When we refer to the ensemble of cultural interferences in the national art, we have in view, of course, their manifestation in the modern society and especially, in the contemporary life, in a dynamic process. No doubt, the results of our observations cannot bypass the beginnings of the long process from the palest incarnations of archaic times encountered in primitive syncretism to the existence of autonomous exhibitions of various manifestations of art, encountered in much later times. However, given the restricted limits of this paper, our references to archaic syncretic expression will be made only in passing. Likewise, we will not extend the commentary on the importance of environmental and socio-cultural factors, which contributed substantially in those times to the formation and evolution of human collective thinking and behavior in the surrounding nature. For a person of those distant times, the surrounding universe appeared as a whole, but both the natural and the knowledge universe were limited. All members of the group had about the same amount of knowledge about the things around them. The vocabulary was also limited. Perhaps the metaphorical speech of the people of that distant past is explained by an explicable poverty of language. Therefore, the naming of new realities also included words from already existing ones: body parts for objects from the immediate surrounding nature (arm of water, hand from the ground, etc.). Some of these have been passed down over time to the present day („Fatigue, weakness, all the evils that are / In a fatal way related to a handful of earth”. – Eminescu).