The analysis of the Săpânţa cultural phenomenon requires first of all the considering of the relation between tradition and innovation, and the manner it manifests itself in the cemetery of Săpânţa. Even if the painted, tall and narrow funerary crosses so peculiar for Săpânţa have performed the role of a substitute of the defunct, being at the same time the display surface for the epitaphs generally celebrating life, I still consider them an innovation introduced by Ioan Stan Pătraş. He intuitively exploited the local traditions of poetry, painting and architecture. Confusions still exist also with regard to the chronology of Pătraş’ concept; however, I advance the opinion that Pătraş’ art dates back to 1934.
The funerary inscriptions from Săpânţa have been considered, at least on the level of public opinion and present-day oral culture, as expressions of a secular and even socialist morality. However, I claim that they are an integral part of the system of popular aesthetic attitudes with a defensive value, emphasizing the value of life and the community axiologies which perpetuate themselves even after death.
