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2 .2 .....................................................................................12
2..2..1 - /The definition of museum & its function/
..................................................................................................... 12
2..2..2 /Material culture/ ..................................................17

2..2..2..1 /folk art/ ........................................19

2..2..2..2 /folk architecture/ .................20
2..2..2..3 /folk crafts/ ...........................20
2..2..2..4 /folk costume/ ..........................22

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/tangible evidence/
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23
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 -
-

-
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1. Musems have been founded and have different goals: such as recreational
centers, as educational resources, or as a means of contributing to the
quality life of an area: or to attract tourism to the region, to promote civic
pride or nationalistic endeavor or even to transmit overtly ideological
concepts.
2. Many musemus are finding it an advantage to arrange their exhibits in
three Pathses. First there are simple and clourful displays to appeal the
children the needs of childs world award of wonder and discovery
beginning in terms of the childs home and surroundings as well as leading
on new and wider horizons,The secnd path is that the largest groups of
visitors and adolescents or adult mental equipment is postulated, but
specialized knowledgethird group is the specialists/have special
knowledge and experts who already have considerable practical and
theoretical knowledge conerened with a particular knowledge/subjet.
3. Histogrpahy museums, folk art and ethnographic museums, occupational
folklore museums, maritime tradition museums, ethnic museums, sport
traditional museums,
4. While there is, obviously, a strong corrolation between antiquity and folk
crafts, one cant assume that everything old is folk while every new thing is
non folk. In order to be consider a folk craft, a craft must have been in

61
 fairly general use and not limit or restriction only to the upper group of the
society where learned, specialized, acadamic or sophisticated moods of
transmission exist.
5. In every case the coustum is distinct and identifiable: it identifies the wearer
to the out side culture/world as well as to his/her own culture/ community;
It is prescribed by the community and its form is dictated by the community
of tradition as well as theculture of that community.

1963
()
1991

1993

1986
( )

() 1997

1978

1963

1993

1999

62
 (/) - 1991 .

...1999 .
Dorsen, Richard M. Folk lore and folk life: Anitroduction. Cicago London: The
University of Chicago. 1972
Folk Arts (15th ed.). The New Encyclopedia of Britanica, Vol 19, PP306-312
USA: The University of Chicago. 1993.

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