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segunda-feira, 31 de agosto de 2015

In general there are 4000 caves registred in the Czech Republic; starting with small caverns to large systems of many kilometers.

THE CAVE ADMINISTRATION OF THE CZECH REPUBLIC, is the governmental partially self-financing organization of the Ministry of Environment;

Its mission is to protect and care for show caves and other underground spaces according to the nature and landscape protection regulations and State Mining Authority regulations;

It is a member of the International Show Caves Association.

The Cave Administration cares for the Show caves in the Czech Republic; it arranges steps according to the nature protection demands and ensures the technical protection after the state Mining Authority rules. It also cares for exploration, monitoring, documentation and guide services for the public.

The Cave Administration also participates in given activities in other caves and underground spaces and geological localities of the Czech Republic. It provides the statewide evidence and documentation of caves and other speleological objects.

Currently the Cave Administration cares for 14 Show caves and one mining locality containing cave spaces. It guarantees their protection according to the maintenance plan. In terms of the revitalization program the Cave Administration eliminates negative impacts of previous activities and exploitation of caves as well as renovates their real estate and technical furnishing. External tourist premises are being restored and educational exhibitions are being prepared at them, informative and scientific publications are published.

All caves are protected by the law No.114/1992 on the nature and landscape protection. Show caves are the representative sample of most remarkable caves of Bohemia and Moravia, and they are utilized for educational and entertainment purposes. 700 000 tourists from all over the world visits them annually.

Karst form of the Czech republic are developed nearly exclusively in different types of limestones and less frequently also in dolomitic limestones belonging to main geological and geomorphological units of the Bohemian Massif and Outer Western Carpathians.

The most important karst areas, i.e. Moravian Karst, Bohemian Karst and the prevailing part of karst areas of the northern Moravia, are developed in Devonian limestones and less frequently in Silurian limestones and dolomitic limestones. They are unmetamorphosed or only weakly metamorphosed, but they are strongly faulted and folded during orogenies. 

The major part of small karst areas was developed in crystalline limestones metamor-phosed in different intensity in the Moldanubian, Lugic (West Sudeten) and Moravo-Silesian units, in central Bohemian metamorphic islets, etc. Limestone/dolomite lenses occur also in other metamorphic units. Carbonate rocks are mostly of Lower Paleozoic age.

Jurassic limestones show limited karstification in the Lugicum (Lužický Ridge). Larger karst areas are developed in the Klippen Belt of the Outer Western Carpathians in the eastern part of the republic.

Cretaceous limestones belong to limited facies development of the Bohemian Cretaceous Basin. Distinct karstification is traceable to the west of Kutná Hora City.

Karst areas of the Czech republic represent mostly small islands with imperfectly developed karst morphology and with existing limited variety of karst forms. Also larger karst areas, i.e. Bohemian Karst, are composed of discontinuous mosaic of limestone strips isolated and interrupted by non-karst rocks. Only the Moravian Karst represents more developed karst area with abroad variety of karst phenomena including free underground water streams.

Type of karst. Owing to dominant lithology of karst rocks, our karst areas represent carbonate karst belonging to the Central European Type of polycyclic and polygenetic karst (PANOŠ V., 1964). It is isolated (scattered) type of karst which developed by repeating karstification during changing climatic and geomorphological conditions. Hydrothermal karst, firstly described from Zbrašov Aragonite Caves (KUNSKÝ J., 1957), represents a special type of karst. It developed by activity of penetrating thermomineral waters through a limestone massif.

The specificity of karst areas reflects e.g. their differentiated geomorphological evolution. Owing to small area of carbonate outcrops, the variety of karst forms is highly limited, in places. Karst areas have mostly identical geomorphological evolution with the geomorphological unit to which they belong. Except the Moravian Karst and several other karst areas, their expression in the relief is not distinct. They usually form elevations or short ridges, eventually morphological depressions. The dominant part of surface of carbonate rocks is covered by weathering products and other sedimentary covers of variable age and genesis. The sedimentary cover accelerates karst process, in limited places, or on the contrary it decelerates karst evolution, turning the karst into fossilised state. Evidences of previous karstifications are usually preserved under sediments.

Evolution of karst in our republic can be divided into several more distinct periods of karstification interrupted by orogenic processes and/or marine transgressions. The oldest proved period of karstification took place during the deposition of Lower Paleozoic carbonate rocks, and it is composed of several local phases of karstification. The next period of karstification is connected with final stages of the Variscan Orogeny ad it lasted until the beginning of Upper Cretaceous marine transgression in Cenomanian. A number of fossil karst forms resulted from this period hidden under Cretaceous cover in Bohemian and Moravian Karsts. The youngest period of karstification has been lasting from sea retreat in Upper Cretaceous until the present time. It is subdivided into numerous phases connected to reflections of the Alpine Orogeny in the foreland of the Bohemian Massif and separated either by short marine ingressions (eastern margins of the Bohemian Massif) and/or by expressive phases of accumulation of continental sediments (Neogene coal-bearing basins, Tertiary to Quaternary terraces). The most important underground cave systems developed during Tertiary in the Bohemian, Moravian and North Moravian Karsts, and in some of other isolated karst islands. Above mentioned phases of karstification produced typologically different karst forms in the dependence to tectonic, climatic and hydrological conditions. The evolution of karst areas differed also in different regions.

Pseudokarst phenomena often occur in the Czech Republic. They are represented by karst and morphologically similar forms developed in non-karst rocks. They are especially rich in thick sequences of Upper Cretaceous sandstones of the Bohemian Cretaceous Basin. Caves developed along fissures, bedding planes and in blocky screes are common, as well as fissure shafts and niches. A number of those natural forms was changed by man. Features developed in calcareous spongilites, marlstones and calcareous sandstones of the Bohemian Cretaceous Basin are often classified as transitional or karst forms. 

The most extensive systems of pseudokarst fissure and scree caves and shafts are developed in sandstones and marlstones of the flysh zone of Western Carpathians.

Processes connected with young relief originated fissure caves in volcanic rocks of the Èeské støedohoøí Mts. Syngenetic inhomogeni-ties probably represent the basis of cavities in volcaniclastic rocks of the Doupovské hory Hills.

Pseudokarst cavities, i.e. mostly covered open fissures, fissures and cavities in scree in isolated rocks and rocky cliffs, occur in places within the whole territory of our republic. They are developed in solid rocks with blocky disintegrations, especially in magmatic and metamorphic rocks.

fonte: @edisonmariotti #edisonmariotti

Vanadzor Museum of Fine Arts, was founded as a branch of the National Gallery of Armenia.

Our Museum maintains a rich and impressive collection of artwork. In fact, Vanadzor is home to a very large and vibrant group of artists of various media, and was historically known as the heart of Armenia’s art community.

Highslide JS

The Museum is located in the beautiful Lori Region near other world renowned visitor’s attractions. For tourists, Vanadzor is a perfect stop on your trip. Our visitors section on the website can help you plan your excursion and learn more about the Lori Region. Both day trips from Yerevan and overnight visits incorporating other destinations are possible and very enjoyable.

We stand ready to assist you with your visit. The Museum can accommodate groups of students, adults, tourists and visitors from around the world. We can arrange for guided tours and translators in just about any language you request if you give us advance notice.

I also welcome your ideas for special events and exhibitions. We have hosted lectures, seminars, readings, performances and even concerts at our Museum. What better place to hold your special event!

For those of you that are unable to visit Armenia and Vanadzor at the moment, we hope this site provides a virtual tour of our collection, our scholarly works, and serves as a valuable source of reference for anyone interested in Armenian art.

Feel free to contact us by telephone or email with your questions and ideas, and we look forward to seeing you soon.


Papag Aloyan
Director, Vanadzor Museum of Fine Arts

fonte: @edisonmariotti #edisonmariotti


Vanadzor, Armenia’s third largest city was also known as Kirovakan during the Soviet Period. Vanadzor is located in the picturesque Lori Region which is in North East Armenia and borders on Georgia. Vanadzor is easily reached by car and is located approximately 120 km from Yerevan on excellent roads. The Lori Region is picturesque and many proclaim that Lori is the most beautiful region in Armenia. Streams and rivers converge through mountain passes greatly contributing to a visitor’s experience.

The Lori Region is home to many significant historical and religious sites, many recognized by the UNESCO World Heritage List. The picturesque city of Dilijan, known as the Swiss Alps of Armenia, greets visitors in Lori with its hilly landscape and rich foliage and charm. Famous Churches of Goshavank and Haghartsin and monasteries of Sanahin and Haghpat, where Sayat Nova and others taught are located on hill tops with breathtaking views. The mountain top plateau community of Odzun is home to a magnificent 7th century cathedral, which was recently reopened and is now a working Church. A 12th Century foot bridge crosses the Debed River in the city of Alaverdi and can be crossed by visitors today.

Culture and art has thrived throughout the centuries in Lori thus earning its place as Armenia’s cultural center. The famous poet, Hovanes Toumanyan lived in the village named after him and a museum in his honor is open to visitors. Scores of well-known artists, sculptures and artisans have made the Lori Region their home over the centuries. Excellent examples of their work can be found in the collection of the Vanadzor Museum of Fine Arts.

In 1974, the Vanadzor Museum of Fine Arts was founded as a branch of the National Gallery of Armenia. In 1979, it was reorganized and received the status of an independent Museum of Fine Arts with its own collection. Since then, the Museum has become one of the most prominent cultural centers in the Lori region.

The Museum houses more than 1,700 works of art in its permanent collection including: paintings, sculptures, drawings, prints and works of decorative arts mostly by Armenian artists, with a special emphasis on artists of the Lori region. Visitors can admire outstanding works of art depicting different episodes of Armenian history, or delve into the deep philosophy behind various works of art. Special exhibitions are also held.

The Museum serves as an educational resource and research environment for students and artists. Lectures and workshops explore art history and art criticism. Museum staff provides special tours and classes for students.

Though the Museum receives modest state support, the Museum relies on support from private individuals and foundations to grow its impact as an important destination in the Lori Region.

Musée National de la Céramique à Safi

Aperçu historique :

Construite sous les Almohades (XII-XIII ème siècle), la citadelle qui abrite le musée national de la céramique est classée monument historique. Son emplacement, surplombant la médina de Safi et offrant une vue sur l'océan, atteste de son rôle défensif. C'est pour cela qu'elle fût occupée par les portugais entre 1508 et 1514 comme en témoigne les armoiries du roi Emmanuel 1 er qu'on peut constater sur l'une des tours de la citadelle. Le rôle militaire de cette fortification va être mis en valeur par les Saadiens. C'est ainsi que Moulay Zidane l'a doté de plusieurs canons de fabrication hollandaise.

Sous la dynastie Alaouite, la citadelle allait recevoir vers 1762 la bahia , demeure palatiale construite par le prince Moulay Hicham fils du Sultan Sidi Mohammed Ben Abdellah. C'est vraisemblablement à cette époque qu'on doit le nom de maison du sultan (Dar Essoltan) que conserve encore la tradition orale.

Après avoir été le bureau du contrôleur civile sous le protectorat français, ce monument fut le siège de plusieurs administrations avant de devenir le musée national de la céramique en 1990.

La nouvelle exposition permanente :

Conçue pour faire approcher le grand public à la céramique marocaine, à sa diversité et à son authenticité, cette nouvelle exposition répond également à un souci didactique.

C'est ainsi que le circuit de la visite, élaboré sous le signe de l'équilibre entre l'architecture et les collections, offre un voyage à travers les temps et les lieux de la céramique.

Les sections de cette exposition sont :
La céramique archéologique :

Présente des pièces archéologiques représentatives des grandes civilisations qui ont marqué l'histoire marocaine pendant les temps néolithique, antiques et médiéval.
La poterie rurale :

La céramique est présentée sous sa forme locale, utilitaire mais belle.

L'absence de l'émail laisse apprécier la couleur de la beauté des formes.
La céramique de Fès et Meknès :

Des pièces citadines y sont exposées. Le visiteur découvre les formes authentiques et les techniques ancestrales de la monochromie et de la polychromie.
La céramique de Safi :

Joyau de l'exposition, cette section raconte l'histoire du savoir-faire locale avant et après l'artisan Lamali.
La céramique contemporaine :

Est représentée par les ouvres modernes de Fès et de Safi. Le visiteur est invité à apprécier la touche innovatrice des maitres-artisans contemporains.


fonte: @edisonmariotti #edisonmariotti

Musée National de la Céramique Casbah-Safi
Tél. : (212) 544-46-38-95

Neanderthals liked their creature comforts too! Spanish cave suggests ancient man had HOT WATER and bedrooms. OS HOMENS DAS CAVERNAS TINHAM ÁGUA QUENTE E ATÉ UM QUARTO

Cave near Barcelona in Catalonia features hearths and a concave hole
Hole suggests Neanderthals heated rocks for hot water 60,000 years ago
Archaeologists believe a central area of the cave was used as a bedroom because fewer artefacts and bone debris were found there 
Abric Romaní site yielded 10,000 new fossil remains and artefacts

You may imagine Neanderthals to be simple thugs or messy heathens.

But the discovery of a cave in the Catalonia region of Spain adds to a growing body of evidence that our distant cousins were more sophisticated than previously thought.

A hole in the rock shelter, found among hearths, suggests Neanderthals may have heated rocks and used them to produce hot water 60,000 years ago, as well sleeping in a specific area.

The discovery of a cave in the Catalonia region of Spain adds to growing evidence that Neanderthals were more sophisticated than previously thought. A hole in the rock shelter (pictured) found among hearths, suggests Neanderthals may have heated rocks and used them to heat water 60,000 years ago

The Abric Romaní site, near Barcelona, also yielded 10,000 new fossil remains and artefacts which will help experts learn more about the domestic lives of the prehistoric man.

The concave hole was discovered by archaeologists from the Catalan Institute of Human Paleoecology and Social Evolution (IPHES). 

It measures 16 inches x 12 inches x 4 inches (40 x 30 x 10cm) and is located near the wall of the cave. 

But what is particularly interesting about this hole is that is enclosed by hearths showing evidence of fires.

Hearths have been discovered in other Neanderthal dwellings, and it’s been suggested that they even cooked their food by boiling it in a bag made of skin, or a birch bark tray to soften it – possibly seasoning the meat with herbs.

An inner part of the cave (pictured) is thought to have been used for sleeping, because far fewer artefacts were found there and remains are small in size. The archaeologists claim the site offers the first evidence of a Neanderthal ‘bedroom’ and similar spaces have only been discovered in early Homo sapiens dwellings

Together with other artefacts in the cave, the hole suggests Neanderthals used different parts of the cave for different activities such as butchering meat, making tools and throwing out rubbish. An illustration showing Neanderthals together is pictured

Now, experts believe think they may have dropped hot stones, heated on these fires, in water to heat it. 


Neanderthals may have cooked stews in the skins of animals, according to anthropologists.

Animal bones found at sites known to have been inhabited by Neanderthals are 90 per cent free of gnaw marks.

This suggests that fat and meat had instead been cooked off the bones.

A study of tooth plaque from the teeth of fossilised Neanderthal remains also suggest that they may have heated grains of barley.

However, there is no evidence that Neanderthals had any pots or pans to cook with.

Instead Professor John Speth, an archaeologist at the University of Michigan, believes that they used animal paunches and folded bark to make bags that they could boil their good in. 

Together with other artefacts, the hole suggests Neanderthals used different parts of the cave for different activities such as butchering meat, making tools and throwing out rubbish.

Lithic stone tools and shards of material used to make them have been recovered made from flint, limestone and quartz.

Bones of horses, red deer, aurochs and wild goats confirm what Neanderthals hunted and ate.

The bones have cut marks made by the tools and it is thought that the bones belong to 15 animals.

But more excitingly, an inner part of the cave is thought to have been used for sleeping, because far fewer artefacts were found there and any remains are small in size.

The archaeologists claim the site offers the first evidence of a Neanderthal ‘bedroom’ and that similar spaces have only been discovered in early Homo sapiens dwellings elsewhere.

They have previously identified sleeping areas in the ‘Level N’ of the Abric Romaní site, dated to around 50,000 years ago and published in the journal Current Anthropology in 2011.

However the 'new' cave has bigger hearths and shows a higher density of remains, making the different areas of the cave clearer than before,

The team has painstakingly photographed the cave and artefacts in-situ to study the spatial settlement pattern of the site further.

Reconstructed surfaces will feature in a future exhibit at the Neanderthals Museum of Catalonia in Capellades.

Scientist discusses way of life for the Neanderthal people

The Abric Romaní site, in Capellades near Barcelona (marked), also yielded 10,000 new fossil remains and artefacts which will help experts learn more about the domestic lives of the prehistoric man. The concave hole was found by archaeologists from the Catalan Institute of Human Paleoecology and Social Evolution (IPHES)

Lithic stone tools have been recovered made from flint, limestone and quartz, as well as bones of horses, red deer, aurochs and wild goats (a mixture is shown) confirming what Neanderthals hunted and ate

Sítio descoberto na Espanha tem indícios de que nossos antepassados usavam pedras para aquecer a água

Aquela história de que os neandertais eram burros e grosseiros pode estar com os dias contados. Uma descoberta em uma caverna na região de Catalunha, na Espanha, tem evidências de que o nosso parente distante era mais sofisticado do que imaginávamos.

De acordo com o Daily Mail, os arqueólogos do Instituto Catalão de Paleoecologia Humana e Evolução Social (IPHES) descobriram indícios em uma caverna que sugerem que o homem pré-histórico pode ter usado pedras quentes para a aquecer água há 60 mil anos atrás.

A pista para a desconfiança dos estudiosos foi encontrada na própria caverna que é cercada por lareiras e mostra evidências de incêndios. Em outras civilizações de Neandertais as lareiras descobertas sugerem que elas eram usadas para cozinhar alimentos em um saco feito de pele ou em uma bandeja de casca de bétula (espécie de árvore). Agora os cientistas acreditam que eles esquentavam as pedras nas lareiras e depositavam as pedras quentes na água para conseguir aquecê-la.

E as novidades não acabam por aí. Os nossos antepassados não tinham sala de visitas, mas eles também separavam partes da caverna de acordo com a atividade exercida. No buraco, pistas indicam que existiam locais específicos para fazer ferramentas e até para dormir. Os arqueólogos acham que o local da caverna com menos artefatos pode ter sido um quarto. Eles afirmam que o sítio oferece a primeira evidência de um “quarto” de um Neandertal. Espaços como esses só haviam sido identificados em habitações de Homo sapiens.

Ferramentas feitas de pedra, sílex, calcário e quartzo e cacos de materiais usados ​​na fabricação delas foram recuperadas para estudos. Ossos de cavalos, veados e cabras selvagens também serão estudados para confirmar o que os neandertais caçavam e comiam.

A caverna está situada no sítio Abric Romaní, perto de Barcelona, que também abriga 10.000 novos restos de fósseis e artefatos que ajudarão especialistas aprender mais sobre a vida do homem pré-histórico.

Caverna encontrada na Catalunha sugere que Neandertais esquentavam água usando pedras quentes (Foto: Instituto Catalão de Paleoecologia Humana e Evolução Social)

Museu de Roma promove diálogo entre esculturas e alta-costura - O que é luxo ?

A Galleria Borghese, em Roma, acolhe uma exposição que confronta as criações do costureiro Azzedine Alaïa e as obras esculturais de seu acervo. A agenda cultural europeia desta semana segue na temática da moda e faz escala no museu de Belas Artes de Bruxelas, que homenageia os estilistas belgas, antes de passar pelo Victoria & Albert Museum, em Londres, que se questiona sobre o verdadeiro sentido do luxo.

Peças esculturais do costureiro Azzedine Alaïa estão confrontadas ao acervo da Galleria Borghese, em Roma.

Apesar da overdose de marcas que compõem o universo da moda, raros são os estilistas que deixam um vestígio ao ponto de serem estudados nas escolas de design. Um deles é o franco-tunisiano Azzedine Alaïa, ícone dos anos 1980 e 90 que marcou a história por seu estilo, mas também por sua maneira especial de ver o mercado. Seguindo seu instinto, o discreto costureiro esnobou durante muito tempo o ritual dos calendários de desfiles e só apresentava suas coleções quando “se sentia pronto”. Mas além desse ritmo próprio, sua principal característica foi a paixão pelo corpo feminino, ao ponto tratá-lo como uma escultura.

Essa relação de Alaïa com a silhueta inspirou a realização de uma exposição que acontece nesse momento na Galleria Borghese, em Roma. Situado no parque que leva o mesmo nome, o museu italiano, conhecido por suas esculturas, decidiu confrontar seu acerto ao trabalho do franco-tunisiano. Batizada "Costura/Escultura", a mostra, que vai até 25 de outubro, cria um verdadeiro diálogo entre os vestidos do costureiro e as obras de grandes pintores e escultores, como Rubens ou Antonio Canova que, como Alaïa, tentaram em algum momento de suas carreiras sublimar a o corpo feminino.

Durante o percurso, o visitante se dá conta que, mesmo se uns trabalham com seus pinceis, estecas e formões, enquanto os outros moldam com tecidos ou couro, as disciplinas têm mais em comum do que imaginamos. E quando descobrimos que o mestre das tesouras estudou Belas Artes na juventude, pensando em um dia se tornar escultor, esse diálogo se torna ainda mais pertinente.

Os belgas na moda

Outro programa para quem estiver de passagem pela Europa nesse final de verão no hemisfério norte é a exposição “Les Belges - Une histoire de mode inattendue” (Os belgas, uma história inesperada da moda). Organizada pelo BOZAR, o museu de Belas Artes de Bruxelas, a mostra dá aos visitantes alguns indícios para explicar como um pequeno país, quase do tamanho do estado de Alagoas, conseguiu se impor com uma das referências do mundinho das passarelas.

Esse "momento" belga começou no início dos anos 1980, quando um grupo de colegas com nomes impronunciáveis, que ficou conhecido como os “Seis da Antuérpia” ganhou fama internacional. De uma hora para outra o mundo descobriu que aquele país minúsculo tinha, não apenas uma tradição têxtil e de design, mas também excelentes escolas de moda, como La Cambre ou a Academia Real de Belas Artes da Antuérpia, que formaram alguns dos principais talentos da atualidade. De Martin Margiela a Raf Simons, passando por Dries Van Noten e Diane von Fürstenberg, o evento apresenta peças de 70 estilistas, desde os pioneiros até a nova geração. O belo catálogo que acompanha o percurso completa a exposição, que fica em cartaz até 13 de setembro.

O que é luxo ?

O mundo da moda tem se inspirado muito nos últimos tempos dos códigos do luxo. Mas afinal, o que é luxo ? Essa vasta questão é abordada em uma interessante exposição que acontece até 27 de setembro no Victoria & Albert Museum, em Londres.

Didáticos, os comissários abordam o assunto não apenas como um mercado bilionário, mas também como um motor para o artesanato e a vitrine para técnicas de produção ameaçadas de extinção. Dividida em temas como "exclusividade", "precisão", "opulência" ou "autenticidade", a mostra "What’s luxury?" traz elementos históricos, mas se interessa principalmente pelos critérios do que pode ser considerado luxuoso nos dias de hoje. Será que o luxo na vida é ter tempo, gozar de liberdade em suas escolhas, ou simplesmente consumir produtos industrializados ? Para quem ainda acredita que tudo isso é apenas uma questão de dinheiro, o fato de que a entrada da exposição londrina seja gratuita é um talvez um bom indício da resposta.

fonte: @edisonmariotti #edisonmariotti
© Ilvio Gallo Silvano Mendes

Folklife & Ethnological Museum of Macedonia - Thrace .. The F.E.M.M.-Th. explores and studies the traditional culture of recent times in the region of northern Greece.

The Fοlklife and Ethnological Museum of Macedonia-Thrace is a permanent non-profit-making institution, a legal entity in public law operating under the supervision of the Ministry of Culture. 

Through knowledge of the society of yesterday the Museum hopes to promote a better understanding today's world. Its role is first and foremost a social one. Through its varied activities (exhibitions, educational programmes, publications and other activities) it communicates with the public and participates in the culture and life of the community. 

According to the legislation founding the Museum, its purpose is: 
1. to familiarize the public, and particularly the younger generation, with the traditional culture of our recent past, 
2. to raise public awareness of the material and spiritual elements of our recent cultural heritage, 
3. to preserve collective memory, 
4. to promote understanding and interpretation of the past and its organic links with the present day. 

Within this context the objectives of the Museum are defined by the specific activities in which it is involved, namely: 

1. In the area of research: Promotion of scientific research and study (ethnological-ethnographic) of traditional material from the culture of recent times in Macedonia and Thrace, in collaboration with other agencies or institutions here and abroad, 

2. In the area of museum management: Preservation and safekeeping of the relics of our traditional culture, and communication of the results of its research in all possible ways (exhibitions, publications, guided tours, educational programmes, conferences, events, etc.), 

3. In the area of consultancy: Offering advice and opinions to museums and collections in northern Greece and working with societies and agencies to achieve the fullest possible promotion of traditional culture.

fonte: @edisonmariotti #edisonmariotti