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The Historical Museum of “SKOUFAS”narrates the history of Arta from antiquity until the Modern times. It has been organized according to all modern perceptions about the science of museology, which state that museums are live spaces of education.

So the compositions of the museum are created in order to help the visitor, as he passes through the rooms, to watch and learn the history of Arta in chronological order and in pleasant and comprehensible way.

In the section of ANCIENT AMVRAKIA, the composition has elements that bring to mind a real archaeological excavation. It presents King Pyrrus into a mirror so as to highlight his distinguished place in the history of Epirus in a symbolic way.

Passing from the antiquity to the BYZANTINE ERA, the visitor walks through the castle, the central monument of Byzantine Arta. This representation aims at giving the sense of the atmosphere of the “Despotate” of Epirus.

The ROOM of OTTOMAN DOMINATION is characterized by an abstractive painting representation of Imaret, a representative monument of that era, which is rescued until today. Into this room, several other ottoman scenes are also presented in the same fashion. The black color in all this space expresses the “black years of slavery”, while the flame of the Greek revolution is symbolized with the placement of arms in the two openings under the pedestals of the exhibits. The idea to present the moments from the fights and the life of Greeks in a Turkish “mosque”aims to express symbolically the continuous efforts for the rebirth of the Greek nation.

The passage to freedom is presented with the conventional representation of BRIDGE, which was the first border between Greece and Turkey in 1881. The visitor, as he continues his tour in the remaining rooms of the Museum, walks in the way the fighters did; at the same time the exhibits inform him about the historical events that are connected with the Bridge.

Moments from Arta’s life in Modern times are shown when the visitor passes through the representation of an old neighborhood, with paved street, houses and the dancing room. In the same place, a composition with the form of an avenue that continuously widens presents symbolically the progress of Arta in various sectors.

Last station in the visitor’s tour in the museum is the office of the Donor, Petros Garoufalias, where his personal heirlooms speak for the personality and the action of this important politician.

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The building that was selected for the accommodation of the Folklore Museum, is a two-storey neoclassical building that was built in 1864 by an Austrian architect. It was initially used as an outpost of the Bridge and later as a frontier station of the Turks. Besides, the treaty of 1881 fixed the borders between Greece and Turkey in the middle of the Bridge. Museum’s collections include objects from the material life (professions, rural occupations), domestic utensils, bodies of craftsmanship, carnival disguises, costumes as well as material (printed and figurative) related to the legend of the Bridge.

In the room “INTERIOR of CHURCH”  the ecclesiastical objects of the collection (pulpit, pictures, icon stand) present a dynamic image of the Divine Service with the form of priests praying under the sound escort of psalmody that is heard into the specific room intensifying the sense created by the suitable lighting. 

The room of “LEGEND of the BRIDGE” prepares the passage through an intermediary space, where the assembled printed material and figurative creations or testimonies are referred to the bridge. The scenic configuration of space frames “topographically” the information given by the automatic photo-audio program for the history of the Bridge. The elements that compose the scenery (pebbles of river in the floor, natural vegetation, blue diffuse lighting) pursue the suppression of natural limits that separate the building of the museum from the neighboring Bridge as well as the unification of the internal exhibition space and countryside, through the conjunctive driver of the unique open window overlooking the Bridge. 

In the scale that leads from the ground floor to the first floor is developed Arta’s CARNIVAL. With the conversion of the two windows located along the stairs in a balcony with dressed up people who bend towards the visitor, who passes in front of them, this space is transformed into a stone path; the latter is shown on the big picture, which is mounted on the wall of this room and composes a rarely visual testimony of carnival celebration at the beginning of our century. 

The “NEIGHBORHOOD with the LABORATORIES” includes various laboratories (shoemaker's, wine factory, etc.), where the craftsmen show an instantaneous movement during their work. The exhibits for the RURAL OCCUPATIONS (agriculture-livestock-farming) are shaped in a facade of hut, which is dominated by a giant photograph of forest, while several natural trunks have been placed in order to give the impression of countryside. The abstractive statement of flocks is realized with the suspension of many bells that hover freely in the space.

The last room called the “INTERIOR of a HOUSE” with all the household items and clothing is an endpoint of the path followed by the visitor from the “exterior world” to the residence. The addition of two female figures, woman in the loom and grand mother who lulls the baby in the crib, contributes to dynamic regeneration of life.