical for Western Podillya, cult building, beautiful example of Ukrainian wooden architecture, particularly in Podillya.
The church comprises of three rooms, one top, with a vestry room by sacrarium. Its walls are made of timbers covered with shingles and protected by wide closed wooden gallery around its bottom. The central dome is a simple octal structure without sharp edges, covered with a poppy head.
Inside the church, there is a five-level iconostasis from 18th Century. It is notable for plenty of carving, especially on the Sanctuary doors, as well as for bright decorations and picturesqueness.
Церква із села Зелене Тернопільської області. 1817 рік.
Церква типова для Західного Поділля культова споруда, прекрасний зразок дерев‘яноі архітектури України, зокрема Поділля.
У Пирогові Історико-географічну область України «Поділля» представляє церква святого Миколая з села Зелене Гусятинського району Тернопільської області.
Вона була побудована в 1817 році з чотиригранних брусів і покрита ґонтом — покрівельним матеріалом у вигляді невеликих пластин.
Трикамерна, одноверха, з ризницею при вівтарі, стіни зрубні, обшиті ґонтом, у нижній частині захищена широким опасанням. Центральна баня – простий восьмигранний намет без залому, увінчується маківкою.
У церкві встановлено п’ятиярусний іконостас ХVІІІ століття, який виділяється багатим різьбленням, особливо царських врат, яскравою декоративністю та живописністю.
Починаючи з 1996 р. тут проводяться богослужіння на свята, хрестини, вінчання.
Експонується разом з іншими пам'ятниками тієї ж місцевості - іконостасом XVIII ст. (с. Волиця) та дзвіницею початку XIX ст. (С. Товсте).
Obaya, Villaviciosa, Asturies.
Gracies pol vuesu tiempu...
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Obaya, Villaviciosa, Asturias.
Gracias por vuestro tiempo...
L’origine de l’AfricaMuseum remonte à l’exposition universelle de Bruxelles en 1897.
Sous l’impulsion du roi Léopold II, la "Section Coloniale" de l’exposition fut déplacée à Tervuren dans le "Palais de l'Afrique" (anciennement le Palais des Colonies). Les salles accueillaient des animaux naturalisés, des échantillons géologiques, des denrées, des objets ethnographiques et artistiques congolais et des objets d’art réalisés en Belgique. Un village africain qui logeait des Congolais pendant la journée, avait été aménagé dans le parc et a coûté la vie à sept d'entre eux.
Léopold II voyait dans le musée un outil de propagande pour son projet colonial, destiné à attirer des investisseurs et à convaincre la population belge. C'est ainsi qu'en 1898 l’exposition temporaire devenait le premier musée permanent du Congo. Dès ses origines, l’institut était à la fois un musée et un institut scientifique.
Très vite, le Palais de l'Afrique s’avéra trop exigu. Léopold II fit appel à Charles Girault, architecte du Petit Palais de Paris, et entreprit un programme de construction ambitieux. Les plans prévoyaient un site complet avec un nouveau musée du Congo, une école mondiale, un centre de congrès, une gare, des pavillons chinois et un complexe sportif. Ces projets de construction étaient financés par les gains venant du domaine privé royal du Congo. Léopold II étant décédé avant la fin des travaux, c’est le roi Albert Ier qui inaugura le musée le 30 avril 1910 et les travaux de construction furent arrêtés.
Le nom du musée changea plusieurs fois au cours de son histoire. De Musée du Congo, il devint Musée du Congo belge au moment où l’État indépendant du Congo devint le Congo belge. En 1952, par Arrêté royal, le musée prit le nom de Musée royal du Congo belge. Pour finalement devenir Musée royal de l'Afrique centrale lors de l'indépendance. Depuis la rénovation, le musée est plus communément appelé AfricaMuseum.
The origins of the AfricaMuseum date back to the Brussels World's Fair of 1897. At the behest of King Leopold II, the exhibition's "Colonial Section" was moved to Tervuren, to the "Palace of Africa" (formerly the Palace of Colonies). The halls housed taxidermied animals, geological specimens, foodstuffs, Congolese ethnographic and artistic objects, and works of art produced in Belgium. An African village, which housed Congolese people during the day, was set up in the grounds and claimed the lives of seven of them.
Leopold II envisioned the museum as a propaganda tool for his colonial project, intended to attract investors and persuade the Belgian population. Thus, in 1898, the temporary exhibition became the first permanent museum of the Congo. From its inception, the institution was both a museum and a scientific institute.
Very quickly, the Palace of Africa proved too small. Leopold II called upon Charles Girault, architect of the Petit Palais in Paris, and embarked on an ambitious construction program. The plans envisioned a comprehensive site including a new Congo Museum, a world school, a congress center, a train station, Chinese pavilions, and a sports complex. These construction projects were financed by revenues from the royal private domain of the Congo. Leopold II having died before the work was completed, it was King Albert I who inaugurated the museum on April 30, 1910, and construction was halted.
The museum's name changed several times throughout its history. From the Museum of the Congo, it became the Museum of the Belgian Congo when the Congo Free State became the Belgian Congo. In 1952, by Royal Decree, the museum was renamed the Royal Museum of the Belgian Congo. Finally, upon independence, it became the Royal Museum for Central Africa. Since the renovation, the museum is more commonly known as AfricaMuseum.
Travellers crossing the Tekes river (a tributary of the Ile river in Xinjiang, China) in 1907. My restoration and digital hand colorization of then colonel (later Marshal of Finland and President of Finland) Carl Gustaf Mannerheim´s (1867-1951) photo in the Finnish Heritage Agency archive. (At the time, when Finland was an autonomous Grand Duchy of Imperial Russia, many Finns served as high ranking officers in the Imperial army.)
"In 1906 C.G. Mannerheim, then a cavalry colonel, set out on a horseback journey commissioned by the Russian general staff. It was to take him across Asia, from Samarkand to Peking, where he arrived two years later. Mannerheim's assignments on the way ranged from military reconnaissance and surveying work to inquiring into current conditions and public sentiments in Chinese Turkestan and the province of Gansu. His activities also extended to archeological and ethnographic research. On his 14,000-kilometre trek he secured several collections of value to Asian studies, as well as more than a thousand photographs.."
(C. G. MANNERHEIMIN VALOKUVIA AASIAN-MATKALTA 1906-1908. Photographs by C. G. Mannerheim from His Journey Across Asia 1906-1908. Edited by Peter Sandberg, published in 1990.)
L’origine de l’AfricaMuseum remonte à l’exposition universelle de Bruxelles en 1897.
Sous l’impulsion du roi Léopold II, la "Section Coloniale" de l’exposition fut déplacée à Tervuren dans le "Palais de l'Afrique" (anciennement le Palais des Colonies). Les salles accueillaient des animaux naturalisés, des échantillons géologiques, des denrées, des objets ethnographiques et artistiques congolais et des objets d’art réalisés en Belgique. Un village africain qui logeait des Congolais pendant la journée, avait été aménagé dans le parc et a coûté la vie à sept d'entre eux.
Léopold II voyait dans le musée un outil de propagande pour son projet colonial, destiné à attirer des investisseurs et à convaincre la population belge. C'est ainsi qu'en 1898 l’exposition temporaire devenait le premier musée permanent du Congo. Dès ses origines, l’institut était à la fois un musée et un institut scientifique.
Très vite, le Palais de l'Afrique s’avéra trop exigu. Léopold II fit appel à Charles Girault, architecte du Petit Palais de Paris, et entreprit un programme de construction ambitieux. Les plans prévoyaient un site complet avec un nouveau musée du Congo, une école mondiale, un centre de congrès, une gare, des pavillons chinois et un complexe sportif. Ces projets de construction étaient financés par les gains venant du domaine privé royal du Congo. Léopold II étant décédé avant la fin des travaux, c’est le roi Albert Ier qui inaugura le musée le 30 avril 1910 et les travaux de construction furent arrêtés.
Le nom du musée changea plusieurs fois au cours de son histoire. De Musée du Congo, il devint Musée du Congo belge au moment où l’État indépendant du Congo devint le Congo belge. En 1952, par Arrêté royal, le musée prit le nom de Musée royal du Congo belge. Pour finalement devenir Musée royal de l'Afrique centrale lors de l'indépendance. Depuis la rénovation, le musée est plus communément appelé AfricaMuseum.
The origins of the AfricaMuseum date back to the Brussels World's Fair of 1897. At the behest of King Leopold II, the exhibition's "Colonial Section" was moved to Tervuren, to the "Palace of Africa" (formerly the Palace of Colonies). The halls housed taxidermied animals, geological specimens, foodstuffs, Congolese ethnographic and artistic objects, and works of art produced in Belgium. An African village, which housed Congolese people during the day, was set up in the grounds and claimed the lives of seven of them.
Leopold II envisioned the museum as a propaganda tool for his colonial project, intended to attract investors and persuade the Belgian population. Thus, in 1898, the temporary exhibition became the first permanent museum of the Congo. From its inception, the institution was both a museum and a scientific institute.
Very quickly, the Palace of Africa proved too small. Leopold II called upon Charles Girault, architect of the Petit Palais in Paris, and embarked on an ambitious construction program. The plans envisioned a comprehensive site including a new Congo Museum, a world school, a congress center, a train station, Chinese pavilions, and a sports complex. These construction projects were financed by revenues from the royal private domain of the Congo. Leopold II having died before the work was completed, it was King Albert I who inaugurated the museum on April 30, 1910, and construction was halted.
The museum's name changed several times throughout its history. From the Museum of the Congo, it became the Museum of the Belgian Congo when the Congo Free State became the Belgian Congo. In 1952, by Royal Decree, the museum was renamed the Royal Museum of the Belgian Congo. Finally, upon independence, it became the Royal Museum for Central Africa. Since the renovation, the museum is more commonly known as AfricaMuseum.
The Goethestraße. If you're rich, you'll find everyting you need to live the fantasy it in style. And if you're not... oh well, it has a certain ethnographic value, and that's for free.
Thank you everyone for your visits, faves and comments, they are always appreciated :)
Ethnographic village Kostroma in the park "Keys". To create it, in 2011, wooden houses of the late 19th - early 20th centuries were collected from all the settlements of the Belgorod region and brought here.
Prokhorovsky district. May 2022
From the new photo project "Belgorod Land".
Excerpt from Wikipedia:
The Museum of Ethnography is a national museum in Budapest, Hungary.
It was founded as the Ethnographic Department of the Hungarian National Museum in 1872. It formally split from the National Museum in 1947 but moved to its building in Kossuth Square, opposite the Parliament building, only in 1973. The grand building in which the Museum of Ethnography is now housed was originally built by Alajos Hauszmann for the Ministry of Justice.
Seen in FLICKR BLOG,theme EUZKADI blog.flickr.net/en/2010/08/02/euzkadi/
Berroeta,Navarra,Spain
The Baztan valley is a land of noblemen, indianos who returned after making their fortunes in the Americas, smugglers, shepherds and pilgrims who travelled to Santiago along the alternative route that crosses the valley.
Baztan is an evergreen valley with an Atlantic climate and is also the largest municipality in Navarre, covering 374 square kilometres, 15 towns/villages and dozens of caseríos (farmhouses) that dot a landscape of cultivated fields, woods, and meadows in which livestock graze.
There are several medieval palaces and noble houses in the valley, all of them well kept and of great beauty.
The visitor to Arrraioz is met by the haughty figure of the Palace of Jauregizar, a tower of medieval origin with a wooden platform at the top. The road to Ziga leads up to the belvedere of the Baztan, which offers excellent views over the area.
The commercial and administrative centre of Baztan is Elizondo, with its noble houses, palaces and monumental and religious buildings. Baztan has interesting museums such as the ethnographic museum dedicated to Jorge Oteiza (Elizondo) or the Santxotena sculpture museum (Arizkun). It also has delightful spots such as the Xorroxin waterfall (Erratzu), the dolmens of Izpegi and the megaliths of Erratzu-Aldudes.
On the way to the border with France, a road at the top of the Otsondo pass leads to Urdazubi/Urdax, where you can see a mill, a monastery and the spectacular caves of Ikaburu. A guided tour reveals beautiful formations of stalactites and stalagmites and the flowing waters of the Urtxuma, a stream that runs through the caves.
Caves of Urdazubi/Urdax are linked by road or a signposted path to those of Zugarramurdi, which history and legend have always associated with witchcraft.
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El Valle de Baztan es tierra de hidalgos, de indianos que volvieron de ultramar, de contrabandistas, de pastores y de peregrinos que acudían a Santiago por la ruta alternativa que atraviesa el valle.
El Baztan es un valle siempre verde, de clima cantábrico, el municipio más extenso de Navarra, con 374 kilómetros cuadrados, que incluye 15 pueblos y decenas de caseríos que salpican un paisaje formado por prados en los que pasta el ganado, cultivos y bosques.
Son numerosos los palacios medievales y señoriales que adornan las localidades baztanesas, todas de gran belleza y cuidado caserío.
Arraioz recibe al visitante con la altiva figura del palacio de Jauregizar, una torre de origen medieval con cadalso de madera en la parte superior. Si se toma el desvío a Ziga, se asciende al mirador de Baztan, que ofrece una bella panorámica de la zona.
El centro comercial y administrativo de Baztan es Elizondo, con sus caserones, palacios y edificios monumentales y religiosos. Baztan cuenta con interesantes museos como el etnográfico Jorge Oteiza (Elizondo) o el museo escultórico Santxotena (Arizkun), y con bellos rincones donde perderse como la cascada de Xorroxin (Erratzu), los dólmenes de Izpegi y los megalitos de Erratzu-Aldudes.
En el camino que lleva a la frontera con Francia, un primer desvío en las últimas rampas del puerto de Otsondo conduce hasta Urdazubi/Urdax, donde puede visitarse el molino, el monasterio y la espectacular cueva de Ikaburu. Una visita guiada permite contemplar bellas formaciones de estalactitas y estalagmitas y escuchar el murmullo del Urtxuma, un riachuelo que discurre por el interior de la gruta.
La cuevas de Urdazubi/Urdax está unida por carretera o por una senda señalizada con la de Zugarramurdi, que la historia y la leyenda han ligado para siempre a la brujería.
Etar Architectural-Ethnographic Complex
From Wikipedia, the free encyclopedia
The Etar Architectural-Ethnographic Complex (Bulgarian: Архитектурно-етнографски комплекс „Етър“, usually referred to as Етъра, Etara) is an open-air museum 8 km south of Gabrovo in northern Bulgaria that presents the Bulgarian customs, culture and craftsmanship. It spans over an area of 7 ha and contains a total of 50 objects, including water installations and houses with craftsmen's workshops attached. As a whole, the complex's goal is to illustrate the architecture, way of life and economy of Gabrovo and the region during the Bulgarian National Revival.
The museum's construction started in 1963 under the direction and project of Lazar Donkov. The pre-existing Karadzheyka water-mill, built around 1780, was thoroughly reconstructed, with the other objects being constructed later. The complex was opened on 7 September 1964 and proclaimed a national park in 1967, as well as a monument of culture in 1971.
The park features typical Bulgarian revival houses with two floors, bay windows, a clock tower, and a beautifully decorated house by Saakov featuring 21 windows. Using original instruments and following the old traditions, locals represent around 20 characteristics of the regional crafts such as wood-carving, pottery, coppersmith crafts, furriery, cutlery making, needlework etc. There are shops for souvenirs, tourists can enjoy the luxury of a local three star hotel with a bar and a restaurant. There are numerous restaurants in the park where tourist could enjoy the delicacies of local Bulgarian cuisine. There are visitors to the park, from all over the world, all the year round, especially during the annual Christian festivals celebrated in the park, namely, Palm Sunday and Easter. A tourist can become a first-hand witness of these festivals, and observe local traditional rituals.