Dr Mila POPOVI]-@IVAN^EVI] Dr Mila POPOVI]-@IVAN^EVI] savetnik konzervator, {ef OPZ Dijana councillor-conservator, Chief OPZ Diana

RE^ UREDNIKA THE WORD OF EDITOR

Po~etkom devedesetih godina pro{log veka svi oni koji It is important for the founders of Diana that they reali- su se kasnije okupili oko Dijane shvatili su da se svet pro- sed that world has been changed in the beggining of the menio, da nasle|e nije pripremljeno za te promene i da 90’s of previous century, that heritage is not prepared for je ba{tina zbog toga po~ela ubrzano da propada. Shvati- those changes and that heritage began to deteriorate ra- li su da je potreban druga~iji teorijski, metodolo{ki i pidly. Because of these facts different theoretical, metho- prakti~an pristup o~uvanju i za{titi ba{tine, koji – ubr- dological and practical approach of protection and pre- zo je to postalo jasno – mora da po~iva na organizovanju servation of heritage was needed, and it soon became pogodne sredine i na interdisciplinarnim i integrativnim clear that that approach will preferentially suit by orga- merama za{tite. To je bilo jedno od najva`nijih i prelom- nizing convenient enviroment and interdisciplinary and nih razdoblja u dugoj istoriji za{tite (a organizovana za- integrative measures of protection. This is one of the most {tita ba{tine neprekidno postoji jo{ od anti~kih rimskih important periods in the long lasting history of protec- vremena). Taj period nametao je neminovne i su{tinske tion (that has lasted in an organized manner and con- promene kod profesionalaca i u institucijama za{tite u stantly since the time of the Romans), and this period de- odnosu prema ba{tini i u na~inu organizovanja slu`bi mands necessary and essential changes on professionals za{tite. Naravno, bile su neophodne i promene u obrazo- and institutions of protection concerning heritage and, vanju novih generacija za{titara, ali i u {iroj javnosti i in the way of organization of services of protection. Of odgovornim telima dr`ave. Morala su se menjati uobi- course, the changes of educational system of new gene- ~ajena shvatanja o za{titi nasle|a – bilo je potrebno raz- ration of conservationists, and public and responsable mi{ljati o prilago|avanju nasle|a savremenoj poreme}e- governmental bodies were necessery. Ordinary compre- noj okolini i o njegovom uklju~ivanju u savremeni `ivot, hensions of protection of heritage had to be changed, o na~inu o~uvanja njegovog integriteta u okviru odr`ivog adapted to contemporary disordered environment, inclu- razvoja, o tome kako nasle|e preneti narednim genera- ded in contemporary life, preserved its integrity within cijama u svoj njegovoj vrednosti, lepoti i celovitosti. sustainable development, detained its compromise for Na`alost, u vreme kada institucije za{tite u Evropi the next generations, transmited to the next generation po~inju ozbiljno da se revitalizuju i prilago|avaju novim in all its value, beauty, completeness, integrity. civilizacijskim elementima, a u skladu s promenama u Unfortunatelly, at the time when the Europian in- sredini u kojoj se nalaze i s novom dru{tvenom ulogom stitutions of protection seriously begin to revitalize and koju nasle|e dobija u razvoju pojedinih nacija, kao i adjust to new elements of civilization, in compliance with evropskog dru{tva u celini, stanje u Srbiji je, usled po- the changes of enviroment and the new social role and gor{anja ekonomsko-politi~kih prilika i dugogodi{nje responsibility which heritage assumes through develop- ekonomske i stru~ne izolacije, bilo posebno te{ko. Na{a ment of paticular nations and whole Europian society, zemlja ima dugu tradiciju prirodnog pra}enja teorijskog The situation in Serbia, because of deterioration of eco- i prakti~nog razvoja metodologije za{tite, a na{i stru~- nomic and political situation and economic and professi- njaci negovali su profesionalni kontinuitet u konzerva- onal isolation, was especially complicated and difficult. ciji jo{ od sredine XIX veka. Po~etkom devedesetih go- Our country has a long lasting tradition of following the dina, me|utim, odgovorne institucije vlade i institucije theoretical and practical development of methodology za{tite gube kontrolu nad op{tim i nacionalnim strategi- of protection, and in the history of conservation we often jama razvoja i o~uvanja kulturnog i prirodnog nasle|a. had very high scientific human resources who have been U institucijama za{tite zamiru osnovne funkcije i aktiv- cultivating professional continuity since the middle of nosti. Prekida se kontinuitet s prethodnim razvojem i 19th century. Unfortunatelly, in the beginning of 90’s,

01 praksom, sa op{tim tokovima razvoja za{tite i njene me- responsible institutions of government and protection todologije, prestaju me|unarodna saradnja i razmena lost control over general and national strategies of deve- informacija, znanja i ideja. To u dobroj meri doprinosi lopment and preservation of cultural and natural heri- profesionalnoj i eti~koj degradaciji zaposlenih u institu- tage. In the institutions of protection general functions cijama za{tite. Oni u to vreme nisu vi{e u mogu}nosti da and activities died away. Continuity is disrupted with pre- na adekvatan na~in odgovore svojim profesionalnim oba- vious development and practice, with the general flow of vezama i novim izazovima struke, da prilagode svoju development of protection and its methodology, inter- profesiju i institucije novim strate{kim zahtevima o~u- national cooperation and exchange of information, know- vanja nasle|a. ledge and ideas have ceased. All this contributed to pro- Narodni muzej u Beogradu zbog toga sredinom deve- fessional and ethical degradation of professionals in the desetih godina pro{log veka pokre}e projekat koji inicira, institutions of protection. They are no longer capable to razvija i u muzeolo{koj praksi pru`a odgovaraju}e teo- respond to their professional commitmens and challenges, rijske i metodolo{ke koncepte novog sistema za{tite na- to adjust their profession and institutions to the new sle|a. Pravilno je procenjeno da stru~njake treba pripre- strategic demands of preservation of heritage. miti za nov koncept za{tite, ali da se moraju pripremiti In the mid 90’s of previous century the National i oni koji tek dolaze. U skladu s tim, Narodni muzej 1997. Museum started a project which initiates, develops and godine pokre}e edukativni projekat Dijana, koji putem reaches, in the museum’s practice, adequate theoretical razli~itih metodolo{kih elemenata sistematski razvija and methodological concepts of the new system of heri- slo`ene edukativne programe, spontano oslonjene na tage protection, that is necessary for preparation a new globalne strategije i izri~ito prilago|ene posebnim po- concept of heritage for the actual experts and for the ones trebama Srbije, a – kao {to se ubrzo pokazalo – i potre- that are coming. bama regiona Balkana. The National Museum in Belgrade started an educa- Od samog po~etka projekat Dijana bio je postavljen tional project called Diana in 1997, and that project, thro- kao sveobuhvatan, integrativni teorijski koncept za{tite, ugh the different methodological elements, systemati- koji u jedinstven interdisciplinarni sistem uklju~uje sve cally develops complex educational programs, which are sadr`aje ba{tine i koji koristi metodologiju preventivne spontaneously based on global strategies and adjusted konzervacije za svoju primenu u praksi. Dijana pomera to specific demands of Serbia, and soon it will become te`i{te konzervacije, defini{u}i je kao interdisciplinarni obvious that it can refer to the whole region of Balkan. sistem mera brige za ba{tinu. Narodni muzej je prepo- From the very beginnig Diana project was set as znao i dozvolio razvijanje takvog projekta, alternativnog wholesome, integrative and theoretical concept of pro- u postoje}em sistemu za{tite, i to ne samo u Srbiji ve} i tection, which includes all contents of heritage in an {ire. Narodni muzej je jo{ jednom u svojoj dugoj istoriji unique interdisciplinary system and uses the methodo- pokazao da ima pozitivne i kreativne resurse, one koji logy of preventive conservation for its use in practice. op{tim kontekstima daju nova tuma~enja, koji prilagod- Diana defines it as an interdisciplinary system of meas- ljivo, `ivo, pragmati~no i neformalno reaguju na savre- ures of care for heritage. The National Museum recog- mene sveobuhvatne potrebe za{tite ba{tine; potvrdio je nized and allowed for development of a project like this da male sredine, re{avaju}i svoje nagomilane probleme, one in Serbia and beyond. same dolaze do op{tih strategija, da ih ve{to koriste i The National Museum showed once again in its hi- prilago|avaju sopstvenim interesima. story that it has positive and creative resources, which Dijana je insistirala na tome da je preventivna kon- give the new explanations of general contexts; which react zervacija kao strategija izuzetno va`na za za{titu kultur- to contemporary wholesome needs in vivid, pragmatic nog nasle|a u zemljama u tranziciji. Devastirana podru~- and informal way; it also verified that the small commu- ja Balkana i jugoisto~ne Evrope zahtevaju ~vrst i dobro nities make themselves the general strategies by solving organizovan, sveobuhvatan sistem aktivnosti i mera, si- its numerous problems, that they use it proficiently and stem koji ni{ta ne podrazumeva, ve} na istom zadatku adjust it to they own interests. povezuje sve aktivnosti muzeja, odgovornih institucija Diana has insisted on the preventive conservation vlasti i javnost. Tako je na Generalnoj skup{tini Uneska as the very important strategy for the protection of the 2003. godine u Parizu prihva}ena Rezolucija Srbije i Crne cultural heritage in the countries of transition. The de- Gore o preventivnoj za{titi kao osnovnoj strategiji za{tite vastated areas of Balkan and South East Europe demand ba{tine, posebno za zemlje u razvoju i tranziciji. Tu re- solid and well organized, wholesome system of actions and zoluciju u potpunosti je pripremila Dijana. measures which closely connect all the actions of muse- Dijana svoje programe i projekte u najve}oj meri ums, adequate governmental institutions and public in ostvaruje partnerski, s renomiranim institucijama i orga- an unique task. That is how The Resolution of Serbia and nizacijama za{tite, kao {to su: ICOM, ICCROM, Unesko, Montenegro about preventive preservation was accepted ICOM-SEE, C2RMF, AC Var, Muzej antike u Arlu, Muzej at the General Congress of UNESCO in 2003 as a fun- Makedonije, Narodni muzej Slovenije, Zemaljski muzej damental strategy of heritage preservation, especially u Sarajevu, Muzej Krajine u Banjaluci, Narodni muzej for the countries in transition and development. Diana Crne Gore, Muzeji Hrvatskog Zagorja, a sara|uje i s prepared this resolution completely.

202 mnogim stru~njacima iz muzeja i institucija za{tite iz Diana mostly realizes its programes and projects as Srbije i svih zemalja jugoisto~ne Evrope. a partnership with the renowned institutions and orga- Dijana s krajnje otvorenim stavom u svoje programe nizations of protection: ICOM, ICCROM, UNESCO, uklju~uje sve one koji su profesionalno zainteresovani i ICOM SEE, C2RMF, AC Var, The Museum of Antique in ambiciozni. Sve aktivnosti u Dijani povezane su sa oni- Arl, The Museum of Macedonia, The National Museum ma u Narodnom muzeju, ICOM-u Srbije, ICOM-SEE-ju of Slovenia, The Planetary Museum in Sarajevo, The i neprestano se uskla|uju sa strategijama na globalnom Museum of Frontier in Banja Luka, The National Museum nivou, koje uspostavljaju ICOM, Unesko, ICCROM i dru- of Montenegro, The Croatian Zagorje Museum and with gi. Dobar deo sada{njih regionalnih projekata pre vi{e the other participants from the museums and protec- godina za~et je u Dijani; oni se sada, kao dobro razra|e- tion institutions from Serbia and the other countries of ni i etablirani, preme{taju iz Srbije u druge zemlje regi- the region of South East Europe. ona: u Albaniju, Makedoniju, Rumuniju, Hrvatsku itd. Diana, with its open attitude, includes in its progra- (Arheolo{ka konzervacija, Osnovi preventivne konzervacije, mes all of those who are interested professionally and Procena i kontrola rizika, SEE TIEM-MEP i drugi). ambitious. All Diana’s activities are mutually connected Tokom poslednje decenije, dakle, Dijana – u skladu with the activities of The National Museum, ICOM in sa op{tim strategijama – svoje nau~no i stru~no te`i{te Serbia, ICOM SEE and they have been adjusted to the u organizovanju efikasne i efektivne slu`be za{tite kul- strategies on the global level which come from ICOM, turne ba{tine pomera ka bliskoj povezanosti izme|u UNESCO, ICCROM and etc.The bigger part of the curent kulturne ba{tine i njene okoline, ka stvaranju odgovara- regional project that started in Diana couple years ago, ju}e sredine, one u kojoj }e svi potencijalni rizici po na- has moved, as well developed and established project, sle|e biti umanjeni ili uklonjeni, kao i ka organizovanju from Serbia to the other countries of the region: Albania, preventivnih mera koje }e preduprediti i kontrolisati Macedonia, Romania, Croatia and etc. (The Archealogi- destruktivne faktore i procese u samoj materiji kultur- cal Conservation, The Fundamentals of Preventive Con- nih dobara i u njihovoj neposrednoj i {iroj okolini. servation, The Evaluation and Control of Risk, TIEM Tri va`na sistemska dela tog zajedni~kog koncepta i MEP SEE and etc). jedinstvenog strate{kog cilja upravo se ovih dana zaokru- So, in the previous decade Diana, in compliance with `uju i usmeravaju ka dugoro~nom razvoju: the general strategies, has moved its scientific centre by – zasnovane su diplomske akademske studije iz pre- organizing the effective service of protection of the ventivne konzervacije (master) na Beogradskom univer- cultural heritage to closely link the cultural heritage and zitetu, u saradnji sa Sorbonom, a one }e se dalje razvi- its enviornment, and to form o proper environment jati i uklju~ivati i druge sadr`aje iz konzervacije ba{tine; which will decrease and eliminate all potencial risks of sada je jasno da mo`emo zapo~eti i s pripremanjem heritage, to organize preventive measures which will osnovnih studija iz za{tite ba{tine na Beogradskom uni- anticipate and control destructive factors and processes verzitetu, na principu 3 + 2 i s doktorskim programima of the cultural objects in its surronding. (24. novembar 2008); – The Master Studies in preventive conservation at – oja~ana je regionalna alijansa ICOM-a za jugoisto~- University of Belgrade in cooperation with Sorbonne, nu Evropu – ICOM-SEE; on ve} okuplja devet zemalja which will develop further and include other contents regiona, koje ostvaruju mnoge zajedni~ke projekte i ak- from conservation of heritage. So, it has become clear that tivnosti s velikim brojem me|unarodnih, regionalnih i now we can start with preparing of Bachelor Studies on nacionalnih partnera (4. jun 2008); the University of Belgrade, with 3+2 principle and with – osniva se nova institucija za{tite – Centralni institut the PhD programs (November 24th 2008). za konzervaciju (CIK), koji }e sprovoditi integrativni si- – Strenghening of regional alliance ICOM for South stem za{tite i koji }e interaktivno uklju~iti sve sadr`aje East Europe-ICOM SEE who has already gathered nine ba{tine (arhitekturu, arheolo{ke lokalitete, muzejsku, countries of the region through numerous mutual pro- arhivsku i bibliote~ku gra|u i nematerijalnu ba{tinu) i jects and activities and with a huge number of interna- objediniti sve aktivnosti na za{titi ba{tine (edukaciju, tional, regional and national partners (June 4th 2008.). multidisciplinarna istra`ivanja, preventivnu konzerva- – Establishing of the new institution of protection, ciju, konzervatorski tretman, dokumentacioni sistem, The Cenrtal Institutw for Conservation – CIC which will PR i marketing); CIK }e biti institucija koja }e u praksi conduct an integrative system of protection and include sprovoditi nove teorijske i metodolo{ke koncepte za{tite interactively all contents of heritage (architecture, arha- i koja }e, u tom smislu, biti regionalno orijentisana. ological sites, museum, archive and library materials and immaterial heritage) and all activities on heritage (edu- cation, multidisciplinary researches, preventive conser- vation, conservation treatment, unique documencation system, PR and marketing). CIC will represent an institution which will conduct new theoretical and methodological concept of heritage in practice, and will be regionally oriented.

03 Sadr`aj | Contents

MUZEOLOGIJA I ZA[TITA BA[TINE Fabricio AGO 06 Koncepcija muzeja – radionica na Skopskom univerzitetu 07 A Workshop on Museum Design at Skopje University Mila KARAS 10 Obnova narodne litije, zapisa i obi~aja u okolini Beograda – pola veka posle prekida vi{evekovnog kontinuiteta ~uvanja nematerijalne i duhovne ba{tine Srbije 11 Preserving the Spiritual Heritage of Serbia: Litija (Sacred Procession), and Zapis Trees in the Vicinity of Belgrade: the Return of Some Ancient Customs Mila POPOVI]-@IVAN^EVI] 18 Dijana i ICOM-SEE u okviru regionalne saradnje u jugoisto~noj Evropi. Regionalna orijentacija Dijane 19 Diana and ICOM-SEE Within Regional Cooperation in South East Europe. Regional Orientation of Diana Biljana \OR\EVI] 24 Konvencija o za{titi starih i tradicionalnih zanata – promena sada{njosti i oblikovanje budu}nosti 26 Evropska konvencija o za{titi starih i tradicionalnih zanata 25 Convention on the Protection of Old and Traditional Crafts: Changing the Present and Shaping the Future 27 European Convention on the Protection of Old and Traditional Crafts

ARHEOLOGIJA I ISTORIJA UMETNOSTI Biljana \OR\EVI] 48 Neopipljiva ba{tina: etnoarheolo{ka istra`ivanja tradicionalnih tehnologija keramike 49 The Intangible Heritage: Ethnoarchaeological Research of Traditional Ceramics Technologies Eva CINCAR, Francesko CINI 54 Eksperimentalna arheologija. Proces topljenja bakra i bronze 55 Experimental Archaeology: the Copper and Bronze Melting Process Du{ko [LJIVAR, Julka KUZMANOVI]-CVETKOVI] 56 Plo~nik, arheologija i konzervacija 57 Plo~nik, Archaeology and Conservation Ksenija \URI[I] 60 Ikonoslikarstvo crkve Svetog Luke u Kotoru 61 Church of St. Luke, Kotor. Icon Painting

KONZERVACIJA 64 Terminologija – konzervacija materijalnog kulturnog nasle|a 65 Terminology to Characterize the Conservation of Tangible Cultural Heritage Ana SIRK FAKU^ 66 Fluorescentna ultravioletna fotografija u konzervaciji umetni~kih slika 67 Photography of Ultraviolet Fluorescence in Painting Conservation Ljiljana PROTI] 70 Konzervacija crkvenog inventara iz crkve Svetog Save na Savincu 71 Conservaton of Church Treasures from St. Sava Church Savinac Sla|ana NOVKOVI] 76 Restauracija porcelanske {olje 77 Restoration of a Porcelain Cup Zvezdana POPOVI] 78 Problemi u konzervaciji keramike s vi{eslojnih lokaliteta 79 Problems in the Conservation of Ceramics in Multi-layered Archeological Sites Slobodan BOGOJEVI] 82 Nov pristup konzervaciji i unapre|ivanje uslova ~uvanja metalnih arheolo{kih predmeta u Narodnom muzeju u ^a~ku 83 A New Approach to Conservation and a Further Improvement of Conditions for Taking Care of Metal Archeological Objects in the National Museum of ^a~ak

EDUKACIJA I STRU^NI SKUPOVI Marija RADIN 94 Prevo|enje tezaurusa baze podataka Eros na srpski jezik 95 Translating the Thesaurus of the Eros Database into Serbian Danijela STOJILJKOVI], Nata{a KRSTI] 98 Posete depoima arheolo{kog materijala u Francuskoj 99 Visits to Depots of Archaeological Material in France Ana @IVKOVI] 104 Izve{taj o sta`iranju u Regionalnoj laboratoriji za konzervaciju i restauraciju A.R.R.E.P. u Francuskoj 105 Report on Training in the Atelier Regional de Restauration des Elements du Patrimoine (Laboratory for Conservation and Restoration), A.R.R.E.P. in France Veljko D@IKI] 106 Izve{taj o sta`u u INP-u (Institut national du patrimoine) 107 Report on Training at the Institut National du Patrimoine (INP) Ivan CVEJI], Zvezdana POPOVI] 110 Radionica iz oblasti konzervacije pozlate na drvetu 111 Workshop Dedicated to the Conservation of a Gilded Object Made of Wood Ana KOCJAN, Aleksandar JOKSIMOVI] 114 Male ruke i velika dela 115 Small Hands, Great Work Suzana POLI]-RADOVANOVI] 118 Multidisciplinarna istra`ivanja u arheometriji 119 Multidisciplinary Research in Archaeometry Azra BE^EVI]-[ARENKAPA 122 Simpozijum Fotografsko naslje|e u centralnoj, jugoisto~noj i isto~noj Europi – pro{lost, sada{njost i budu}nost 123 Symposium Photograph Heritage in Central, Southern and Eastern Europe: Past, Present and Future Ubavka MIO^ 124 Studenti Beogradskog univerziteta na skupu U susret pro{losti: nauka i kulturno nasle|e 125 Students of Belgrade University at the Meeting Looking Forward to the Past: Science and Heritage Vesna @IVKOVI] 128 Razvoj diplomskih akademskih studija preventivne konzervacije (master) u Beogradu 127 The Establishement of a Master’s Degree in Preventive Conservation in Belgrade

KULTURNI TURIZAM Aleksandar TODOROVI] 132 Turisti~ka valorizacija Spomen-parka Kragujeva~ki oktobar 133 Tourist Valorization of the October of Kragujevac Monument Park

REGIONALNA SARADNJA Mila POPOVI]-@IVAN^EVI] 138 Regionalni projekti i aktivnosti u jugoisto~noj Evropi koje su pokrenuli, koje relizuju, koordiniraju i ~iji su organizatori Odeljenje za preventivnu konzervaciju Dijana i ICOM-SEE, u saradnji s raznim partnerima 139 Regional Projects and Activities in South East Europe Initiated, Coordinated and Organised by Department for Preventive Conservation Diana and ICOM SEE in Cooperation with Various Partners DIANA #13 MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

Fabricio AGO, arhitekta i muzeolog, Italija

KONCEPCIJA MUZEJA – RADIONICA NA SKOPSKOM UNIVERZITETU

PRO[LOG MAJA na Univerzitetu u Skoplju odr`ana je tro- dnevna radionica koja se odnosila na koncepciju muzeja u zeja, sada se ve}i zna~aj pridaje njihovom zadatku komuni- praksi. U Skoplje me je pozvao profesor Vlatko P. Korobar, kacije u vezi s kulturnim sadr`inama. Publika ne treba da dekan Arhitektonskog fakulteta Skopskog univerziteta. Ra- se posmatra kao neizdiferencirani nasumi~ni univerzum. Ono dionica je okupila studente Arhitektonskog fakulteta i Fakul- {to muzej nudi treba da se razvija tako da privu~e takozva- teta umetnosti, kao i stru~njake iz makedonskih muzeja, ne nemuzejske ciljne grupe ili one dru{tvene grupe koje u one koji rade na odeljenjima muzeologije, katalogizacije i odnosu na muzej podi`u najve}e barijere. Isto tako, treba grafike. uzeti u obzir i dru{tvene promene i stvarati posebne progra- Tokom tri dana razmatrana su, na me|unarodnom ni- me, na primer one namenjene porodicama ili usmerene ka vou, nova teoretska i prakti~na iskustva kako bi u~esnici marginalnim grupama, kako bi se svakom omogu}ilo da ot- stekli sliku o tome {ta mo`e da bude zadatak projektanta mu- krije najstarije ili najudaljenije korene grada u kojem `ivi. zeja, bilo kod planiranja novog kompleksa, bilo kod obnav- Muzej tako u sve ve}oj meri postaje mesto na kojem mogu ljanja postoje}e zgrade. da se podele istorija i uspomene. Razgovori su vo|eni o razli~itim temama: razmatrane Rasprave iz oblasti muzeografije odnosile su se na op- su ekonomske i kulturne prilike, zatim arhitektonski i gra|e- {ta razmatranja nastanka modernih muzeja i programa za vinski aspekti, iscrpno se diskutovalo o kretanju (putanja- obnovu istorijskih muzeja. Predstavljene su i analizirane tri ma) posetilaca, izlaganju zbirki, kao i o muzejskim slu`ba- zna~ajne studije za nove istorijske muzeje u Evropi: Muzej ma, poput laboratorija za konzervaciju, baza podataka, Novi atinski Akropolj (autori: B. Tschumi, M. Photiadis), pres-slu`bi, i, kona~no, o slu`bama kao {to su restorani sa Muzej Ara Pacis u Rimu (autor: R. Meier) i Muzej Shoah u samoposlu`ivanjem za posetioce, knji`are itd. Berlinu (autor: D. Libeskind), zatim rasprave o muzejima U okviru radionice raspravljalo se i o dva izuzetno va- moderne umetnosti: Paviljonu Quadracci u Muzeju umetno- `na pitanja. Prvo pitanje odnosilo se na mogu}nost sprovo- sti u Milvokiju (autor: S. Calatrava), Muzeju Roverto MART |enja novih kulturnih strategija, s obzirom na to da one (autor: M. Botta) i Muzeju moderne umetnosti Cartier u uti~u na muzej kao instituciju, a posebno onda kada se su- Parizu (autor: J. Nouvel). Kona~no, tri studije odnosile su protstavljaju muzejskim konceptima zasnovanim tokom se na postoje}e programe obnove muzeja: Nove britanske istorijskih i kulturnih razdoblja koja se danas mogu sma- galerije u Muzeju Viktorije i Alberta u Londonu, Muzeja trati pro{lo{}u. Drugo pitanje, koje se u ve}oj meri postavlja Guimet u Parizu (autor: H. Gaudin) i Narodnog muzeja u kao zahtev, odnosilo se na mogu}nost nadila`enja koncep- Beogradu (autor: M. Rako~evi}). ta muzeja kao izolovane celine i njegovog razmatranja kao Nau~ne rasprave iz oblasti muzejskih tehnika proiza{le dela mre`e u kojoj se nalazi s drugim kulturnim institucija- su iz op{tih razmatranja zna~aja koji u modernim istorij- ma na datom podru~ju, a isto tako i na razmatranje muze- skim muzejima zadobijaju komponente opreme. Stoga smo ja kao neophodnog odgovora na postoje}e pritiske kulturne se usredsredili na pitanja koja su vi{e tehni~ke prirode, na globalizacije. primer na pitanje sistema za monitoring i kontrolu mikro- Predstavljene teme proiza{le su iz mog dvadesetpeto- sredine, probleme sistema osvetljenja (kako zgrade tako i godi{njeg iskustva u toj oblasti. Ve} mnogo godina radim vitrina), kao i na razli~ite druge elemente koji ~ine instala- na unapre|ivanju muzejskog sistema na Srednjem istoku i cioni i tehnolo{ki sistem muzeja. u regionu Balkana. Cilj mog rada jesu o~uvanje i valorizaci- ja kulturnog nasle|a, neophodni ukoliko stanovni{tvo `eli da povrati sopstveni identitet. Pored toga, kulturno nasle- |e u svakom pogledu jeste svojevrstan, mada neobnovljiv ekonomski izvor, kao i osnovno sredstvo razvoja. Program radionice obuhvatao je rasprave iz oblasti mu- zeologije tokom prvog dana, rasprave iz oblasti muzeogra- fije tokom drugog i, kona~no, rasprave iz oblasti muzejskih tehnika tokom tre}eg dana. Nau~ne rasprave iz oblasti muzeologije proiza{le su iz stanovi{ta da je muzej mesto na kojem se ~uva i {titi ba{tina radi istra`ivanja i u~enja, ali da je on i mesto na kojem se stvaraju zajedni~ke i podeljene uspomene. Taj princip jeste osnova za postupke obnove na~ina na koji muzeji razvijaju odnos s publikom; pored priznate tradicionalne uloge mu-

06 MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE DIANA #13

Fabrizio AGO, architect and museologist, Italy

A WORKSHOP ON MUSEUM DESIGN AT SKOPJE UNIVERSITY

LAST MAY, at the kind invitation of Professor Vlatko P. Korobar, Dean of the Faculty of Architecture at the Univer- alongside their recognised, traditional functions, increasin- sity of Skopje, a three-day workshop on museum design gly greater weight is being attributed to their task of com- practices was held at the same University. The workshop municating cultural contents. brought together students from the Faculties of Architec- The public should not be viewed as an undifferentiated ture and Arts, and professionals from Macedonian and random universe. The offerings provided by museums Museums working in museology, cataloguing and graphics should be developed to attract so-called non-museum targets, departments. or those groups of society that experience or raise the grea- The most updated theoretical and practical experiences, test barriers. Due account should also be taken of social on an international level, were outlined throughout the changes, by creating – for example – specific programs targe- three days, with the purpose of providing the participants, ted at families, and also directed at marginal communities, with a reference picture of what the task for the designer with a view to providing everybody with an opportunity to of a museum, whether conceiving a new complex or refur- discover the earliest or most distant roots of the city in which bishing an existing building, could be. they reside, so that the museum increasingly becomes the Thus, the subject moved from purely economic and cul- place where history and memory can be shared. tural considerations, through architectonic and civil engi- The dissertations in the field of Museography covered neering-related aspects, a detailed discussion of visitors’ general considerations on modern museum realization and paths, exhibiting collections, not overlooking museum sup- historic museum renovation programs. Three notable cases port services such as restoration laboratories, databases, studies for new historic museums in Europe were proposed press services, and eventually to services devoted to visitors, such as cafeterias, bookshops, etc. Obviously, the workshop also dealt with two other re- levant matters: firstly, how new cultural strategies may be afforded when they affect the museum as an institution and, specifically, confront museum concepts that were founded in historical and cultural periods that may now be considered as superseded; the second matter, an even more deeply perceived requirement, is how to go beyond the con- cept of museum as an isolated entity, considering it rather as part of a network, among other cultural institutions of the area, a necessary response to the current pressures of cultural globalisation. The presented topics arose from my twenty-year per- sonal experience in the field. In fact, for many years I have been working on the enhancement of museum systems in the Middle Eastern and Balkan Areas, with the double aim of preserving and evaluating the cultural heritage as an un- avoidable phase if populations wish to recover their own identity. Furthermore, the cultural heritage is in all respects and analysed. These were: the New Athens Acropolis Mu- a proper albeit non-renewable economic resource, and an seum, by B. Tschumi and M. Photiadis; the Rome Ara Pacis essential instrument for development. Museum by R. Meier; and the Berlin Shoah Museum by D. The program of the workshop consisted of dissertations Libeskind. Three dissertations related to modern Art muse- in the field of Museology on the first day; the field of Muse- ums: the Quadracci pavilion at the Milwakee Art Museum ography during the second day; and covered the field of by S. Calatrava; the Rovereto MART Museum, by M. Botta; Museotechniques on the third day. and the Cartier Modern Art Museum in Paris, by J. Nouvel. The dissertations in the field of Museology sprang from Finally, three covered existing museum renovation programs: considerations that the Museum is a place of conservation, the New British Galleries at the Victoria and Albert Museum, heritage protection and for research and study, and that it London; the Guimet Museum in Paris, by H. Gaudin; and is also a place to build common and shared memories. That the Belgrade National Museum, by M. Rako~evi}. principle forms the basis of processes for renewing ways by The dissertations in the field of Museotechniques sprang which museums develop a relationship with their audience; from general considerations of how plant components have

07 DIANA #13 MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

Radionica je okupila preko pedeset u~esnika. O~igled- ura|eno, kao i napore koji su u~injeni da bi se to nasle|e no je interesantniji deo radionice bila debata, koja je prvog sa~uvalo i prikazalo javnosti. Primetio sam, me|utim, i to da dana vo|ena oko razli~itih aspekata novih informacionih nedostaju sredstva za odgovaraju}e predstavljanje starina tehnologija i odnosa stvarnog i virtuelnog predmeta u mu- od neprocenjive vrednosti, posebno u Narodnom muzeju u zeju. Detaljno su analizirani novi tokovi koji se odnose na Ohridu. virtuelne muzeje, kao {to su, na primer, predlozi ameri~ke Po povratku u Skoplje pa`nju mi je prvo privukao Mu- grupe Asymptope (American Group „Asymptope“). zej Makedonije, u kojem sam vodio zanimljive razgovore i Kada je re~ o muzeografiji, posebno se govorilo o pro- razmenjivao ideje s profesorkom Meri Ani~in Pejoskom, gramima obnove koji muzeju omogu}uju da bude reinter- direktorkom muzeja. Omogu}eno mi je i da pomognem u pretiran putem novih komunikacionih sistema i novih de- radu izvrsne radionice za decu, koja je kroz prizore iz sva- finicija muzejske misije. Jedno od obele`ja novog perioda kodnevnog `ivota o`ivljavala narodne obi~aje, od me{enja jeste reorganizacija postoje}ih muzeja; ona je ~esto povezana hleba do obreda ven~anja. s prakti~nim zahtevima, a to je vrlo zna~ajno, kao {to je bilo Ono {to zaista zabrinjava jeste stanje u kojem se nalazi kada je re~ o Britanskom muzeju i Museumsinsel u Berlinu. zgrada muzeja. Neophodno ju je temeljno renovirati, kako To podrazumeva prepoznavanje potrebe za modernizaci- sa stanovi{ta detaljnog arhitektonskog plana tako i u pogle- jom zastarele strukture, kako arhitektonske tako i izlo`be- du funkcionalnosti, a potrebno je voditi ra~una i o na~inu ne. S novim konceptom koji se naziva obrazovno-zabavnim, na koji se predmeti izla`u. Tokom poslednjih nekoliko go- u sredi{te razmatranja dolaze ~ak i muzeji kojima su po- dina muzej je u~inio zna~ajne napore kako bi se prostorije trebni novi prostori za povremene izlo`be i pomo}ne servi- osavremenile, {to se mo`e videti iz plana komunikacije s se, na primer Musei Capitolini u Rimu (autor: C. Aymonino), publikom, po delovanju radionica za decu, otvorenih i za Istorijski muzej u Berlinu (autor: I. M. Pei) i Van Gogov odrasle, kao i iz plana izlo`bi ili, na primer, na osnovu za- muzej (autor: K. Kurokawa). divljuju}e nove opreme u odeljenju ikona. Poslednjeg dana raspravljalo se o osvetljenju i o tome Ono {to bi sada bilo korisno da se u~ini jeste ponovno kako ono mo`e da pobolj{a sistem muzejske komunikacije razmi{ljanje o kompleksu u celini, po{to u njemu postoji ve- i omogu}i scenografske efekte, ~ak i stvaranje stimulativne liki broj prekida, cezura, izme|u odeljenja, a oni su uslovlje- i posebne atmosfere. Proveravali smo razli~ite tipove izvora ni originalnim arhitektonskim projektom. Neometanost i svetlosti, dostupne na italijanskom i evropskom tr`i{tu. sled u putanji posetilaca u~inili bi muzej mnogo atraktivni- Zahvaljuju}i ljubaznosti Italijanske ambasade, bile su jim. Taj problem bi se morao pa`ljivo prou~iti. nam obezbe|ene prevodila~ke usluge (prevod sa italijanskog U makedonskoj modernoj arhitekturi primetno je veli- na makedonski jezik i vice versa). Usluga je bila odli~na, iako ko previranje, {to pokazuje, na primer, zgrada Glavne po{te, su se zbog ritma debate pojavili i neki nedostaci. koja se uzdi`e na Trgu Makedonija, verovatno najneobi~ni- Boravak u Makedoniji bio je prilika i za posete raznim je ostvarenje skopske moderne arhitekture. Me|u muzejima muzejima u zemlji, po~ev od Muzeja Makedonije, Muzeja vredna je pa`nje nova Galerija savremene umetnosti, s tim grada Skoplja, koji se nalazi u zgradi stare `elezni~ke stani- {to bi isti takav napor sada bilo potrebno u~initi i u vezi s ce, zatim Muzeja moderne umetnosti (Kale), koji je projek- Muzejom Makedonije. tovao poljski arhitekta J. Mokrzynski. Posetili smo i mana- Sa M. Pejoskom razgovarali smo i o mogu}nostima in- stir Svetog Pantelejmona u Nerezima i Narodni muzej u spirisanja Evropskom agendom za kulturu u svetu koji se Ohridu, kao i nekoliko arheolo{kih nalazi{ta u Ohridu, za- globalizuje (prva evropska strategija za kulturu od 10. ma- tim Veles i Stobe. U Skoplju sam obi{ao i dve nove galerije ja 2007. godine) i o promovisanju kulture kao katalizatora savremene umetnosti, jednu u modernom gradu, a drugu u za kreativnost u okviru Lisabonske strategije. biv{em Kur{umli-hanu. U skladu s tim pristupom, potrebna su ulaganja u pro- Te posete omogu}ile su mi da sagledam bogatstvo ma- grame obnove muzeja, s jedne strane, a treba pove}ati i nad- kedonskog istorijskog arheolo{kog nasle|a i sve ono {to je le`nost nad teritorijom i njenom ekonomijom. S druge stra- ne, Evropska komisija `eli da 2009. godina bude evropska godina kreativnosti i inovacija, {to bi se ostvarilo kroz edu- kaciju i kulturu, kako bi se svest o tim problemima podigla na vi{i nivo, da bi se o njima u {to ve}oj meri raspravljalo i da bi se podstakle kreativnost, inovacije i me|ukulturna nadle`nost. Stoga je sada podesan trenutak za preduzimanje mera koje se odnose na izradu programa za obnovu muzeja, uz usredsre|ivanje na oja~avanje dru{tvenog i ekonomskog uticaja u pogledu ulaganja u kulturu i kreativnost, a poseb- no treba voditi ra~una o promociji ekonomskog i dru{tve- nog rasta, poslova, razvoja i atraktivnosti Skoplja. Ova- kvom programu treba pristupiti tako da se dobije komercijalni predlog za finansiranje programa na odgova- raju}i na~in, uz obezbe|ivanje najve}e mogu}e odr`ivosti predlo`enih aktivnosti. „

08 MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE DIANA #13 become increasingly essential for new historic museums in inestimably valuable relics, particularly in Ohrid Museum. Europe. We therefore focused on more technical issues such Returning to Skopje, my attention was at first captured by as monitoring systems, controlling microenvironments, the Museum of Macedonia, where I had an interesting ex- lighting systems (both for the building and showcases), and change of ideas with the director, Prof. Mere Ani~in Pejo- various other elements that make up the installation and ska. I had the opportunity to assist in a delicious workshop engineering systems of a museum. for children, which through scenes of daily life, relived mo- Over 50 people attended the workshop. Obviously the ments of popular folk traditions, from the preparation of more interesting part was represented by the debate, which, bread, to wedding ceremonies, etc. for the first day, concerned various aspects of new infor- For what concerns more properly the structure of the mation technologies and the relationship between real and museum, it was possible to ascertain the requirements of virtual objects in a museum. Then we looked in detail at radical renovations from an architectural, layout and fun- the most up-to-date trends concerning virtual museums, as ctional points of view, as well as regarding the way that was the case with the proposals by the American group exhibits were displayed to the public. Over the last few Asymptope. years the museum has already made notable efforts to up- The museographic aspects the debate were specifically date the premises, as shown by their communication plan devoted to renewing programs that permit museums to be with the public, through workshops for children (but open reinterpreted through new communications systems and to the adults), and on the plan for exhibitions, as shown by new definitions of the museums’ mission. One of the features the fascinating new dressings for the Icons section. of this most recent period is the restructuring of existing What would now become useful would be a global re- museums, often linked to practical requirements, which thinking of the complex, which suffers from an excessive have had a significant impact, as was the case of the British caesura between its departments, rising from the original Museum and the Berlin Museumsinsel. This recognises the design of its architectural layout. A deeper fluency and suc- need for modernising both architectural and exhibitory out- cession in the visiting route would in fact make the muse- dated structures. Even museums that need new areas for um itself more and more attractive. That is something that temporary exhibitions and ancillary services are receiving needs to be carefully studied. greater focus, in line with the new concept of edutainment, There is a sizeable ferment in Macedonia’s modern such as the Musei Capitolini in Rome, by C. Aymonino, the architecture, illustrated by the main post office building for Berlin History Museum, by I. M. Pei and the Van Gogh example, which overlooks Macedonia square. This is pro- Museum, by K. Kurokawa. bably Skopje’s most unusual piece of modern architecture. On the last day, the debate centred around lights and Among museums, the new Contemporary Art Galleries are their capacity to enhance museum communication systems, noteworthy; but the same efforts should now be made for enabling scenographic effects, and even the creation of sti- the Museum of Macedonia. mulating and peculiar atmospheres. Thus we considered With Professor Pejoska we wondered whether it could various types of light sources available today on the Italian be possible to be inspired by the European Agenda for cul- and European markets. ture in a globalizing world (the first-ever European The only flaw of that experience was the need for strategy for culture, on May 10th 2007), on how to promote translator services, from Italian to Macedonian and vice culture as a catalyst for creativity in the framework of the versa. That was graciously granted by our Embassy. The Lisbon strategy. service was excellent, but obviously the rhythm of the de- On one hand, following this approach, investing in Mu- bate encountered some disabilities. seum renovation programs should therefore increase the The stay in Macedonia was the occasion for visits to competitiveness of the territory at large and its economy. On various local museums, from the Museum of Macedonia the other hand, the European Commission wishes to make and the Museum of the City of Skopje, located inside the 2009 the European year of creativity and innovation, through Old Railway Station, then to the Museum of Modern Art, education and culture, in order to raise public awareness, at the Kale, designed by Polish architect J. Mokrzynski. Out- promote policy debates, and contribute towards fostering side Skopje we visited the Monastry of Sveti Pantelejmon creativity, innovation and intercultural competencies. in Nerezi, and surveyed the Ohrid National Museum and It is therefore an opportune moment to take action as several archaeological sites, in Ohrid, then in Veles and soon as possible, and to draw up a program of museum re- Stobi. In Skopje I eventually paid a visit to two new inte- newal, focusing on strengthening the social and economic resting Contemporary Art Galleries, one in the modern city impact of investments in culture and creativity, in particular and one inside the former Kur{umli An. with regard to the promotion of economic and social growth, Such activity enabled me to appreciate the wealth of jobs and the development and attractiveness of Skopje. the Macedonian historical-archaeological heritage together Such a program should then be addressed, guaranteeing in with actions performed and efforts made for its safeguarding a proper way the maximum sustainability of proposed in- and presentation to the public. However, I had to notice the tervention, in order to produce a bankable proposal for great lack of available means for the correct presentation of financing the program in a proper way. „

09 DIANA #13 MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

Mila KARAS, vi{i kustos pedagog Prirodnja~ki muzej u Beogradu

OBNOVA NARODNE LITIJE, ZAPISA I OBI^AJA U OKOLINI BEOGRADA – POLA VEKA POSLE PREKIDA VI[EVEKOVNOG KONTINUITETA ^UVANJA NEMATERIJALNE I DUHOVNE BA[TINE SRBIJE

Uvod Mali Mokri Lug i Veliki Mokri Lug su mesta na {irem pod- krom Lugu su zabranjene. O tome nema sa~uvanih podataka ru~ju Beograda, a pominju se jo{ u arhivskoj gra|i iz vreme- jer su crkvene knjige hrama Svetog Ilije u Mirijevu (u to vre- na pre Prvog srpskog ustanka. Nastanjena su hri{}anskim me mesne crkve i za Mali i za Veliki Mokri Lug) spaljene, a stanovni{tvom koje poti~e prete`no iz ju`nih i jugoisto~nih sve{tenik je surovo ubijen. Podaci o tim doga|ajima zasad su predela Srbije. Po tradiciji, me{tani su bili zemljoradnici i nedostupni, a stariji me{tani o tome nerado govore. Ipak, ne- ratari. Do po~etka XIX veka atar Malog Mokrog Luga bio je ki od njih progovorili su zahvaljuju}i pomo}i protojereja Ili- mnogo ve}i nego danas. Prostirao se sve do dana{njeg \er- je \uri}a, paroha nove crkve Svetog Trifuna u Malom Mo- ma, koji je onda bio daleka periferija Beograda. krom Lugu, protojereja mr Aleksandra Sredojevi}a i crkvenih Kao i ve}ina hri{}anskog stanovni{tva slovenskog po- odbornika @ivojina Had`i Krsti}a i Petra Simonovi}a. rekla, Srbi i Bugari vekovima su negovali i ~uvali mnoge Na osnovu se}anja vreme{nih me{tana Mom~ila Stefa- drevne slovenske obi~aje, posebno kultne obi~aje u vezi sa novi}a, Milorada Stojanovi}a i Miodraga Stojanovi}a Bakal- zavetnim drve}em. Tako su i u Malom Mokrom Lugu od sta- ca rekonstruisana su mesta na kojima se od 1900. godine u rine postojala stabla zapisi, a mesta na kojima su se nalazila mokrolu{kom ataru nalazilo osam stabala zapisa, od kojih bila su mesta zajedni~ke molitve. Stablo koje je nosilo zapis sedam vi{e ne postoji. odvajkada je u srpskom narodu bilo tabuizirano i imalo je U ovom radu prikazan je i prostorni raspored mokro- status nedodirljivosti. Prema drevnom verovanju, koje va`i lu{kih zapisa do kraja Drugog svetskog rata. Na karti Malog i danas, s takvog stabla ne uzima se ni{ta – ni list, ni opalo se- Mokrog Luga njihova mesta obele`ena su crnim krstovima me, ni gran~ica – osim za lek. Smatra se da je grehota ~ak i (1–7). To je prva rekonstrukcija i rasvetljavanje sudbine takvo suvo stablo i grane lo`iti ili koristiti za sticanje dobiti. mokrolu{kih zapisa posle Drugog svetskog rata. Na`alost, Kao i u drugim mestima po Srbiji, zapisi su se svake go- za neke od zapisa podaci o vremenu uni{tenja ili nestanka dine obnavljali. U Malom Mokrom Lugu svake godine odr`a- nisu sa~uvani. vane su velike narodne litije: jedna 14. februara, na praznik Svetog Trifuna (za{titnika vinograda, polja i useva), a druga Mokrolu{ki zapisi s po~etka XIX veka do kraja na duhovski petak (prvi petak posle Svete Trojice). Krsni hod Drugog svetskog rata i njihovi lokaliteti (karta 1) tih litija se razlikovao; u tim prilikama, jednom godi{nje, ob- 1. Na mestu na kojem se nalazila prva {kola u Malom navljani su samo njihovi zapisi, to jest neki zapisi obnavljani Mokrom Lugu (otvorena 1860. godine, radila do 1938) zapis su na praznik Svetog Trifuna, a drugi na duhovski petak. je bio veliki brest. Na Belu nedelju (to je pokretni praznik O litijama iz predratnog perioda u Malom Mokrom Lu- koji pada prve nedelje uo~i vaskr{njeg posta) tu se odr`avao gu nema sa~uvanih podataka, za razliku od litija iz tog do- seoski va{ar. Na zapis se rano ujutru ka~ila ljulja{ka, na ko- ba u drugim mestima po Srbiji. Po se}anju me{tana, pozna- joj su se tog dana obredno ljuljali svi stanovnici mesta, bez to je da je svake godine seoska slava imala doma}ina, a oni obzira na godine. su se smenjivali. To je bila velika ~ast, pa su se prijavljivali 2. Na mestu na kojem se nalazila druga {kola u Malom najugledniji doma}ini, koji su donosili sve {to je bilo po- Mokrom Lugu (1938–1960) zapis su bila tri bresta u {kol- trebno za proslavu. Prvog petka posle Duhova, na dan kada skom dvori{tu. Posekao ih je 1946. godine jedan me{tanin Mali Mokri Lug odvajkada slavi slavu svog mesta, kod zapi- iz Malog Mokrog Luga, po nare|enju onda{njih vlasti. Nje- sa se odr`avao i va{ar. Bilo je to veliko narodno okupljanje govo ime nije saop{teno jer je ubrzo posle toga umro, bez (sabor) pod {atrama, gde se slavila slava u vremenima u ko- mu{kog potomstva. jima mesto nije imalo svoju crkvu. Litija se tako proslavljala 3. Milosavljevi}a brest bio je zapis koji se nalazio iznad sve do kraja Drugog svetskog rata. Ni za vreme okupacije s dana{nje Bajdine ulice. O njemu nema podataka posle 1945. tim se nije prekidalo. godine, a mesto na kojem se uzdizao obavijeno je velom }u- tanja. U neposrednoj blizini, ka severozapadu, le`i poljana Stanje posle Drugog svetskog rata koju me{tani i danas nazivaju strati{tem. Po njihovom ka- Posle oslobo|enja litija je odr`ana samo jednom – 1946. godi- zivanju, na tom mestu jedne no}i 1946. godine partizani su ne. Divni i drevni narodni obi~aji seoske litije i obnavljanja streljali grupu od oko 40 ljudi. Me|u njima streljani su i zapisa u Malom Mokrom Lugu nasilno su prekinuti 1947. go- trojica uglednih mokrolu{kih doma}ina (B. Jorga~evi}, B. dine. Odlukom tada{njih vlasti narodne litije u Malom Mo- Ivkovi}, \or|evi}) i mirijevski sve{tenik nepoznatog imena.

10 MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE DIANA #13

Mila KARAS, senior curator-pedagogue Natural History Museum, Belgrade

PRESERVING THE SPIRITUAL HERITAGE OF SERBIA: LITIJA (SACRED PROCESSION), AND ZAPIS TREES IN THE VICINITY OF BELGRADE: THE RETURN OF SOME ANCIENT CUSTOMS

Introduction Mali Mokri Lug and Veliki Mokri Lug are settlements in the end of Second World War, even continuing during German broader Belgrade area, mentioned in archive material pre- occupation. dating the First Serbian Uprising. They have been inhabited by Christians, mostly originating from the southern and Situation after the Second World War southeastern parts of Serbia. The traditional occupation of After the liberation in 1944, the Litija was performed only these inhabitants was cereal and vegetable farming. Until once in Mali Mokri Lug, in 1946. These wonderful ancient the beginning of the 19th century, the area of Mali Mokri Lug customs were forcibly banned in 1947 by the government of was much larger than it is today. It extended all the way to the day. There are no preserved data on this, as the church present-day \eram, which at the time was on the outskirts books of St. Ilija’s church in Mirijevo (which at the time of Belgrade. was also the parish church for Mali and Veliki Mokri Lug) Like most Christian populations of Slavic origin, Serbs were burnt, and the priest was brutally murdered. The vil- and Bulgarians in this area have preserved and practiced lage elders are still reluctant to speak about this but some numerous ancient Slavic customs, especially religious cus- decided to share some information with the help of the the toms connected with sacred trees. Since early times there new church board of St. Tryphon at Mali Mokri Lug, Proto- were trees at Mali Mokri Lug (called Zapis) that were used as jereji (senior priests) Ilija \uri} and Aleksandar Sredojevi} sites for mass prayer. In the Serbian custom, once a tree was and two church officials, Mr. @ivojin Had`i Krsti} and Mr. proclaimed a Zapis, it became sacred and earned a status Petar Simonovi}. whereby it should not be touched. According to the ancient According to the village elders Mom~ilo Stefanovi}, belief, which is present even today, nothing should be Milorad Stojanovi}, and Miodrag Stojanovi}-Bakalac, the taken from that tree – not a leaf, not a fallen seed, not a twig sites of 8 Zapis trees present in the area of Mokri Lug from – except for medicinal purposes. It is even believed that it 1900 have been redeveloped since 1946. Seven of the eight would be a sin to burn its dead dry trunk or branches or use original trees no longer exist. them for gain. This paper also presents the spatial distribution of Mokri As in the other places in Serbia, each Zapis was renewed Lug Zapis trees until the end of Second World War. Their every year. Large-scale community processions (called Litija) positions are marked with black crosses (1–7) on the map used to happen every year at Mali Mokri Lug. There were below. This is the first reconstruction and clarification of two processions: one on February 14th, St. Tryphon’s Day the fate these Zapis trees following the Second World War. in the Orthodox calendar (the patron saint and protector of Unfortunately, for some Zapis trees there is no data on vineyards, fields and crops) and another at Pentecost (the when they were destroyed or disappeared. first Friday after Trinity Sunday). The procession routes were different, and during each procession only the appropriate Zapis trees from Mokri Lug Zapis trees were renewed, some on St. Tryphon’s Day and from the early 19th century to the end others at Pentecost. of Second World War and their sites (Map 1) There are no preserved data on the Processions in Mali 1. There was a large Zapis Elm tree on the site of the Mokri Lug before WWII as there are in other parts of Ser- first school in Mali Mokri Lug (opened in 1860, functioned bia. According to the recollections of village elders, the vil- until 1938). The village fair was organized here on White lage slava (saint’s day celebration) used to have a different Sunday (a movable holiday which always occurred on the last host each year. This was a great honor, so only the most re- Sunday before Lent). In the early morning a swing was hung spectable household owners applied and provided every- from the Zapis tree, and all the inhabitants of the village, thing necessary for the celebration. On the first Friday after regardless of age, participated in the swinging ritual. Pentecost (»Isto~ni« or gushing Friday), on which Mali 2. On the site of the second school in Mali Mokri Lug Mokri Lug has celebrated its slava since ancient times, a (1938–1960), the Zapis included three Elm trees situated fair used to be organized next to the Zapis. This used to be in the schoolyard. They were cut down in 1946 by one of a large folk gathering under pavilion tents, where the slava the inhabitants of Mali Mokri Lug, on the order of the then would be celebrated when the community did not have its government. Nobody wanted to disclose his name as he died own church. The Litija was celebrated in this way until the soon after without any male heirs.

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Karta 1: Karta krsnog hoda Litije u Malom Mokrom Lugu 2007. godine Map 1: The map of Litija procession route at Mali Mokri Lug in 2007 Lokaliteti zapisa od 1900. do 1946 Localities of Zapis trees present from 1900 to 1946 Lokaliteti dana{njih zapisa Localities of present Zapis trees Litijski put Procession route of the litija Hram Svetog Trifuna Church of St. Trifun

patrijarh Pavle. Zavr{ena je i osve}ena 1998. godine. I to je delo Crkvenog odbora, koji je doneo odluku o obnovi litije i osve{tavanju novih zapisa u mestu. Godine 1998. podignut je i jedinstven zapis u obliku velikog metalnog krsta u beton- skoj osnovi (sl. 4). U njegove temelje, prema hri{}anskom obi~aju, polo`ena su tri kamena sa svetih mesta: sa Gore ku- {anja u Jerusalimu, iz Hilandara i iz Studenice. Od 1994. go- dine litija se odr`ava svake godine na duhovski petak, a otkad je podignuta i osve}ena crkva Svetog Trifuna, polazi odatle.

Nisu poznata ni imena ostalih streljanih, ali se zna da su Krsni hod litije na duhovski petak 2007. godine dovedeni iz Petog rejona, sa Zvezdare. Pro{le godine litija je po~ela u petak, 1. juna 2007, u sedam 4. Brest zapis u vinogradu Stojanovi}a Bakalca. Brest je sati, slu`bom u hramu. Mnogo pre po~etka slu`be sve~ano bio veoma star, osu{io se i sam pao 1970. godine. Niko ga ni- odeveni me{tani po~eli su sa svih strana da se slivaju u je dirao, a stablo i panj s vremenom su istrulili. hram. Bilo je i dosta gostiju iz Beograda. Iz {kola su verou~i- 5. Zapis na stablu bresta u Milijinom potoku, na imanju teljice dovele decu, koja su u besprekornom redu stajala na Dobrivoja Koci}a, danas ne postoji. Nema podataka o nje- molitvi za po~etak krsnog hoda. Kada je molitva zavr{ena, govom nestanku. mali{ani su sa strahopo{tovanjem prilazili i podizali ikone 6. Zapis na stablu oraha u vinogradu Stojanovi}a. Imanje svetitelja koje su nosili u krsnom hodu (sl. 5, 6 i 7). Najra- je prodato, a novi vlasnik posekao je orah oko 1960. godine. dije su uzimali ikone Presvete Bogorodice. Bili su lepo ode- 7. Zapis na stablu stare kru{ke koja se nalazila na mokro- veni i veoma ozbiljni. Odrasli, prete`no mla|i mu{karci, lu{kom imanju Milosavljevi}a, iznad groblja, pored puta sve~ano odeveni, obrazovali su red. Nosili su krstove, barja- koji vi{e ne postoji. Pose~en je 1945. ili 1946. godine. ke i ripide. Mnogi su preko ode}e obukli skromne |akonske 8. Zapis na stablu crnog duda na imanju Stojanovi}a. ode`de. Kadionicu s tamjanom nosio je dirigent crkvenog ho- Dud jo{ uvek postoji, obilno ra|a i jedini je do danas sa~u- ra (sl. 8.) i kadio celim putem, a tamjan je goreo do kraja li- van i obnovljen zapis iz tog perioda. Vlasnik imanja omo- tije. @ene su cve}em kitile krstove i barjake (sl. 9). ^lanovi gu}io je pristup litiji kada je ona obnovljena (sl. 1). crkvenog hora priklju~ili su se povorci me{tana, koja je iza- {la na glavna, zapadna vrata hrama. Ispred litije i{li su sve- Obnavljanje litije i zapisa {tenici sa sve{tenim knjigama i osve}enom vodom. Povor- u Malom Mokrom Lugu 1994–2007 ka je napravila polukrug i zaustavila se kod prvog zapisa u Posle dugog perioda, u vreme izolacije, kada je komunisti~ki porti. Ispred zapisa sve{tenici su o~itali obrednu sve{teni~- re`im bio na izdisaju, me{tani Malog Mokrog Luga sabrali su ku molitvu (sl. 10), a jasen zapis obnovili su urezivanjem i se i odlu~ili da obnove svoje obi~aje. Ve} 1994. godine obno- ukr{tenim zapaljenim sve}ama (sl. 11). Okupljeni narod i vili su narodnu litiju na duhovski petak – 16. juna, po novom hor pevali su duhovne pesme. kalendaru. Osim crnog duda na imanju Stojanovi}a, koji je Povorka je s pesmom pro{la kroz jugoisto~ni ulaz u por- tada obnovljen, zapisuju i dva nova stabla: beli jasen u porti tu i krenula na jugoistok ulicama 27. marta i Bekerelovom. budu}eg hrama Svetog Trifuna (sl. 2) i divlju {ljivu (d`anari- Na ~elu povorke no{en je veliki drveni krst iz Jerusalima, ku ili prasku) na Jekmekluku, na seoskom zemlji{tu (sl. 3). oki}en, po starom narodnom obi~aju, cve}em i pe{kirima To je vreme velikog duhovnog bu|enja u Srbiji, pa me- (sl. 12). Povorka se kretala ka drugom i tre}em zapisu: me- {tani iste godine pokre}u izgradnju hrama Svetog Trifuna. talnom krstu i d`anarici. Ispred povorke i{ao je krstono{a On je podignut zalaganjem protojereja Ilije \uri}a i Crkve- Slobodan Sibinovi} (sl. 13) i povremeno uzvikivao: Krsto- nog odbora, a gra|en je od priloga me{tana, bez i~ije pomo}i. no{e Boga mole da nam polje rodi bolje! Povorka je odgova- Sa izgradnjom crkve otpo~elo se 6. novembra 1994, kada je rala: Daj, Bo`e, daj! (Napomena: prema obi~ajnom pravu, u njene temelje crkvenu gramatu postavio Njegova svetost krstono{a je odabrani mu{karac koji jedini, osim sve{tenika,

12 MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE DIANA #13

3. Milosavljevi}a brest (Milosavljevi}’s Elm) was a Zapis The names of the other persons are unknown, but it is known situated above present-day Bajdina Street. There are no data that they were brought to the execution site from the Vth about it after 1945, and a veil of silence surrounds the area Belgrade Area, Zvezdara. around it. In the immediate vicinity toward the northwest 4. There was an Elm – Zapis on the property (vineyard) there is a grassy field, which is still called Strati{te (killing owned by Mr. Stojanovi}-Bakalac. As it was a very old tree, field) by the local people. Apparently, the partisans execu- it died and fell down on its own in 1970. Nobody touched it, ted a group of about 40 people on that site during one night and the trunk and the stump gradually rotted away. in 1946. The victims included three respectable household 5. The Zapis Elm tree at Milijin Potok, the household heads from Mokri Lug (B. Jorga~evi}, B. Ivkovi}, \or|evi}) of Dobrivoje Koci}, is now absent. There are no data on its and the priest from Mirijevo whose name we don’t know. disappearance.

Sl. 1. Najstariji zapis u Malom Sl. 2. Zapis iz 1994 – Sl. 3. Zapis iz 1994 – Sl. 4. Zapis iz 1998 – Mokrom Lugu – stablo crnog stablo belog jasena u porti stablo divlje {ljive metalni krst u ~ijem su duda staro 180 godina hrama Svetog Trifuna na seoskom imanju temelju tri kamena doneta sa tri sveta mesta Fig. 1. The oldest Zapis – Fig. 2. Zapis since 1994 – Fig. 3. Zapis since 1994 – tree at Mali Mokri Lug – tree tree of European Ash tree of Wild Cherry in a Fig. 4. Zapis since 1998 – metal of Mulberry (180 years old) in the yard of St. Trifun’s village household cross with the foundations Church of three stones brought from three Holy places

Sl. 5. Najmla|i u~esnici litije Sl. 6. Sa ikonom Svetog Sl. 7. Mile{evski Beli an|eo Sl. 8. Diploma Muzi~ke uzeli su iz hrama ikone Serafima Sarovskog i nadom u rukama onih koje je akademije i patike, kadionica koje }e nositi u povorci da }e Bog usli{iti molitvu na{e Gospod najvi{e voleo s tamjanom i |akonska ode`da dece da posle sta{ne golgote mogu zajedno u ovoj litiji Fig. 5. The youngest Fig. 7. The White Angel komunizma vaskrsne Srbija participants of the Litija of Mile{eva in the hands Fig. 8. The Diploma of Music took the icons from the Fig. 6. With the icon of St. of those most beloved by God Academy and sneakers, vigil temple in order to carry Serafin Sarovski and hope that lamps with frankincense and them in the Procession God will fulfill the prayer of deacon’s robe may be seen our children that Serbia shall together in this procession resurrect after the horrible Golgotha of communism

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sme da obavi ~in obnove zapisa. Ostali u~esnici litije ne do- Molitva je ponovljena kod d`anarike (sl. 15), kao i kod diruju zapis, osim mladih devojaka, naj~e{}e odevenih u krsta (sl. 16), a zatim se povorka uputila ulicom 20. oktobra belo, koje ga kite cve}em i cvetnim vencima.) ka severozapadu i, presekav{i Bulevar kralja Aleksandra, ne- Du` puta litiju su, ispred svojih domova, sa~ekivali sve- kada{nji Smederevski drum, skrenula severoisto~no, a potom ~ano odeveni doma}ini (sl. 14). Oni su pred ku}e izneli stolo- Zlatiborskom ulicom po{la na severozapad. Kretala se tom ve na kojima se nalazilo poslu`enje za u~esnike litije: bom- ulicom do mesta na kojem se nalazio Milosavljevi}a brest, bone, kola~i, sokovi i ponude za decu. Posipali su povorku a pro{la je pored strati{ta bez zaustavljanja, do Bajdine ulice. `itom i bombonama iz sita. Ose}ala se velika radost svih Tom ulicom litija je ponovo izbila na Bulevar kralja Aleksan- prisutnih – i doma}ina koji su do~ekivali litiju i u~esnika dra, odakle se, pored ambulante, spustila do ulice @ivka Da- krsnog hoda. vidovi}a (sl. 17). Njom se povorka kretala ka severozapadu

Sl. 9. Obi~ajno ki}enje Sl. 10. Molitva sve{tenika Sl. 11. Obnavljanje zapisa Sl. 12. Na ~elu litije Krsta Gospodnjeg pe{kirima pred zapisom u porti hrama u Malom Mokrom Lugu nosi se oki}eni krst iz i cve}em, po starom obavlja se svake godine Jerusalima, koji simbolizuje Fig. 10. The priest’s prayer narodnom obi~aju prvog petka posle praznika put Gospodnji na Golgoti in front of Zapis Svete Trojice Fig. 9. The customary in the temple yard Fig. 12. At the front decoration of Lord’s Cross Fig. 11. The Zapis at of the Procession there is with towels and flowers, Mali Mokri Lug is renewed a decorated cross from according to the old folk each year at the first Friday Jerusalem, symbolizing custom after the holiday the Lord’s path on Golgotha of Holy Trinity

Sl. 13. Ispred povorke Sl. 14. Stariji me{tani Sl. 15. Obnavljanje zapisa na Sl. 16. Tre}a molitva ~ita se krstono{a nosi sve}e za u~estvuju u litiji tako {to divljoj {ljivi kod Jekmekluka ispred zapisa – metalnog krsta bele`enje zapisa i uzvikuje s ponudama sa~ekuju – drugo mesto zajedni~ke podignutog u Malom Mokrom deo obredne litijske molitve povorku ispred svojih domova molitve Lugu 1998. godine Fig. 13. In front of the Fig. 14. The community Fig. 15. Renewal of Zapis Fig. 16. The third prayer procession, the cross bearer elders participate in the at the wild plum near is being read in front of the carries the candles for noting Procession by offering gifts Jekmekluk is the second site Zapis – the metal cross raised the Zapis, and shouts a part in front of their homes of communal prayer at Mali Mokri Lug in 1998 of ritual Procession prayer

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Sl. 17. Krsni hod iza ^asnog Sl. 18. I bake koje pamte Sl. 19. Radost i ozbiljnost Sl. 20. Do~ekao je molitvenu krsta – povorku predvode nekada{nje litije i njihovi najmla|ih u~esnika – povorku posle 53 godine deca sa ikonama i mladi}i unuci, ro|eni mnogo godina i oni znaju da rade terora nad verom, ljudima s barjacima i ripidama posle zabrane, u~estvuju ne{to veoma va`no i obi~ajima u Srbiji, u obnovljenoj litiji u za op{te dobro zajednice terorom koji nije po{tedeo Fig. 17. The cross procession Malom Mokrom Lugu ni njihovo zavetno drve}e follows the Holy Cross. Fig. 19. Joy and seriousness The procession is led Fig. 18. The grandmothers of the youngest participants, Fig. 20. It waited for the by children with icons that remember the ancient as they are aware that they prayer procession after 53 and young men with banners Processions and their are doing a very important years of terror over the faith, and ripida poles grandchildren, born many thing for the whole people and customs in Serbia, years after the ban, join community which did not spare even the each other in the renewed Zapis trees Procession at Mali Mokri Lug

6. A Zapis walnut tree used to grow in the vineyard of ding process started on November 6th when the church Stojanovi} family. The land was sold and the walnut cut grammata were placed in the foundation by His Holiness down by the new owner in about 1960. Patriarch Pavle. The Church was finished and consecrated 7. A Zapis pear tree situated in the household of the in 1998 with the participation of the same Church Board Milosavljevi} family, above the graveyard and near the road, that had decided to renew the Litija and bless the new Zapis no longer exists. This tree was cut down in 1945 or 1946. trees in the area. In addition to the trees, in 1998 they also 8. A Zapis black mulberry tree on the property of the erected a unique Zapis in the form of a huge metal cross with Stojanovi} family still lives and produces a large quantity a concrete foundation (Fig. 4). Its foundation, according to of fruit; it is the only Zapis from that period that has been the Christian custom, includes three stones from holy pla- preserved. The owner of the household enabled the Litija ces: from the Mount of Olives, Jerusalem, from Hilandar procession to access the tree when the practice was (Mt Athos, Greece) and from the monastery of Studenica, renewed (Fig. 1). Serbia. Since 1994 the Litija procession has been organized each year at Pentecost, starting from the Church of St. Renewal of Litija and Zapis trees Tryphon since its completion and consecration. at Mali Mokri Lug in 1994–2007. After many years in isolation, and when the communist re- The procession route on Pentecost 2007 gime was taking its last breaths, the members of community Last year the Litija started on Friday, June 1st, 2007, at 7 a.m. of Mali Mokri Lug got together and decided to renew their with a church service. The community members, wearing customs. In 1994 they reinstituted the Litija procession on formal dress, came to the church from all directions, much Pentecost Friday, June 16th according to the new calendar. earlier than the scheduled start of the service. There were In addition to the black mulberry at Stojanovi}’s plot, they also many guests from Belgrade. R.E. teachers brought also added two new Zapis trees: a European Ash in the yard schoolchildren, who stood in a flawless line during the pra- of the future Temple of St. Stefan (Fig. 2) and a wild plum yer at beginning of the Holy Procession. After prayer, the (Cherry Plum or Myrobalan Plum) at Jekmekluk (Fig. 3) on children approached the icons of the saints with awe and the village-owned common. respect, taking those that they would carry during the holy As this coincided with a period of strong spiritual awa- procession (Figs. 5, 6 and 7). Most often they chose the pic- kening in Serbia, the members of this community started ture of the Virgin Mary. They were dressed in special building the Temple of St. Tryphon in the same year, 1994. clothes and looked very serious. The adults, forming a line, It was built through the efforts of Protojerej Ilija \uri} and carried crosses, flags and ripida (poles carrying a small the Church Board, supported with donations from members cross). Many wore modest deacon robes over their clothes. of the community, without any external funding. The buil- The conductor of church choir carried a vigil lamp with

15 DIANA #13 MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A do Prvomajske (sl. 18), u koju je skrenula, i ponovo se upu- pokazuje primer iz Malog Mokrog Luga, zahvatio je u po- tila ka istoku, ulicama Sremskom i Bosanskom, a zatim Pa- slednje vreme veliki deo Srbije. Zaista je zadivljuju}e i ne- lih boraca (sl. 19), gde se nalazi najstariji zapis – crni dud obja{njivo to {to je ovaj narod tako brzo sve to obnovio po- (sl. 20). Pod njegovom ogromnom kro{njom svi u~esnici li- sle poku{aja da mu se stra{nim nasiljem izbri{e istorijsko tije bili su za{ti}eni od jake letnje `ege. Stablo mu je bilo pam}enje. Kako objasniti to {to su sve pojedinosti litije sa- prekriveno krupnim crnim zrelim dudinjama (sl. 22). ~uvane, to {to parohijani – iako su mnogi od njih ro|eni u Posle molitve i osve}enja zapisa krsni hod je nastavljen vreme kada je litija bila zabranjena, a oni vi{e nisu zemljo- ka istoku, do hrama Svetog Trifuna. Povorka je u portu u{la radnici i ratari – znaju za svog Gospoda Isusa Hrista, koga kroz severozapadni ulaz. Ulaskom povorke u portu crkve mole za blagostanje mesta i rodnost useva? Tajna je u nji- krsni hod je zavr{en (karta 1: put krsnog hoda malomokro- hovoj veri i duhovnoj snazi njihovih sve{tenika i Crkvenog lu{ke litije). Put dug skoro osam kilometara – sa zaustavlja- odbora. Me|u njima je i jedan divan ~ovek, koji mi je i po- njem kod zapisa – povorka je pre{la za nepuna dva sata. mogao da do|em do svih ovih podataka. U svom domu, Sve{tenstvo, hor i narod u{li su u hram. Krstovi, barja- kao uva`enom gostu, pokazao mi je najve}u ku}nu relikvi- ci i ripide su odlo`eni. Deca su postavila ikone na njihova me- ju: upaljeno kandilo u kojem jedanaest godina neprekidno sta. Hor je zauzeo svoje mesto. Otpo~ela je liturgija (sl. 23), gori Sveti oganj {to ga je on doneo iz Svete zemlje 1997. koja je zavr{ena se~enjem slavskog kola~a. U tome su u~e- godine. stvovali svi oni koji su bili u krsnom hodu. Poverio mi je i da jo{ ima `ivih po~inilaca nasilja nad Posle toga me{tani su s gostima proslavili slavu u no- srpskom kulturom i verom, da svi znaju kod koga se zaturio vom parohijskom domu – kao nekada kod zapisa, na polja- litijski kola~ 1947. godine (jer se tako slava predavala doma- ni pod {atrom. Vojislav Ili}, doma}in slave te godine (sl. 24), }inu za narednu godinu) i da je zbog `elje da se litija odr`i pripremio je zaista veliko slavlje. Deo slavskog kola~a, pre- 1947. i 1948. bilo i hap{enja, saslu{anja, informativnih raz- ma obi~aju, prosledio je slede}em doma}inu. govora i batinanja onih najupornijih. U {ali je dodao da je u obnovljenoj litiji 1994. godine bilo i onih koji su je 1947. Kontinuitet o~uvanja nematerijalne ba{tine Srbije zabranili. Ali njima niko nije zabranio da se priklju~e litiji, u Malom Mokrom Lugu niti im je iko rekao i jednu jedinu prekornu re~. Litiju su Ono {to zaista zadivljuje u svemu ovome jesu duhovna sna- obnovili dobri hri{}ani koji znaju da Gospod ne zove samo ga i vera, kao i `elja i volja svih tih ljudi koji su obnovili li- pravednike ve} zove i gre{nike na pokajanje. A litija i krsni tiju i onih koji su u njoj u~estvovali da otrgnu od zaborava hod kod pravoslavnih hri{}ana simbolizuju upravo hri- jedinstvene, divne srpske obi~aje i da sa~uvaju svoju veru. {}anski, pokajni~ki put. „ Odr`ani su svi postupci, kretanje litije, molitve, svrha i smisao litije – oni su isti kao {to su bili i pre stotinu ili vi{e Rad se objavljuje s blagoslovom sve{tenstva godina. Sna`an talas duhovnog preporoda i obnove, kao {to hrama Svetog Trifuna u Malom Mokrom Lugu

Sl. 21. Hlad ispod ogromne Sl. 22. Zrele crne dudinje Sl. 23. Litija se zavr{ila Sl. 24. G. Vojislav Ili} (desno), kro{nje jedinog preostalog sa zapisa niko ne bere liturgijom i se~enjem doma}in slave 2007, zapisa na imanju Stojanovi}a jer je to sveto drvo ~iji se slavskog kola~a u hramu sa naslednicima: sinom za{titio je litiju od jake plodovi uzimaju samo za lek Svetog Trifuna u Malom Vladimirom i unucima letnje `ege Mokrom Lugu Fig. 22. The ripe black Fig. 24. The host of the Fig. 21. The shade under mulberries of the Zapis Fig. 23. The Procession slava in 2007, Mr. Vojislav Ili} the huge canopy of the are newer picked, as this is ended in Liturgy and cutting (right) with his heirs: son only Zapis remaining at a sacred tree, whose fruits the slava cake at the Temple Vladimir and grandchildren the Stojanovi} household are taken only as medicine of St. Trifun at Mali Mokri has protected the Procession Lug from the strong summer heat

16 MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE DIANA #13 incense (Fig. 8); it was used throughout the procession and on entered the churchyard again (Map 1: the map of Litija burned continuously until the end of Litija. The women procession route at Mali Mokri Lug). The route was almost decorated the crosses and flags with flowers (Fig. 9). Mem- 8 kilometers long. Together with the services at Zapis sites, bers of the church choir joined the procession of local people the procession took less than two hours. who exited from the main, western door of the church. The clergy, choir and people entered the church. Cros- Priests with holy books and water led the procession. It ses, flags and ripida were put in their places along with the moved in a semicircle and stopped in front of the first icons. The choir took their prospective places. The priests Zapis tree in the churchyard. The priests read the ritual started the Liturgy (Fig. 23), which ended with cutting the priest prayer (Fig. 10) and renewed the Zapis on the ash slava cake. Everyone participated in this service. tree by carving and crossed lighted candles (Fig. 11). The After that the local community and the guests celebra- choir and the people sang spiritual songs. ted their slava in the new manse, as they used to do in the The procession passed through the southeastern old days under the tent in the field near the Zapis. The host entrance of the yard and moved toward the southeast, down of the slava, Mr. Vojislav Ili} (Fig. 24), prepared a really 27 marta and Bekerelova streets. People at the front of the large celebration. According to the custom, he passed one procession carried a large wooden cross from Jerusalem, part of slava cake to next year’s host. decorated with flowers and towels according to the old folk custom (Fig. 12). The procession moved toward the second Continuity of preserving the intangible heritage and third Zapis: the metal cross and the myrobalan plum. of Serbia at Mali Mokri Lug The cross-bearer Slobodan Sibinovi} was at the front of the The most amazing thing in all of this is the spiritual strength, procession (Fig. 13), occasionally shouting: The cross-bearers faith, desire and willingness of all these people to renew the pray to God let our fields yield better crops. The procession Litija and to preserve such unique, wonderful Serbian cus- answered Give us, God, give us. (Note: according to custom, toms and faith. All the procedures, route, prayers and pur- the chosen cross-bearer is the only person beside the priest pose of the Litija are preserved in the same way as they who may perform the ritual of Zapis renewal. The other were 100 or more years ago. This spiritual revival and re- participants in the Litija are not supposed to touch the tree, newal, explained here through the event in Mali Mokri apart from several teenage girls, mostly dressed in white, Lug, has been happening in most of Serbia in recent years. who decorate the Zapis with flowers and floral wreaths.) It is awe-inspiring and inexplicable that these people, having Along the route, the procession was welcomed by for- previously faced horrible violence to erase the historical mally dressed local residents standing in front of their memory of their custom, have managed to renew it so homes (Fig. 14). They had placed tables in front of their quickly. How can we explain the fact that all the details of homes with cakes, candy, juice and gifts for the children. Litija are preserved, regardless of the fact that most eparchy They showered the procession with wheat grains and candy (Church Board) members were born when the Litija was from sieves. Everybody present was obviously cheerful, forbidden and are not farmers and agriculturalists any both the hosts welcoming the Litija and the participants in more. They still know about their Lord Jesus Christ, to the holy procession. whom they pray for the blessings for their village and The prayer was repeated at the myrobalan plum tree abundant crops. The secret is in their faith and the spiritual (Fig. 15) and at the cross (Fig. 16), and after that the strength of their priests and church board. One wonderful procession advanced down 20th Oktobra Street toward the gentleman helped me to obtain all these data. In his home northwest, crossing the Boulevard of King Aleksandar, the I was an honored guest who was shown his greatest home former road to Smederevo, continuing northeast until they artifact: the lit vigil lamp where Holy Fire has been burning reached Zlatiborska Street, where they went down that continuously for 11 years, since he brought it from the street toward the northwest again. They moved towards the Holy Land in 1997. former site of Milosavljevi}’s Elm and passed by the He also shared that there are still some of those who Strati{te without stopping, until they came to Bajdina participated in this violence over Serbian culture and faith Street. The procession proceeded to the Boulevard of King are still alive, that everybody knows who misplaced the Li- Aleksandar again, and passed by the hospital clinic, arriving tija cake in 1947 (as it was the way to pass the slava to the at @ivka Davidovi}a Street (Fig. 17). The procession conti- new host for next year), and that attempts to perform Litija nued down that street, again toward the northwest, until in 1947 and 1948 led to arrests, interrogations, informative they reached Prvomajska Street (Fig. 18). Here they started talks and beatings of those most persisting. He joked that moving in an eastern direction, down Sremska Street, the renewed Litija in 1994 included individuals who had Bosanska Street and Palih Boraca Street (Fig. 19). The banned it in 1947. However, nobody forbade them to join oldest Zapis, the black mulberry, is situated in Palih Boraca the Litija, nor did anyone say any condescending words to Street (Fig. 20). All the Litija participants were protected them. The Litija was renewed by good Christians who know from the strong summer heat under its canopy. The tree that the Lord does not call only the righteous but also sinners was covered in large, black, ripe mulberries (Fig. 22). to repentance. To Orthodox Christians the Litija and cross After the prayers and blessing of all Zapis sites, the procession symbolize the Christian way of repentance. „ procession continued eastward toward the Church of St. Tryphon, entering the yard through the northwestern en- This paper is published with the blessing trance. The route of the Litija finished when the processi- of the clergy of St. Tryphon, Mali Mokri Lug

17 DIANA #13 MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

Mila POPOVI]-@IVAN^EVI], savetnik konzervator {ef OPZ Dijana, predsednik ICOM-SEE-ja

DIJANA I ICOM-SEE U OKVIRU REGIONALNE SARADNJE U JUGOISTO^NOJ EVROPI REGIONALNA ORIJENTACIJA DIJANE

OPZ DIJANA od 1997, kada je zapo~ela sa svojim aktivno- stima, razvija teorijski i prakti~an pristup interdisciplinar- Regionalna saradnja otvara siguran put i prostor za me- nog i kompleksnijeg sistema za{tite ba{tine, koji se ne ograni- |usobno razumevanje i po{tovanje raznolikosti izra`avanja. ~ava na lokalne i nacionalne okvire ili na pojedine kategorije Ona }e pomo}i u razvijanju procesa koegzistencije i saradnje kulturnih dobara. Dijana postepeno gradi sistem koji svojim razli~itih etni~kih, religioznih, politi~kih, socijalnih i drugih razvojnim projektima defini{e integrativni koncept za{tite grupa i naroda. Zato ti procesi treba da dovedu do strate{kog i metodologiju preventivne za{tite. Taj sistem vrlo brzo do- osmi{ljavanja i oblikovanja nacionalnih identiteta, do me|u- vodi do zaklju~ka da su uspe{na primena metodologije pre- sobnog po{tovanja i povezivanja u prepoznatljiv jedinstveni ventivne za{tite i integrativni koncept za{tite u neposred- kulturni i prirodni identitet balkanske regije. Na taj na~in noj interaktivnoj vezi. stvara se svest o tome da se razli~ite etni~ke grupe i kulture Na osnovu takvog teorijskog i prakti~nog pristupa Di- mogu povezati na osnovu principa raznolikosti i raznovrsno- jana je pripremila predlog deklaracije koji je 2003. tada{nja sti i da se tako mo`e razviti jedinstven regionalni kulturni dr`ava Srbija i Crna Gora podnela Generalnoj konferenciji sadr`aj. Najve}i broj stru~njaka u oblasti za{tite kulturne i Uneska u Parizu. Generalna konferencija je u oktobru 2003. prirodne ba{tine polazi od ~injenice da jedino na taj na~in, u celosti prihvatila predlog Srbije i Crne Gore i usvojila De- me|usobnom bliskom stru~nom saradnjom, mo`emo stvori- klaraciju o preventivnoj konzervaciji kao fundamentalnoj ti sna`an i jedinstven zajedni~ki prostor, a time }e se ostva- strategiji za{tite nasle|a, posebno zna~ajnu za zemlje u tran- riti ravnopravno nastupanje na me|unarodnoj sceni, kvali- ziciji i zemlje u razvoju [Generalna konferencija, XXXII se- tetno zastupanje regiona, kao i nacionalnih interesa naroda sija, Komisija IV, 32 C/74, No 32 C/DR.35, paragraf 04210 i zemalja. Profesionalci u oblasti za{tite smatraju da male (a) (II), 16. oktobar 2003]. zemlje Balkana, sa jo{ uvek sa~uvanim autenti~nostima, po- Praksa je pokazala da je primena preventivne za{tite po- sebnostima i raznolikostima kulturnog i prirodnog identi- sebno pogodna za uspostavljanje delotvornog sistema brige teta, mogu uspe{no definisati svoje nacionalne ba{tine putem za ba{tinu u zemljama u razvoju i u procesima tranzicije. regionalnog u~e{}a u globalnom svetu. Da bi se do{lo do tog Zbog toga su, prirodno, sve aktivnosti za{tite u Dijani bile cilja, stru~njaci za za{titu ba{tine mogu i moraju razvijati me- usmerene na region jugoisto~ne Evrope, na razvoj eduka- |usobnu konstruktivnu saradnju u ostvarivanju tog va`nog tivnih sadr`aja i modela, kao i na njihovu primenu u in- strate{kog regionalnog zadatka o~uvanja nacionalnih ba{ti- stitucionalnoj profesionalnoj praksi. na, njihovog objedinjavanja u regionalni prostor i povezi- Regionalne aktivnosti Dijane jo{ su intenzivnije od sre- vanja i integrisanja u jedinstven evropski i globalni svet. dine 2005, kada je otpo~elo zajedni~ko delovanje sa organi- zacijom ICOM-SEE u uspostavljanju i sprovo|enju regio- Regionalna alijansa ICOM-a nalne saradnje. za jugoisto~nu Evropu – ICOM-SEE Regionalna saradnja je neminovnost kada je re~ o inte- Balkanski region karakteri{e ~itav niz bliskosti i specifi~no- grativnom pristupu za{titi ba{tine i njegovoj primeni u sti koje povezuju razli~ite zemlje regiona u pogledu jezika, praksi putem metodologije preventivne za{tite. Regionalna istorije, politike, kulture, tradicije, nasle|a i drugog. Nagla- saradnja treba da uklju~i u interdisciplinarni i multidisci- {ena je potreba zemalja jugoisto~ne Evrope za regionalnom plinarni sistem brojne subjekte i partnere na lokalnom, na- saradnjom, za zajedni~kim akcijama u re{avanju mnogobroj- cionalnom i regionalnom nivou. Oni }e uticati na stvaranje nih problema muzeologije i za{tite. U regionu deluje ~itav niz pozitivnog i podsticajnog prostora za konstruktivan dijalog malih nacionalnih komiteta ICOM-a (s malobrojnim ~lan- u identifikaciji problema i tra`enju re{enja za dalji razvoj stvom), koji jo{ uvek nemaju zna~ajnijeg uticaja na nacional- ba{tine. nu i me|unarodnu zajednicu. Zato se pre nekoliko godina Dosada{nje istorijske, umetni~ke, kulturne, estetske, so- stalo na stanovi{te da }e taj uticaj biti izrazitiji i delotvor- cijalne, ekonomske i druge karakteristike nacionalnih ba{ti- niji ukoliko se oni ujedine u sna`niju regionalnu grupaciju. na ukazuju nedvosmisleno na to da se prostor Balkana i jugo- Na`alost, pokazalo se da je regionalna organizacija ICOM isto~ne Evrope, u odnosu na op{ti me|unarodni kontekst, EUROPE suvi{e glomazna i neelasti~na, da ne mo`e da za- mo`e bez problema povezati u jedinstven kulturni krug. @eli- dovolji zahteve kompleksnih i razli~itih strategija, niti da mo da uka`emo na to da se jedinstven regionalni balkanski pru`i odgovore koji bi bili u skladu sa stanjem u razli~itim kulturni i prirodni prostor mo`e kvalitetno uklju~iti u evrop- zemljama Evrope. Iako je ICOM EUROPE u poslednje vre- ski i dati sopstveni sna`an i ubedljiv doprinos razvoju evrop- me poku{avao da nadvlada taj problem, njegove su{tinske skog dru{tva i savremene civilizacije uop{te. delatnosti ostale su i dalje previ{e uop{tene i na~elne, bez

18 MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE DIANA #13

Mila POPOVI]-@IVAN^EVI], museum councillor – conservator Head of Diana Department for Preventive Conservation, President of ICOM SEE

DIANA AND ICOM-SEE WITHIN REGIONAL COOPERATION IN SOUTH EAST EUROPE REGIONAL ORIENTATION OF DIANA

SINCE 1997, when the Diana Department for Preventive Conservation started its activities, we have been developing Regional cooperation opens possibilities for mutual the theoretical and practical approach of an interdisciplina- understanding and respect for differences in expression. It will ry and complex system of heritage protection, which is not help develop processes of coexistence and cooperation confined within local and national borders or certain cate- among different ethnic, religious, political, social, and other gories of cultural property. Diana has gradually been con- groups and nations. That is why these processes should structing a system whose development projects define the bring about strategic rethinking and reshaping of national concept of integrated protection and preventive conserva- identities in order to encourage mutual respect and appre- tion methodology. This system proves that the successful ciation of the unique cultural and natural identity of the application of preventive conservation methods and the Balkans as a whole. This develops an understanding that concept of integrated protection stand in close interactive different ethnic groups and cultures can be connected and connection. developed into unique regional cultural content based on This theoretical and practical approach served as the the principles of differences and diversity. Most experts in basis for Diana’s proposed Declaration, which Serbia and the protection of cultural and natural heritage emphasise Montenegro submitted to the General Conference of that only through joint expert cooperation can we create a UNESCO in Paris in 2003. This proposal was fully accepted strong, unique, joint region, equally represented on the inter- and in October 2003, the General Assembly adopted the national scene. This will promote the interests of the region Declaration on preventive conservation as a fundamental as a whole, as well as the national interests of each country. strategy of heritage protection, particularly important for Professionals in the field of conservation believe that the countries in transition and development [General Conferen- small countries of the Balkans, with their preserved authen- ce, XXXII session, Commission IV, 32 C/74, No 32 C/DR.35 tic characteristics and different cultural and natural paragraph 04210 (a) (II); 16th October 2003]. Practice has shown that the implementation of pre- ventive conservation particularly facilitates the establish- ment of an efficient heritage protection system in developing countries or those in transition. For this reason all Diana’s activities are orientated towards the region of South East Europe and the development of educational contents and models, as well as their implementation into professio- nal institutional practice. Since ICOM SEE was founded in the mid-2005’s to organise and coordinate all regional activities, Diana has intensified its regional activities. Re- gional cooperation is inevitable in an integrated approach to heritage protection and its implementation into practice through the preventive conservation methods. Regional cooperation should include an interdisciplinary and multi- disciplinary system with a great number of subjects and par- Sastanak ICOM-a Evrope i ICOM-SEE-ja u Galeriji fresaka, tners on local, national and international levels. These would Beograd, april 2006 facilitate the creation of a positive, favourable space for con- structive dialogue in identifying problems and searching Meeting of ICOM Europe and ICOM-SEE in Gallery of Frescoes, Belgrade, April 2006 for solutions for further heritage development. Historical, artistic, cultural, aesthetical, social, economic and other characteristics of national heritage all confirm that identities, can successfully define their own national heri- the Balkans and South East Europe can easily be connected tage through regional and international participation. In into a unique cultural circle, within an international con- order to reach that goal, heritage protection experts can and text. We would like to emphasise that the unique culture of must develop constructive cooperation in the important stra- the Balkans can be included in the wider European region tegic regional task of preserving national heritage, uniting and it can contribute strongly and plausibly to the develop- within their geographical region while connecting and in- ment of European society and contemporary civilisation. tegrating with the rest of Europe and the world.

19 DIANA #13 MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A ozbiljnog odraza na stanje u pojedinim zemljama. To jeste sada{njih regionalnih organizacija. Najve}i deo u~esnika tih dobro za globalnu politiku i op{te strategije, ali se takvo de- rasprava stao je na stanovi{te da su se pojedina~ni regio- lovanje veoma te{ko mo`e uklopiti u stvarne regionalne i nalni koncepti razvijali samostalno, na prilagodljiviji i sve- nacionalne situacije. Dinami~ne aktivnosti tokom posled- obuhvatniji na~in, i da su pozitivnije orijentisani u odnosu njih godina na podru~ju Balkana nisu ~ak ni pomenute u na potrebe i primenu muzeolo{ke prakse. Sve vi{e dolaze zvani~nim izve{tajima organizacije ICOM EUROPE. Sma- do izra`aja posebne regionalne potrebe, koje tra`e formal- trali smo da je neophodno osnovati posebnu regionalnu or- no udru`ivanje na osnovu razli~itih kriterijuma: politi~kih, ganizaciju koja }e voditi ra~una o na{im potrebama kao o geografskih, jezi~kih, kulturnih i drugih. Izvr{ni odbor potrebama regiona i da }e to biti bolji put za tra`enje odgo- ICOM-a tokom poslednjih godina veoma se ozbiljno bavio varaju}ih re{enja, zadovoljavanje profesionalnih i institu- tim inicijativama, shvataju}i da je do njih do{lo spontano, u cionalnih potreba, a da }e on opet biti u skladu sa strate- okviru profesionalnog delovanja pojedinaca i muzeja. Teo- {kim zadacima i ciljevima ICOM-a. Profesionalci iz regiona reti~ari ICOM-a ve{to prepoznaju specifi~ne potrebe razu- imaju potrebu da zajedni~ki deluju, da na osnovu bliske re- |enije regionalne organizacije i neophodnost decentraliza- gionalne saradnje rade na re{avanju problema zapu{tenog cije postoje}e organizacione strukture. Zaklju~eno je da su stanja ba{tine i na razvoju teorijskih koncepata, metodolo- sada{nje regionalne organizacije suvi{e formalno postavlje- gije i prakse za{tite. ne u geografskom smislu, da deluju previ{e na~elno, da zbog ICOM-SEE je osnovan u avgustu 2005. godine. Prema toga sporo reaguju ili da uop{te ne reaguju u odnosu na kon- tada{njem statutu ICOM-a, definisan je kao podregionalna kretne potrebe regiona ili pojedinih delova regiona. Zato je organizacija – Radna grupa ICOM-a Evrope za jugoisto~nu Izvr{ni odbor zaklju~io da se osnovna struktura ICOM-a Evropu. Osnivanje ICOM-SEE-ja jeste rezultat spontane i mora razvijati u pravcu zahteva koje je muzeolo{ka praksa neposredne inicijative ~lanova ICOM-a iz Makedonije, Bu- iznela, da se mora postaviti elasti~nije kako bi se omogu}i- garske, Srbije i, delimi~no, Gr~ke. Te prve inicijative bile su lo delotvorno i kvalitetno regionalno udru`ivanje. Izvr{ni pokrenute potrebom da se vi{e malih nacionalnih komiteta odbor ICOM-a pripremio je predlog za reorganizaciju dota- ICOM-a ujedini u sna`niju organizaciju, koja }e biti ravno- da{nje strukture ICOM-a i predlog za izmenu Statuta u tom pravna s drugima pred me|unarodnom zajednicom i koja smislu. Tako su na Generalnoj skup{tini ICOM-a u avgustu }e izgraditi sna`niji uticaj na kulturnu politiku u nacional- 2007. u Be~u usvojene temeljne izmene Statuta, kojima su nim i regionalnim okvirima. dotada{nje, prevazi|ene regionalne organizacije i njihove Da bi regionalne akcije bile osmi{ljene i stru~no kontro- varijante preobra`ene u regionalne alijanse. ICOM-SEE je lisane, ICOM-SEE je odmah po osnivanju definisao i prihva- pru`io sna`nu podr{ku i dao zna~ajan doprinos tim inicija- tio kao strate{ku platformu i akcioni plan regionalni projekat tivama, smatraju}i da reorganizacija strukture ICOM-a sa Revitalizacija kulturnog i prirodnog nasle|a u regionu Balka- osnivanjem regionalnih alijansi predstavlja kvalitetan pro- na – jugoisto~ne Evrope, 2006–2012 (dr M. Popovi}-@ivan- ces decentralizacije i daljeg razvoja samog ICOM-a, njegovo ~evi}, autorski projekat, OPZ Dijana, avgust 2005). Unesko prilago|avanje procesima ja~anja specifi~nih i manjih regi- je prihvatio taj projekat kao zna~ajnu pomo} i doprinos u ona koji `ele kvalitetnije u~e{}e u sistemu ICOM-a. Tim iz- razvijanju strategije generalnog re{avanja problema za{tite menama ICOM je pokazao da s razumevanjem prati razli- u regionu jugoisto~ne Evrope i kao kvalitetnu osnovu za ~ite razvojne koncepte i profesionalne potrebe u razli~itim dalji razvoj organizovane brige za ba{tinu. delovima sveta, da brzo reaguje na njih i da sve to lako pove- Poslednjih godina u samom ICOM-u vo|ene su ozbiljne zuje sa svojim generalnim strategijama i ciljevima. U okvi- diskusije – u kojima je neposredno u~estvovao i ICOM-SEE ru sna`ne regionalne alijanse profesionalci mogu sami tra- – o na~inu regionalnog organizovanja i funkcionisanja do- `iti sopstvene puteve i re{enja oslanjaju}i se na ICOM-ove

Sastanak Borda ICOM-SEE-ja u Muzeju selja~kih buna, ^lanovi Borda ICOM-SEE-ja u Muzeju selja~kih buna u Hrvatskoj, Gornja Stubica, Hrvatska, april 2008 april 2008 Meeting of the Board of ICOM-SEE in Peasants’ revolt Museum, Members of the Board of ICOM-SEE in Peasants’ revolt Museum, Gornja Stubica, Croatia, April 2008 Croatia, April 2008

20 MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE DIANA #13

Regional alliance of ICOM recognized by the international community and strongly for South East Europe-ICOM-SEE influence cultural policy on national and regional levels. The Balkans is characterised by a number of similarities and In order for the regional action to be properly planned characteristics that connect different countries in language, and expertly supervised, ICOM-SEE immediately accepted history, politics, culture, tradition, and heritage. There is a the strategic platform and action plan defined in the ICOM strong need for regional cooperation, and for joint activities Regional project Revitalisation of cultural and natural heri- to solve the numerous problems of museology and protec- tage in the region of Balkans-South-east Europe, 2006–2012 tion. The range of national ICOM committees (albeit with (Dr M. Popovi}-@ivan~evi}, project author, Diana Department only a few members) has not yet had a significant impact for Preventive Conservation, August 2005). UNESCO accepted on the national and international community. That is why that project as a significant contribution to developing ge- several years ago we decided that the impact would be neral solutions to the problem of protection in South East more pronounced and effective if those committees united Europe and as good basis for further organised care of our in a stronger regional group. heritage. Unfortunately, it was evident that ICOM EUROPE was Over the last few years, ICOM-SEE has been directly too big and inflexible to satisfy the complex and different involved in some serious discussions in ICOM about the needs of all the different countries of Europe. Even though ways in which existing Regional organisations are structured ICOM EUROPE has tried lately to overcome that problem, and operate. Most participants in these discussions came to its basic activities have remained too general and funda- the conclusion that individual regional concepts develop mental, not seriously reflecting the different situations in independently, more flexibly, and more broadly, and are certain countries. That is good for global and general stra- oriented to the needs and application of museological tegies, but can barely respond to regional needs. principles. Special regional needs are emphasised more and Dynamic activities in the Balkans over the last years more, which calls for formal unity on similar political, have not been mentioned in official reports of ICOM geographical, linguistical, cultural and others criteria. The EUROPE. We believed that it was necessary to establish a executive board of ICOM has taken such initiatives very special regional organisation that would take care of Serbian seriously, understanding that they were spontaneous, needs and those of the region. This would be a better way to arising from the professional activities of individuals and solve problems and to satisfy professional and institutional museums. ICOM experts recognise the needs of a dissected needs according to the overall tasks and goals of ICOM. regional organisation to decentralise from the existing orga- Professionals from the region need to take action together, nisational structure. It was concluded that current regional to solve the problem of the neglected state of our heritage organisations are too formally situated in the geographical and to develop theoretical conservation concepts, methods, sense; they appear to be too fundamental, and they react and practice based on close regional cooperation. much more slowly as a result, or do not react at all to con- ICOM-SEE was founded in August 2005. According to crete needs of certain parts of the region or the region as a ICOM it was then defined as a sub regional organisation – whole. That is why the Executive Board concluded that the a working group of ICOM Europe for South East Europe. basic structure of ICOM must develop according to the The establishment of ICOM-SEE was a spontaneous, direct practical demands of museology, and that it must be more initiative of ICOM members from Macedonia, Bulgaria, Ser- flexible to provide effective, good, regional unity. The bia and partially Greece. Those first initiatives began with executive board of ICOM prepared a proposition for the the need to unite a number of small national committees of reorganisation of the present structure of ICOM and for ICOM into a strong organisation, which would be seriously appropriate changes to ICOM’s Statute. In August 2007, at the General Assembly of ICOM in Vienna, some detailed changes were adopted, which will enable the transformati- Deo Borda ICOM-SEE-ja u Muzeju u Kumrovcu, on of present obsolete regional organisations into Regional april 2008 alliances. ICOM-SEE has given strong support and a signi- Part of the Board of ICOM-SEE in Museum in Kumrovec, ficant contribution to those initiatives, believing that reor- April 2008 ganization of the structure of ICOM through the establish- ment of Regional alliances represents a quality process of decentralisation and further development of ICOM itself, in its adaptation to the processes of strengthening smaller member regions who want to participate more equally in ICOM. With those statutory changes ICOM has shown that it is in step with different concepts of development and professional needs in different parts of the world, under- standing that it should react to them quickly, in accordance with its general strategies and goals. Within a strong Regi- onal alliance professionals can work out their own professio- nal methods and solutions, depending on ICOM’s strategic goals and tasks, and not on current political situations and social contexts.

21 DIANA #13 MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A strate{ke ciljeve i zadatke, a ne na trenutne politi~ke situa- 12. mr Azra Be~evi}-[arenkapa, konzervator, Zemaljski cije i dru{tvene ambijente. Takva reorganizacija ICOM-a muzej u Sarajevu, zamenik ~lana Borda, zamenik pred- omogu}i}e profesionalcima okupljenim oko ICOM-SEE-ja sednika ICOM-SEE-ja, Bosna i Hercegovina da zajedni~ki, sna`nije i efikasnije deluju u okviru svojih 13. Ljiljana Zekovi}, savetnik, Narodni muzej Crne Go- nacionalnih i regionalnih interesa, a u skladu s generalnim re, Umetni~ki muzej, stalni ~lan Borda ICOM-SEE-ja, Crna strategijama ICOM-a. Gora Neposredno nakon odr`avanja Generalne skup{tine 14. Mileva Vujo{evi}, savetnik, Pomorski muzej u Ko- ICOM-a u Be~u 2007. godine ICOM-SEE je zapo~eo s pri- toru, zamenik ~lana Borda ICOM-SEE-ja, Crna Gora premama za sprovo|enje zvani~ne procedure prerastanja 15. prof. dr Ilirjan \ipali (Ilirjan Gjipali), zamenik di- iz Radne grupe ICOM-a Evrope u regionalnu alijansu. S rektora Arheolo{kog instituta u Tirani, stalni ~lan Borda druge strane, tokom zasedanja Savetodavnog komiteta ICOM-SEE-ja, Albanija ICOM-a u junu 2008. godine u Parizu odr`an je i sastanak 16. Albana Hakani (Albana Hakani), arheolog, Arheo- Radne grupe za regionalne alijanse i regionalne pridru`ene lo{ki park Butrint, zamenik ~lana Borda ICOM-SEE-ja, Al- organizacije ICOM-a. Na tom sastanku ve}ina prisutnih banija podr`ala je osnivanje Regionalne alijanse ICOM-SEE; jed- 17. dr Virgil Nitulesku (Virgil Nitulescu), dr`avni se- noglasno je odlu~eno da se Izvr{nom odboru ICOM-a zva- kretar Ministarstva kulture Rumunije, stalni ~lan Borda ni~no podnese zahtev da se formira Regionalna alijansa za ICOM-SEE-ja, Rumunija jugoisto~nu Evropu – ICOM-SEE. Izvr{ni odbor ICOM-a je 18. Elena Doina Punga (Elena Doina Punga), {ef Odelje- na sastanku odr`anom 5. i 6. juna 2008. godine prihva- nja za odnose s javno{}u, Nacionalni istorijski muzej u Bu- tio taj predlog i ICOM-SEE je osnovan kao peta aktivna kure{tu, zamenik ~lana Borda ICOM-SEE-ja, Rumunija. regionalna alijansa. U okviru ICOM-SEE-ja danas deluje devet zemalja re- giona: Slovenija, Hrvatska, Bosna i Hercegovina, Crna Go- ra, Albanija, Makedonija, Srbija, Bugarska i Rumunija. ICOM-SEE deluje preko Borda, koji su izabrali predstavni- ci nacionalnih komiteta ICOM-a svih zemalja ~lanica nove regionalne organizacije. Bord ICOM-SEE-ja ~ine stalni ~lanovi i njihovi zamenici: 1. dr Mila Popovi}-@ivan~evi}, savetnik konzervator, Narodni muzej u Beogradu, {ef Odeljenja za preventivnu za{titu Dijana, stalni ~lan Borda, predsednik ICOM-SEE-ja, Srbija 2. prof. dr Jan Ki{geci, savetnik, Poljoprivredni muzej u Kulpinu, Institut za ratarstvo i povrtarstvo u Novom Sadu, zamenik ~lana Borda ICOM-SEE-ja, Srbija Prvi generalni sastanak ICOM-SEE-ja u Beogradu, 3. Branislava Mihajlova, muzejski savetnik, Muzej isto- decembar 2008 rije prirode u Skoplju, stalni ~lan Borda, zamenik pred- The First General Assembly of ICOM-SEE in Belgrade, sednika ICOM-SEE-ja, Makedonija December 2008 4. Zaharinka Aleksoska Ba~eva, konzervator, Muzej moderne umetnosti u Skoplju, zamenik ~lana Borda ICOM-SEE-ja, Makedonija Su{tinski doprinos osnivanju i ja~anju ICOM-SEE-ja 5. prof. dr Simeon Nedkov, profesor muzeologije na Fi- pru`ili su stru~njaci iz Dijane. Oni su inicirali ~itav niz regi- lozofskom fakultetu u Sofiji, stalni ~lan Borda ICOM-SEE-ja, onalnih projekata i aktivnosti koji uklju~uju razli~ite stru~- Bugarska njake na nacionalnom, regionalnom i me|unarodnom nivou, 6. Krasimira Frangova, Nacionalna akademija umetno- a tako|e koordiniraju i organizuju te aktivnosti i projekte. sti u Sofiji, Konzervatorski departman, zamenik ~lana Borda Karakter, sadr`ina i ciljevi ve}ine projekata povezuju razli- ICOM-SEE-ja, Bugarska ~ite kulture, institucije i profesionalce iz na{eg regiona i 7. dr Dragan Mati}, Inspektorat za kulturu i medije Evrope. Zadaci Dijane poklapaju se i blisko prepli}u u rea- Slovenije, stalni ~lan Borda ICOM-SEE-ja, Slovenija lizaciji sa onima koji va`e za ICOM i ICOM-SEE, zbog istih 8. Nina Zdravi~-Poli}, muzejski savetnik, Etnografski strate{kih opredeljenja i ciljeva. Dijana je jedan od glavnih muzej Slovenije u Ljubljani, Slovenija, zamenik ~lana Borda aktera ICOM-SEE-ja i ICOM-a i zato ve}inu svojih nau~- ICOM-SEE-ja no-stru~nih projekata metodolo{ki regionalno postavlja i 9. Vlatka Filip~i}-Maligec, kustos, Muzej Hrvatskog organizuje u razli~itim zemljama regiona. U toj simbiozi i Zagorja, Muzej selja~kih buna, stalni ~lan Borda, sekretar zajedni~kom nedeljivom radu sa ICOM-om Dijana je svoje ICOM-SEE-ja, Hrvatska aktivnosti godinama usmeravala na region jugoisto~ne Evro- 10. Davor Fulanovi}, Tehni~ki muzej u Zagrebu, zame- pe, postepeno formiraju}i partnersku regionalnu mre`u oko nik ~lana Borda ICOM-SEE-ja, Hrvatska tih svojih razli~itih i kompleksnih aktivnosti. Zato danas 11. Janko Vra~ar, kustos, Muzej Republike Srpske u Ba- predstavnici zemalja regiona ne samo {to pokazuju veliki njaluci, stalni ~lan Borda ICOM-SEE-ja, Bosna i Hercegovina interes za neposredno i konkretno uklju~ivanje u pojedine

22 MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE DIANA #13

This reorganization of ICOM will enable professionals 4. Zaharinka Aleksoska Ba~eva, conservator, Museum gathered around ICOM SEE to work more efficiently and of Modern Art in Skopje, substitute of the member of the strongly both according to their national and regional inte- board of ICOM-SEE-a, Macedonia rests and in compliance with the general strategies of 5. Prof. Dr Simeon Nedkov, professor of museology at ICOM. the Faculty of Philosophy in Sofia, permanent member of Immediately after holding a General parliament of the board of ICOM-SEE, Bulgaria ICOM in Vienna 2007 ICOM-SEE has begun with the pre- 6. Krasimira Frangova, National Academy of Art in parations for conducting the official procedures of chang- Sofia, Conservatory department, substitute member of the ing from working group of ICOM Europe in regional board of ICOM-SEE, Bulgaria alliance. On the other hand, during the session of Advisory 7. Dr Dragan Mati}, Inspectorate for culture and media Committee of ICOM in June 2008 in Paris a meeting of the in Slovenia, permanent member of the board of ICOM-SEE, Working Group of regional alliance and regional extended Slovenia organization of ICOM was held. On that meetings majority 8. Nina Zdravi~-Poli}, museum councillor, Ethnographic of attendants supported forming of the Regional Alliance Museum of Slovenia in Ljubljana, Slovenija, substitute of of ICOM-SEE; it was unanimously decided to officially de- the member of the board of ICOM-SEE-a mand from Executive Board of ICOM to form Regional Alli- 9. Vlatka Filip~i}-Maligec, curator, Museum of Croati- ance for South East Europe-ICOM-SEE. Executive Board an Zagorje, Museum of the peasants’ mutiny, permanent of ICOM has accepted that proposition on the meeting member of the board of ICOM-SEE, Croatia held on June 5th and 6th 2008 and ICOM-SEE was founded 10. Davor Fulanovi}, Technical Museum in Zagreb, as fifth active regional alliance. substitute member of the board of ICOM-SEE, Croatia

Jedan od srednjovekovnih manastira na planini Rudnik ^lanovi Borda ICOM-SEE-ja u tipi~no {umadijskom ambijentu, koji su obi{li ~lanovi Borda ICOM-SEE-ja, decembar 2008 decembar 2008 One of the medieval monasteries in the Rudnik mountain, visited Members of the Board of ICOM-SEE in a typical ambient of by the members of the Board of ICOM-SEE, December 2008 [umadia, December 2008

Today there are nine countries within ICOM-SEE: Slove- 11. Janko Vra~ar, curator, Museum of Republika Srpska nia, Croatia, Bosnia and Herzegovina, Montenegro, Alba- in Banja Luka, permanent member of the board of ICOM- nia, Macedonia, Serbia, Bulgaria and Romania. ICOM-SEE SEE, Bosnia and Hercegovina works through a board, elected by representatives of nati- 12. Azra Be~evi}-[arenkapa MA, conservator, Museum onal committees of ICOM of all member states of the new of the Earth in Sarajevo, substitute member of the board, regional organisation. vice president of ICOM-SEE; Bosnia and Hercegovina The Board of ICOM-SEE is consisted of members and 13. Ljiljana Zekovi}, advisor, National Museum of Mon- their substitutes: tenegro, director of the Art Museum, permanent member 1. Dr Mila Popovi}-@ivan~evi}, museum councillor – of the board of ICOM-SEE, Montenegro conservator, National Museum in Belgrade, head of the 14. Mileva Vujo{evi}, advisor, Marine museum in Kotor, Diana Department for preventive conservation, permanent substitute member of the board of ICOM-SEE, Montenegro member of the board, president of ICOM-SEE, Serbia 15. Prof. Dr Ilirjan Gjipali, deputy director of the Archa- 2. Prof. Dr Jan Ki{geci, advisor, The Museum of Agri- eological Museum in Tirana, permanent member of the culture in Kulpin, Institute for arable farming and vege- board of ICOM-SEE, Albania table growing in Novi Sad, substitute of the member of the 16. Albana Hakani, archaeologist, Butrint Archaeologi- board of ICOM-SEE, Serbia cal park, substitute member of the board ICOM-SEE, Albania 3. Branislava Mihajlova, museum councillor, Museum 17. Dr Virgil Nitulescu, state secretary of the Ministry of Natural History in Skopje, permanent member of the of Culture of Romania, permanent member of the board of board , vice president of ICOM-SEE, Macedonia ICOM-SEE, Romania

23 DIANA #13 MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

Trijenalni skup ICOM-a Srbije, Bosne i Hercegovine i Hrvatske Mila Popovi}-@ivan~evi} dr`i predavanje na trijenalnom skupu u Prijepolju, maj 2008 u Prijepolju, maj 2008 Triennial meeting of ICOM Serbia, Bosnia and Herzegovina Mila Popovi}-@ivan~evi} giving a lecture on Triennial meeting and Croatia in Prijepolje, May 2008 in Prijepolje, May 2008 aktivnosti ve} se i uklju~uju u projekte, daju}i im na taj na- ljeni zadaci uklju~uju i kreiranje i razvoj zajedni~ke regio- ~in partnerski regionalni karakter. Dijana i ICOM-SEE tru- nalne strategije za{tite ba{tine, kao i stvaranje sna`nijeg de se da se putem odgovaraju}e radne atmosfere i ambijenta profesionalnog uticaja na stru~ne institucije za{tite i orga- koji je stvoren tokom dosada{njih regionalnih akcija, u pro- ne vlade na nacionalnom i me|unarodnom nivou. Dakle, fesionalnim kontaktima, uspostavi bliska saradnja izme|u ICOM-SEE i Dijana usmeravaju svoje aktivnosti na revita- pojedinaca i institucija u jugoisto~noj Evropi. Osnovni cilje- lizaciju nasle|a u regionu jugoisto~ne Evrope, na sisteme vi Dijane i ICOM-SEE-a se poklapaju i odnose se na koordi- za{tite koji odra`avaju {iri integrativni pristup nasle|u, u niranje regionalnih aktivnosti na za{titi ba{tine, na osnovu skladu s nacionalnim i regionalnim interesima. Te aktivnosti partnerskih i paralelnih projekata kratkoro~nog i dugoro~- ve} donose konkretne rezultate u nau~no-stru~noj saradnji nog karaktera, a u okviru sadr`aja revitalizacije kulturnog u na{em regionu, kao i sve intenzivnije okupljanje i samo- i prirodnog nasle|a u regionu jugoisto~ne Evrope. Postav- organizovanje profesionalaca. „

Biljana \OR\EVI] Narodni muzej u Beogradu

KONVENCIJA O ZA[TITI STARIH I TRADICIONALNIH ZANATA – PROMENA SADA[NJOSTI I OBLIKOVANJE BUDU]NOSTI

NA[E KULTURNO OKRU@ENJE ubrzano se menja i po- staje sve jednoli~nije i bezli~nije. Svakim danom lokalne, nose i brojna zna~enja i poruke, bitne upravo za tu zajednicu regionalne i nacionalne specifi~nosti sve vi{e nestaju. Glo- na tom mestu. balizacija se nezadr`ivo {iri planetom, zahvata sve segmen- Mo`da je najslikovitija paradigma ovakvog u~inka glo- te dru{tva i uzima svoj danak. Ona sobom nosi odre|ene balizacije sada ve} antologijska scena iz legendarnog filma pozitivne promene, ali je pogubna za o~uvanje kulturnog Bogovi su pali na teme, snimljenog 1980. godine. Mladi Bu- identiteta. {man Ksi u pustinji Kalahari pronalazi staklenu bocu koka- Nije vi{e neobi~no videti i mlade i stare pripadnike raz- -kole koja je pala s neba kao dar bogova. Njegova te`nja da li~itih kultura u svim delovima sveta koji su svoje tradicio- bogovima vrati taj predmet za koji je ustanovljeno da ni~e- nalne no{nje zamenili sasvim istim majicama i ka~ketima mu ne slu`i, ali koji izaziva razdor u dotad skladnoj zajed- na kojima se naj~e{}e nalaze neke reklamne poruke napisane nici, svakako simbolizuje borbu protiv negativnih uticaja na njima nerazumljivom jeziku. Ili mlade `ene koje vodu sa globalizacije. izvora odnose u plasti~nim kanisterima umesto u skladno Nije, me|utim, potrebno `iveti u Namibiji da bi se osetio izvajanim i bogato ukra{enim glinenim }upovima {to su ih poguban uticaj globalizacije na kulturni identitet bilo koje osmislili njihovi preci; ti }upovi, osim funkcije koju imaju, zajednice. Dovoljno je pripadati nekom od evropskih naroda.

24 MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE DIANA #13

18. Elena Doina Punga, head of the PR Department, involved in projects, thus giving them a regional partnership National Historical Museum in Bucharest, substitute mem- character. Diana and ICOM-SEE are making an effort to ber of the board, ICOM-SEE, Romania. establish closer cooperation between individuals and institu- tions in South East Europe by means of a suitable working Experts from Diana have made an essential contributi- atmosphere and environment, created during the regional on to the formation and strengthening of ICOM-SEE. They activities of ICOM-SEE that have been taken so far. The have initiated, coordinated, and organized a number of regi- main goals of Diana correspond with those of ICOM-SEE onal projects and activities, including different experts at and refer to coordinating regional activities in the conser- national, regional and international levels. Most of these vation of heritage, based on partner and parallel projects, projects connect different cultures, institutions and pro- both short-term and long-term, within the revitalisation of fessionals in our region and in Europe. The tasks of Diana cultural and natural heritage in South East Europe. Tasks match and overlap with those of ICOM and ICOM SEE, include the creation and development of a regional strategy having the same strategic orientation and goals. Diana is one of heritage protection of, as well as a more powerful influ- of the main participants in ICOM-SEE and ICOM so it ence on expert conservation institutions and government de- positions most of its scientific and expert projects regionally, partments at national and international levels. ICOM-SEE and then organises them in different countries in the region. and Diana are directing their activities towards the revitali- In this indivisible, mutual symbiosis with the work of ICOM, sation of heritage in South East Europe, and towards systems Diana has directed its activities toward the region of South of conservation that maintain a wider, integrative approach East Europe for years, gradually forming a regional network to heritage, according to national and regional interests. of partners gathered around its different, complex activities. Those activities have already brought about concrete re- That is why representatives of countries in the region today sults in our region, including more intensive gathering and not only show great interest in certain activities, but also get self-organisation of regional professionals. „

Biljana DJORDJEVI] National museum in Belgrade

CONVENTION ON THE PROTECTION OF OLD AND TRADITIONAL CRAFTS: CHANGING THE PRESENT AND SHAPING THE FUTURE

OUR CULTURAL SURROUNDINGS are rapidly changing and becoming more monotonous and impersonal. With each shed purpose but created discord in what had, until then, day, local, regional and national traits are disappearing. Ir- been a harmonious community) symbolizes the struggle repressible globalization is spreading throughout the pla- against the negative influences of globalization. net, seizing all segments of society, and this is taking its However, it is not necessary to live in Namibia in order toll. Although it brings along certain positive changes, it is to feel the damaging influence of globalization on the cul- detrimental for the preservation of cultural identity. tural identity of any community. It is sufficient to belong It is no longer unusual to see both young and old mem- to any European nation. Here the consequences are also vi- bers of different cultures in all parts of the world exchan- sible. Things that former generations designed, developed, ging their traditional costumes with the same t-shirts and and nurtured for hundreds of years and interwove in the caps, which usually have some kind of advertising messages shapes and decoration of objects for everyday use are slowly written in a language that is incomprehensible to them. disappearing. Above all, the knowledge and skills necessary Young women now carry water from the spring in plastic for creating these objects have also disappeared, and that containers instead of the harmoniously shaped and richly loss will soon be irretrievable. decorated pots designed by their ancestors. Besides their Old crafts should be observed not only as part of cul- functional value these pots carry numerous meanings and tural heritage and the artistic expression of one nation, but messages, important to that unique community and place. also as part of everyday life, which connects individuals and Perhaps the most picturesque paradigm of this effect of groups from different ethnic, cultural, religious and lingu- globalization is the now epic scene from a legendary movie istic surroundings, based on mutual understanding and re- The Gods must be Crazy, made in 1980. In the Kalahari Desert, spect. They enable better understanding among cultures, young Bushman Xi finds a glass Coca-Cola bottle which had social cohesion, and stability based on a principle of accep- fallen from the sky, and interprets it as a gift from God. His ting others with all their differences. This is the basis of the intention to return the bottle to the gods (it had no establi- White paper on intercultural dialogue: Living Together as

25 DIANA #13 MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

I ovde su posledice sasvim uo~ljive. Bezli~ne majice, plasti~- * * * ni kanisteri i beskorisna ambala`a {ire se nezaustavljivo. Nedavno sam pro~itala kratku pri~u D`oela Barkera Sve ono {to su generacije pre nas osmi{ljavale, razvijale Baca~ zvezda, inspirisanu istoimenom pripovetkom antropo- i negovale stotinama godina i utkale u forme i dekoraciju loga Lorena Ajslija.4 Pri~a govori o mudracu koji na dugoj predmeta za svakodnevnu upotrebu polako nestaje. Nesta- pe{~anoj pla`i zati~e mladi}a u mukotrpnom poslu vra}a- ju, pre svega, znanja i ve{tine neophodni za nastanak ovih nja nasukanih morskih zvezda, jedne po jedne, u okean. predmeta, a taj gubitak uskoro }e biti nenadoknadiv. Za~u|en uzaludnim, beskona~nim poslom koji je taj mladi Stare zanate treba posmatrati ne samo kao deo kultur- ~ovek strpljivo obavljao, mudrac ga zapita za{to to radi kad ne ba{tine i umetni~kog izraza jedne nacije ve} kao deo sva- nikada ne}e mo}i da vrati u vodu sve morske zvezde i kad, kodnevnog `ivota koji povezuje pojedince i grupe iz razli~itih samim tim, to nema nikakvog smisla i ne zna~i ni{ta. Mladi} etni~kih, kulturnih, verskih i jezi~kih okru`enja na osnovu mu, saginju}i se i bacaju}i nazad, u vodu, jo{ jednu od ne- uzajamnog razumevanja i po{tovanja. To je osnova Bele knji- preglednog broja nasukanih morskih zvezda, odgovori: Za ge o interkulturnom dijalogu: @iveti zajedno, jednaki u dosto- ovu zna~i. Mudri ~ovek je shvatio: ono {to je mladi} ~inio janstvu, koju je Savet Evrope usvojio u maju 2008.1 bio je izbor. Izbor da ne bude samo nemi posmatra~, ve} da Stari zanati treba da budu, a i jesu, aktivnosti koje omo- ne{to preduzme. Kao i mladi} iz pri~e, i mi smo svi obdare- gu}uju bolje razumevanje me|u kulturama, socijalnu ko- ni sposobno{}u da u~inimo iskorak; kada postanemo svesni heziju i stabilnost na osnovu principa prihvatanja drugih s te sposobnosti, ste}i }emo mo} da uti~emo na promenu sa- njihovim razli~itostima. da{njosti i oblikovanje budu}nosti. Pred nama je nacrt Konvencije o za{titi starih i tradici- Svaki za budu}nost sa~uvan, od zaborava otrgnut ili onalnih zanata, koji je u oktobru 2006, na inicijativu Srbije,2 obnovljen stari i tradicionalni zanat jedna je morska zvezda Savetu Evrope podnelo sedam zemalja.3 Ova konvencija kojoj smo spasli `ivot. „ predvi|a usvajanje niza mera na nacionalnom i evropskom nivou, mera kojima bi se obezbedili opstanak i o`ivljavanje tradicionalnih zanata i o~uvanje njihovih proizvoda, pro{i- renje kruga lica koja se njima bave, kao i unapre|ivanje nji- 1] White Paper on Intercultural Dialogue: Living Together As hovog ekonomskog i socijalnog polo`aja. Na taj na~in tre- Equals in Dignity, Launched by the Council of Europe Ministers of balo bi da Konvencija uvede red i da zaustavi nestajanje i Foreign Affairs at their 118th Ministerial Session, Strasbourg, 7 degradaciju starih i tradicionalnih zanata. Kao ni ostale kon- May 2008. vencije i deklaracije Saveta Evrope, ni ova konvencija nema 2] Nacrt Konvencije o za{titi starih i tradicionalnih zanata na- snagu zakona, ve} preporuke. Njen cilj nije da nametne, stao je na Pravnom fakultetu u Beogradu. Delo je studenata, sada ve} diplomiranih pravnika, anga`ovanih u Stru~noj grupi za evropsko ve} da stimuli{e. Da bi bila usvojena i da bi podstakla zem- pravo, pod rukovodstvom doc. dr Branka Raki}a. To {to je nastala lje ~lanice Saveta Evrope, kojih je danas 47, na to da je ra- kao studentska ve`ba u oblasti evropskog prava ne umanjuje nje- tifikuju, potrebno je da predstavnici svih ovih zemalja spo- nu vrednost, o ~emu govori i ~injenica da ju je Savet Evrope uzeo znaju njen zna~aj i neophodnost njene primene u svim u razmatranje i radi na njenom usvajanju. evropskim zemljama, bez obzira na stepen razvijenosti. Na 3] Uz Srbiju, to su Velika Britanija, Nema~ka, [panija, Kipar, stru~njacima je koji se za{titom kulturnih dobara bave da Finska i Litvanija. im na to uka`u i da im u tome pomognu. 4] www.starthrower.com.

EVROPSKA KONVENCIJA O ZA[TITI STARIH I TRADICIONALNIH ZANATA

Dr`ave ~lanice Saveta Evrope i druge dr`ave potpisnice ove konvencije: – polaze}i od toga da je cilj Saveta Evrope ostvarenje {to ~vr{}e unije izme|u njegovih ~lanica radi o~uvanja i unapre- |ivanja ideala i principa koji ~ine njihovu zajedni~ku ba{tinu i podsticanja njihovog ekonomskog i dru{tvenog napretka, – imaju}i u vidu Evropsku kulturnu konvenciju, potpisanu u Parizu 19. decembra 1954. godine, a posebno njene ~lanove 1 i 5, – svesne toga da su stari i tradicionalni zanati, i to kako znanja i ve{tine koji ih ~ine, a koji su izgra|ivani, preno- {eni i unapre|ivani kroz generacije, tako i proizvodi koji su rezultat tih znanja i ve{tina, a koji su tako|e nastajali i ~u- vani kroz vekove, sastavni i bitan deo ukupnog duhovnog i kulturnog nasle|a i svakog naroda posebno i cele Evrope, pa i ~itavog ~ove~anstva, – uverene da zna~aj tih znanja i ve{tina i njihovih proizvoda daleko nadilazi njihovu svakodnevnu prakti~nu pri- menjivost, te da oni imaju izuzetnu kulturnu vrednost, neretko i umetni~ku, kao i da su zna~ajno svedo~anstvo o na~inu `ivota, obi~ajima, potrebama, shvatanjima i ukupnoj duhovnosti naroda u razli~itim epohama, a i o kulturnim pro`ima- njima izme|u razli~itih naroda, – svesne ~injenice da razvoj nauke i tehnologije, a posebno industrijski razvoj, sa sve ve}im mogu}nostima jeftine, brze i masovne proizvodnje, ~ini bavljenje starim i tradicionalnim zanatima nedovoljno rentabilnim, pa time i nedovoljno privla~nim za nove generacije koje se nalaze pred izborom svog budu}eg zanimanja,

26 MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE DIANA #13

Equals in Dignity which was adopted by Council of Europe Bewildered by this futile, endless work which that young in May of 2008.1 man was patiently conducting, the man asked him why he Before us is a draft of Convention on Protection of Old was doing that since he would not be able to return all the and Traditional Crafts, which has, on the initiative of Serbia2, starfish into the water, and since it didn’t make any sense been submitted to the Council of Europe by seven coun- and didn’t signify anything. The young man, bending and tries.3 This convention envisages the adoption of a number throwing one more stranded starfish back into the water, of measures on national and European levels, with which responded: It does mean a lot for this one. The wise man the survival and revival of traditional crafts and the preser- realized that what the young man was doing was a choice vation of their products would be provided for, spreading not to be just a silent observer, but to do something about the circle of people engaged in such craftsmanship, as well it. Like the young man from the story, we are capable of as advancing their economic and social status. This way the stepping forward, and once we become aware of that capa- Convention should bring order and stop the disappearance bility, we will have the power to influence the present and and decay of old and traditional crafts. As well as other shape the future, albeit one step at a time. conventions and declarations of the Council of Europe, this Each craft preserved for the future, saved from oblivi- Convention does not have the power of a law, but only that on, or revived like one of the starfish, is a life which we of a recommendation. Its goal is not to impose, but to sti- have saved. „ mulate. In order for it to be adopted and ratified by the 47 member countries of the Council of Europe, the representa- tives of these countries must acknowledge its significance 1] White Paper on Intercultural Dialogue: Living Together As and the necessity of its application in all European countries, Equals in Dignity, Launched by the Council of Europe Ministers of regardless of their degree of development. It is up to experts Foreign Affairs at their 118th Ministerial Session, Strasbourg, 7 dealing with the protection of cultural goods to highlight May 2008. the issue and help member countries to apply the Con- 2] Draft of the Convention on Protection of Old and Traditional vention locally. Crafts has been designed at The Faculty of Law in Belgrade by gra- duates engaged in the Expert group for European law, under the direction of Dr Branko Raki}. The fact that it was established as a * * * post-graduate student task within European Law does not diminish Recently I read a short story The Star Thrower by Joel its value, which is proved by the fact that the Council of Europe has Barker, inspired by the story with the same name by anthro- taken it under consideration and is working on its adoption. pologist Loren Eiseley.4 The story deals with a wise man 3] Along with Serbia those are Great Britain, Germany, Spain, who encounters a young man on a long sunny beach toiling Cyprus, Finland and Lithuania to return stranded starfish, one by one, into the ocean. 4] www.starthrower.com.

EUROPEAN CONVENTION ON THE PROTECTION OF OLD AND TRADITIONAL CRAFTS

The member states of the Council of Europe and other signatory states hereto, – Considering that the aim of the Council of Europe is to achieve a greater unity between its members for the purpose of safeguarding and realizing the ideals and principles which are their common heritage and facilitating their economic and social progress, – Bearing in mind the European Cultural Convention signed in Paris on 19 December 1954, and in particular, Articles 1 and 5 thereof, – Being aware that old and traditional crafts, comprising both knowledge and skills which have been developed, conveyed and improved through generations, and the products that are the fruit of such knowledge and skills, which have also been developed and safeguarded over centuries, represent an integral and significant part of the overall spiritual and cultural heritage of each particular nation, the whole of Europe and the entire mankind, – Confident that the importance of the above mentioned knowledge and skills and the products thereof by far exceeds their day-to-day practical application and that they are of an exceptional cultural and often artistic value, thus representing an invaluable testimony to the lifestyle, customs, needs, views and the overall spirituality of a nation in various epochs, as well as to the cultural links between different nations, – Recognizing the fact that the progress of science and technology, especially industrial development, with ever- increasing opportunities for cheap, fast and large-scale production, makes old and traditional crafts insufficiently profitable and, consequently, not attractive enough to be chosen by new generations as their future profession, – Considering the fact that, due to the above described process, numerous old and traditional crafts are facing complete extinction, some of them being already extinct, as well as the fact that the skills that have been acquired and developed through generations are dying out and that the quantity of the preserved products manufactured by application of old and traditional methods is diminishing drastically, especially with regard to the products belonging to earlier epochs, which, owing to their age, are all the more valuable,

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– polaze}i od toga da su mnogi stari i tradicionalni zanati usled navedenog procesa pred potpunim ga{enjem, neki ve} i uga{eni, da se znanja koja su sticana i razvijana kroz generacije gube i da se drasti~no smanjuje koli~ina o~uvanih zanatskih proizvoda proizvedenih na stare i tradicionalne na~ine, posebno onih starijih, koji su zbog svoje starosti naj~e{}e i vredniji, – svesne da se bez organizovane akcije – kako na nacionalnom i subnacionalnom tako i na me|unarodnom planu, a posebno na evropskom – proces nestajanja starih i tradicionalnih zanata ne mo`e zaustaviti, – uverene u postojanje potrebe, kako kod vlastitih naroda tako i u ~itavoj porodici evropskih naroda, pa i u celom ~o- ve~anstvu, za o~uvanjem starih i tradicionalnih zanata, i to i znanja i ve{tina koji ih ~ine, i proizvoda tih znanja i ve{tina, – svesne potrebe za nau~nim istra`ivanjem i prou~avanjem razli~itih aspekata problematike starih i tradicionalnih zanata i potrebe za {irenjem znanja o njima, {to }e doprineti i njihovom o~uvanju i unapre|ivanju i razvijanju svesti kod stanovni{tva o tom vidu vlastitog kulturnog nasle|a i o tom segmentu vlastitog kulturnog i nacionalnog identiteta, – uverene da su u pro{losti saradnja u bavljenju zanatima koje danas smatramo starim i tradicionalnim i razme- na i promet proizvoda tih zanata doprinosili kulturnom i civilizacijskom pro`imanju me|u narodima, te da i danas sa- radnja na o~uvanju starih i tradicionalnih zanata i njihovih proizvoda mo`e i treba da doprinese sli~nom pro`imanju izme|u novih generacija, dogovorile su se o slede}em.

CILJEVI KONVENCIJE ^lan 1 Ova konvencija ima za cilj: 1. za{titu i unapre|ivanje starih i tradicionalnih zanata; 2. {irenje znanja o njima; 3. razvijanje svesti o tome da stari i tradicionalni zanati koji su postojali i koji postoje na prostoru svake od dr- `ava potpisnica ~ine sastavni deo zajedni~ke evropske, pa ~ak i svetske kulturne i civilizacijske ba{tine, kao i podsti- canje, na ovom planu, daljeg duhovnog, kulturnog, civilizacijskog i svakog drugog pozitivnog pro`imanja izme|u evropskih naroda i u okviru ~itavog ~ove~anstva.

DEFINISANJE POJMOVA ^lan 2 U smislu ove konvencije: „ pod starim i tradicionalnim zanatima (u daljem tekstu: zanati) podrazumevaju se zanati koji su na prostoru dr`ava potpisnica ove konvencije postojali u du`em periodu, stekav{i, zahvaljuju}i tome, ukorenjenje kod naroda na tom prostoru, kao i osobenosti i prepoznatljiva svojstva, ~ime su postali deo kulturnog i duhovnog nasle|a tih naro- da, odnosno deo njihove tradicije. „ pod za{titom i unapre|ivanjem podrazumevaju se sve organizovane kolektivne ili pojedina~ne aktivnosti i me- re koje imaju za cilj: – opstanak i o`ivljavanje starih i tradicionalnih zanata; – o~uvanje znanja i ve{tina koji te zanate ~ine, kao i dalje usavr{avanje tih znanja i ve{tina i njihovo {irenje; – prikupljanje, za{titu i o~uvanje proizvoda tih zanata; – pro{irenje kruga lica koja se bave tim zanatima profesionalno ili amaterski; – unapre|ivanje ekonomskog i socijalnog polo`aja lica koja se profesionalno bave tim zanatima; – pru`anje materijalnog i drugog podsticaja za amatersko bavljenje tim zanatima, – kao i uop{te o~uvanje ili o`ivljavanje u sada{njosti ili u pro{losti dostignutog kvantitativnog i kvalitativnog nivoa u bavljenju ovim zanatima i podizanje tog nivoa u budu}nosti. „ pod {irenjem znanja podrazumevaju se sve organizovane – kolektivne ili pojedina~ne – aktivnosti i mere na- u~noistra`iva~kog, obrazovnog, informativnog ili drugog sli~nog karaktera, ~iji je cilj da se detaljno prou~e svi isto- rijski, kulturni, umetni~ki, socijalni, ekonomski i drugi aspekti nastanka i razvoja starih i tradicionalnih zanata, da se unaprede znanja, ve{tine i tehnike obavljanja tih zanatskih delatnosti i da se ta znanja, ve{tine i tehnike pro{ire na {to ve}i krug lica, kao i da se s proizvodima tih zanatskih delatnosti upozna {to {ira javnost.

OBAVEZE DR@AVA POTPISNICA ^lan 3 Dr`ave potpisnice obavezuju se da }e preduzimati sve mere i aktivnosti potrebne za ostvarivanje ciljeva ove kon- vencije. Dr`ave potpisnice }e radi toga sara|ivati, kako kroz mehanizme koje predvi|a ova konvencija tako i na dru- ge na~ine koji se poka`u korisnim.

28 MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE DIANA #13

– Being aware that the dying out of old and traditional crafts cannot be curbed without a coordinated action at the national and subnational levels, as well as at the international and particularly European level, – Confident that the need of their respective nations and of the entire family of the European nations, as well as man- kind in general, is to preserve old and traditional crafts, both the knowledge and skills incorporated therein and the products of such knowledge and skills, – Being aware of the need for carrying out scientific research and study of the various aspects of old and traditional crafts, and the need to disseminate the knowledge thereabout, which will contribute to their preservation and further development, as well as raise popular awareness of this form of cultural heritage and cultural and national identity, – Convinced that in the past cooperation in practicing the crafts which we now deem old and traditional, and the exchange of and trade in the products of such crafts contributed to the establishment of cultural and civilizational links between nations, and also that the cooperation in preserving old and traditional crafts and their products can and ought to contribute to the establishment of similar links between new generations, have agreed as follows:

OBJECTIVES OF THE CONVENTION Article 1 This Convention has the following objectives: 1. to protect and promote old and traditional crafts; 2. to disseminate knowledge thereabout; 3. to raise popular awareness of the fact that old and traditional crafts that existed and still exist on the territory of each signatory state represent an integral part of the common European, and even global, cultural and civilizational heritage, and to encourage further spiritual, cultural, civilizational and any other positive interaction in this context, among the European nations and within the whole mankind.

DEFINITION OF TERMS Article 2 In terms of the present Convention, „ The term old and traditional crafts (hereinafter referred to as crafts) denotes crafts that have been in existence on the territories of the signatory states of this Convention over a lengthy period of time and which, therefore, have become deeply rooted in the societies of the nations which populated those territories, acquiring certain specificities and distinctive features which have made them part of the cultural and spiritual heritage of those nations, that is, part of their traditions. „ The term protection and promotion means any organized collective or individual activities and measures aimed at: – preserving and reviving old and traditional crafts; – safeguarding the knowledge and skills entailed by such crafts, as well as further improving such knowledge and skills and dissemination thereof; – collecting, protecting and preserving the products of those crafts; – expanding the community of individuals who engage in these crafts, either as professionals or as amateurs; – improving the economic and social status of the individuals who engage in such crafts as professionals; – providing financial and other kind of support to the amateurs engaged in those crafts, – and, in more general terms, preserving and reviving the present or past quantitative and qualitative achievements in pursuing such crafts, as well as raising the level of these achievements in the future. „ The term dissemination of knowledge denotes any organized, collective or individual activities and measures of scientific, educational, informative or any other similar character, which are aimed at developing a comprehen- sive study of all historical, cultural, artistic, social, economic and other aspects of the emergence and development of old and traditional crafts, improving the knowledge, skills and techniques for practicing these crafts and dissemi- nating such knowledge, skills and techniques as widely as possible, as well as familiarizing the public at large with the products of such crafts.

COMMITMENTS OF THE SIGNATORY STATES Article 3 The signatory states shall take any measures and actions that may be necessary for the purpose of achieving the objectives of this Convention. For that purpose, the signatory states shall establish mutual cooperation, both through the mechanisms set forth in this Convention and in any other manner which may prove useful.

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NACIONALNI KOMITETI

^lan 4 Najdalje u roku od {est meseci od stupanja na snagu ove konvencije svaka od dr`ava potpisnica oformi}e svoj na- cionalni komitet za za{titu starih i tradicionalnih zanata (dalje: nacionalni komitet). Dr`ave koje naknadno pristupe ovoj konvenciji oformi}e svoje nacionalne komitete najdalje u roku od {est meseci od stupanja na snagu Konvencije u odnosu na njih. Nacionalne komitete sa~injava}e odgovaraju}i broj predstavnika nadle`nih dr`avnih organa, predstavnika lica ko- ja se profesionalno ili amaterski bave ovim zanatima, predstavnika nau~nih i kulturnih institucija i istaknutih nau~nih i kulturnih radnika zainteresovanih za stare i tradicionalne zanate, kao i predstavnika drugih institucija, organizacija ili udru`enja i drugih pojedinaca koji bi mogli bitno da doprinesu uspe{nom radu nacionalnog komiteta date zemlje. Zadatak nacionalnih komiteta bi}e osmi{ljavanje i predlaganje mera i akcija za ostvarivanje ciljeva ove konven- cije, staranje o ostvarivanju tih mera i akcija, ocena uspe{nosti njihove realizacije, kao i ostvarivanje komunikacije i saradnje sa istim ciljem na evropskom i {irem planu. Dr`ave potpisnice }e, u skladu s vlastitim ure|enjem, svojim nacionalnim komitetima dati stvarna i efektivna ovla{}enja neophodna za ostvarivanje njihovih zadataka. Nacionalni komiteti mogu, ukoliko to smatraju potrebnim, da formiraju stru~ne odbore zadu`ene za pojedine zanate ili pojedina stru~na pitanja, kao i druga pomo}na tela.

EVROPSKI KOMITET ^lan 5 U roku od najvi{e godinu dana od stupanja na snagu ove konvencije oformi}e se Evropski komitet za za{titu starih i tradicionalnih zanata (dalje: Evropski komitet), i to tako {to }e nacionalni komiteti dr`ava potpisnica delegirati po jednog predstavnika u to telo na period od ~etiri godine, s mogu}no{}u reizbora. Nacionalni komiteti dr`ava koje budu naknadno pristupile ovoj konvenciji delegira}e svoje predstavnike u Evrop- ski komitet najdalje u roku od tri meseca od vlastitog konstituisanja. Zadatak Evropskog komiteta bi}e podsticanje, usmeravanje i koordinacija nacionalnih mera i akcija preduzetih radi ostvarivanja ciljeva ove konvencije, kao i osmi{ljavanje, organizovanje i sprovo|enje zajedni~kih mera i akcija i podsticanje i koordinacija drugih vidova saradnje me|u dr`avama potpisnicama sa istim ciljem. U Evropskom komitetu sve odluke bi}e dono{ene prostom ve}inom, s tim {to }e se uvek nastojati da se kroz usa- gla{avanje stavova postigne saglasnost svih ~lanica. Radom Evropskog komiteta rukovodi predsednik Evropskog komiteta, koga bira Evropski komitet na period od dve godine, s mogu}no{}u reizbora. Evropski komitet donosi sopstvena pravila o radu u roku od tri meseca od formiranja. Redovni sastanci Evropskog komiteta odr`ava}e se dva puta godi{nje. Komitet mo`e zasedati i vanredno ako tako sam odlu~i, odnosno na zahtev najmanje jedne tre}ine ~lanova Komiteta. Evropski komitet mo`e, ukoliko to smatra potrebnim, da formira stru~ne odbore zadu`ene za pojedine zanate ili pojedina stru~na pitanja, kao i druga pomo}na tela.

SARADNJA ^lan 6 Radi {to uspe{nijeg ostvarivanja ciljeva ove konvencije, izme|u nacionalnih komiteta i Evropskog komiteta bi}e odr`avana {to intenzivnija komunikacija i saradnja, i to kako preko nacionalnih predstavnika u Evropskom komitetu tako i na sve druge na~ine koji se poka`u potrebnim i pogodnim. Radi {to uspe{nijeg ostvarivanja ciljeva ove konvencije, nacionalni komiteti }e odr`avati stalnu i intenzivnu me|u- sobnu komunikaciju i saradnju, kako posredstvom Evropskog komiteta i svojih predstavnika u njemu tako i na sve druge pogodne i potrebne na~ine. Evropski komitet }e radi ostvarivanja ciljeva ove konvencije odr`avati stalnu komunikaciju s Parlamentarnom skup{tinom, Komitetom ministara i drugim zainteresovanim i relevantnim telima Saveta Evrope.

INVENTARI ^lan 7 Najdalje u roku od dve godine od stupanja na snagu ove konvencije svaka od dr`ava potpisnica sa~ini}e i dosta- vi}e Evropskom komitetu inventar starih i tradicionalnih zanata koji postoje ili su postojali na njenoj teritoriji (dalje:

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NATIONAL COMMITTEES Article 4 No later than six months from entry into force of this Convention, each of the signatory states shall set up its own national committee for the protection of old and traditional crafts (hereinafter referred to as national committee). The states that accede to this Convention at a later date shall set up their respective national committees not later than six months from entry into force of this Convention with regard thereto. The national committees shall comprise an appropriate number of representatives of the competent state autho- rities, representatives of the persons engaged in such crafts either as professionals or as amateurs, representatives of the scientific and cultural institutions and distinguished scholars and cultural officials interested in old and tradi- tional crafts, as well as representatives of other institutions, organizations or associations and other individuals that would significantly contribute to the successful operation of the national committee of a particular state. The task of the national committees shall be to design and propose the activities and measures necessary for the accomplishment of the objectives of this Convention, to ensure that such activities and measures are implemented, to evaluate their performance, and to establish communication and cooperation with the same goal at the European level and further afield. The signatory states shall, in keeping with their respective constitutional systems, grant such actual and effective authorizations to their national committees as may be necessary for the accomplishment of their tasks. The national committees may, if they deem it necessary, set up expert committees in charge of particular crafts and specific expert issues and other ancillary bodies.

EUROPEAN COMMITTEE Article 5 Within a maximum of one year from the entry into force of this Convention, a European Committee for the protection old and traditional crafts shall be set up (hereinafter referred to as European Committee) in such manner that the national committees of the signatory states should delegate to this body one representative each for a period of four years, with the possibility of re-election. The national committees of the states which accede to this Convention at a later date shall delegate their repre- sentatives to the European Committee not later than three months from their own establishment. The task of the European Committee shall be to encourage, direct and coordinate national measures and activiti- es taken for the purpose of achieving the objectives of this Convention; design, organize and implement joint measures and activities; and support and coordinate other forms of cooperation between the signatory states with the same goal. All decisions of the European Committee shall be rendered by a simple majority vote, but efforts shall also be made to harmonize various positions in order to obtain the consent of all the member states. The work of the European Committee shall be managed by the Chairman of the European Committee, who shall be elected by the European Committee for a period of two years, with the possibility of re-election. The European Committee shall pass its own rules of procedure within three months from its establishment. Regular meetings of the European Committee shall be held twice a year. The Committee may also hold extra- ordinary sessions, at its own discretion or at the request of at least one third of the Committee membership. The European Committee may, if it deems it necessary, set up expert committees in charge of particular crafts or specific expert issues, and other ancillary bodies.

COOPERATION Article 6 In order to accomplish the objectives of this Convention as successfully as possible, the national committees and the European Committee shall maintain close mutual communication and cooperation, both through the national representatives in the European Committee and in any other form that may prove necessary and convenient. In order to achieve the objectives of this Convention in the most successful manner, the national committees shall maintain continual and close mutual communication and cooperation, both through the European Committee and their representatives therein, and in all other convenient and available forms. For the purpose of achieving the objectives of this Convention, the European Committee shall maintain conti- nual communication with the Parliamentary Assembly, the Committee of Ministers and other interested and relevant bodies of the Council of Europe.

INVENTORIES Article 7 Not later than two years from the entry into force of this Convention, each of the signatory states shall compile and submit to the European Committee an inventory of old and traditional crafts which exist or which existed in its

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nacionalni inventari starih i tradicionalnih zanata ili nacionalni inventari). Dr`ave koje naknadno pristupe ovoj kon- venciji sa~ini}e i dostavi}e Evropskom komitetu svoje nacionalne inventare starih i tradicionalnih zanata najdalje u roku od osamnaest meseci od stupanja na snagu ove konvencije u odnosu na njih. Nacionalni inventari starih i tradicionalnih zanata predstavljaju polazne nacionalne izve{taje, u kojima svaka dr`ava ~lanica konstatuje i popisuje stanje na vlastitom prostoru u pogledu starih i tradicionalnih zanata. Nacional- ni inventari posebno sadr`e: – popis zanata koji se upra`njavaju ili koji su ranije upra`njavani na teritoriji date dr`ave; – popis podru~ja u datoj dr`avi na kojima se pojedini zanati upra`njavaju ili su ranije upra`njavani, uklju~uju}i i podatke o meri u kojoj se ti zanati upra`njavaju ili su ranije upra`njavani na tim podru~jima; – podatke o broju lica na teritoriji date dr`ave koja se bave pojedinim zanatima, podatke o njihovoj starosnoj, polnoj, obrazovnoj i drugoj strukturi, o njihovom socijalnom polo`aju, kao i druge releventne podatke u vezi s tim licima; – podatke o postojanju i rasprostranjenosti proizvoda starih i tradicionalnih zanata na teritoriji date dr`ave, po- datke o stanju, vrednosti i za{ti}enosti tih proizvoda, kao i druge podatke o njima; – podatke o problemima objektivne ili subjektivne prirode koji postoje u datoj dr`avi i koji mogu biti od zna~aja za ostvarivanje ciljeva ove konvencije; – podatke o promenama i kretanjima u pogledu svega navedenog u prethodnom du`em i kra}em periodu; – druge bitne statisti~ke ili sli~ne podatke u vezi sa starim i tradicionalnim zanatima i njihovim upra`njavanjem na prostoru date dr`ave.

^lan 8 Najdalje u roku od tri godine od stupanja na snagu ove konvencije Evropski komitet usvoji}e Evropski inventar starih i tradicionalnih zanata, zbirni dokument sastavljen na osnovu nacionalnih inventara koje su dostavile dr`ave potpisnice. U roku od najvi{e tri meseca od dostavljanja nacionalnih inventara dr`ava koje kasnije pristupe Konven- ciji u Evropski inventar bi}e unete dopune koje proizlaze iz nacionalnih inventara tih dr`ava.

STRATEGIJE ZA[TITE ^lan 9 Istovremeno sa Evropskim inventarom starih i tradicionalnih zanata ili najdalje tri meseca po njegovom usvaja- nju Evropski komitet usvoji}e Evropsku strategiju za{tite starih i tradicionalnih zanata (dalje: Evropska strategija), koja }e biti redovno razmatrana na svake ~etiri godine radi utvr|ivanja rezultata njene primene i radi neophodnih modifikacija. Evropski komitet mo`e odlu~iti i o vanrednom razmatranju Evropske strategije. Polaze}i od Evropske strategije, svaka dr`ava potpisnica }e u roku od {est meseci od usvajanja Evropske strategi- je sa~initi svoju nacionalnu strategiju za{tite starih i tradicionalnih zanata (dalje: nacionalne strategije), ~ija }e dalja modifikovanja biti u skladu s promenama u Evropskoj strategiji. Ako se uka`e posebna potreba, nacionalne strate- gije mogu se razmatrati i modifikovati i nezavisno od razmatranja i modifikovanja Evropske strategije. Evropska strategija i nacionalne strategije sadr`e osnovna usmerenja i osnovne na~ine ostvarivanja ciljeva ove konvencije na evropskom i nacionalnom planu.

GODI[NJI PROGRAMI ^lan 10 Na osnovu Evropske strategije i na osnovu vlastite nacionalne strategije svaka dr`ava potpisnica sa~injava}e i ostvariva}e svoje nacionalne godi{nje programe za{tite starih i tradicionalnih zanata; oni }e predvi|ati konkretne mere i aktivnosti za ostvarivanje ciljeva ove konvencije (dalje: nacionalni godi{nji programi). Evropski komitet }e sa~injavati godi{nje programe me|unarodne saradnje u cilju ostvarivanja ciljeva ove kon- vencije (dalje: evropski godi{nji programi).

IZVE[TAVANJE ^lan 11 Dr`ave potpisnice i Evropski komitet }e pre izrade svakog novog godi{njeg programa sa~injavati odgovaraju}e go- di{nje izve{taje o ostvarivanju svojih programa za prethodnu godinu, o ostvarivanju Evropske strategije i nacionalnih strategija u godini o kojoj je re~, kao i o svim drugim bitnim pitanjima u vezi sa ostvarivanjem ciljeva ove konven- cije u onom delu za koji su oni odgovorni, a koja su se pojavila u toku date godine (evropski i nacionalni godi{nji iz- ve{taji o za{titi starih i tradicionalnih zanata – dalje: evropski godi{nji izve{taji i nacionalni godi{nji izve{taji).

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territory (hereinafter referred to as the national inventories of old and traditional crafts or national inventories). The states that accede to this Convention at a later date shall compile and submit to the European Committee their respective national inventories of old and traditional crafts not later than eighteen months from the entry into force of the Convention with respect thereto. The national inventories of old and traditional crafts shall represent basic national reports in which each member state shall establish and inventory the state of affairs in its territory with regard to old and traditional crafts. The national inventories shall contain in particular: – list of crafts that are practiced at the present time or that were practiced in the past in the territory of the re- spective state; – list of regions in the state concerned in which certain crafts are practiced at the present time or were practiced in the past, including data regarding the extent to which they are or were practiced in those regions; – data on the number of persons on the territory of the respective state engaged in particular crafts, details of their age, gender, educational and other structure, of their social status, and any other relevant information con- cerning such persons; – details of the existence and availability of the products of old and traditional crafts in the territory of the state concerned, details of the status, value and degree of protection of such products, and other relevant informa- tion thereabout; – details of the problems, either of objective or subjective nature, that currently exist in the respective state and may be important for the accomplishment of the objectives of this Convention; – details of the previous changes and trends with regard to all the above said, both on a long-term and short-term basis; – other significant statistical or similar data related to old and traditional crafts and their practice in the terri- tory of a particular state.

Article 8 Not later than three years from the entry into force of this Convention, the European Committee shall adopt the European Inventory of Old and Traditional Crafts, which will represent a summary document prepared on the basis of the national inventories submitted by the signatory states. Not later than three months from the submission of the national inventories by the states which accede to the Convention at a later date, the European Inventory shall be amended in accordance with the national inventories of such states.

PROTECTION STRATEGIES Article 9 Parallel to the adoption of the European Inventory of Old and Traditional Crafts or not later than three months upon the adoption thereof, the European Committee shall adopt a European Strategy for the Protection of Old and Tra- ditional Crafts (hereinafter referred to as the European Strategy) which shall be subject to regular reviews every four years for the purpose of evaluating the results of the implementation thereof and the necessary modifications thereto. The European Committee may also decide to conduct an extraordinary review of the European Strategy at any time. Taking the European Strategy as a point of departure, every signatory state shall, within six months from the adoption of the European Strategy, draw up its own national strategy for the protection of old and traditional crafts (hereinafter referred to as the national strategy), further modifications whereof shall conform to the changes in the European Strategy. Should any specific need arise, reviews and modifications of the national strategies may also be conducted independently from reviews and modifications of the European Strategy. The European Strategy and the national strategies shall include basic guidelines and principal methods of realising the objectives of this Convention on both the European and national levels.

ANNUAL PROGRAMMES Article 10 Pursuant to the European Strategy and on the basis of its own national strategy, every signatory state shall draw up and implement national annual programmes for the protection of old and traditional crafts (hereinafter referred to as the national annual programmes), which shall set forth specific measures and activities for the achievement of the objectives hereunder. The European Committee shall formulate the annual programmes of international cooperation aimed at attaining the objectives of this Convention (hereinafter referred to as the European annual programmes).

REPORTING Article 11 Prior to drawing up any new national annual programme, the signatory states and the European Committee shall compile relevant annual reports on the implementation of the respective programmes for the preceding year,

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Dr`ave potpisnice }e svoje godi{nje izve{taje dostavljati Evropskom komitetu i, preko Evropskog komiteta, svim drugim dr`avama potpisnicama. Evropski komitet }e svoje godi{nje izve{taje dostavljati dr`avama potpisnicama, Parlamentarnoj skup{tini i Ko- mitetu ministara Saveta Evrope.

UPUTSTVA ^lan 12 Ukoliko to smatra potrebnim, radi uniformnosti, ekonomi~nosti ili iz drugih razloga, Evropski komitet }e sa~i- niti i dr`avama potpisnicama dostaviti uputstva o sa~injavanju nacionalnih inventara, nacionalnih strategija, naci- onalnih godi{njih programa i nacionalnih godi{njih izve{taja.

MERE I AKTIVNOSTI ^lan 13 Dr`ave potpisnice }e u svojim godi{njim programima predvideti mere i aktivnosti koje vode ostvarivanju cilje- va ove konvencije, a naro~ito: – mere socijalne pomo}i zanatlijama; – mere materijalnog i drugog podsticanja mladih da se profesionalno ili amaterski bave starim i tradicionalnim zanatima; – organizaciju obuke za bavljenje starim i tradicionalnim zanatima, i to kako {kolske obuke za profesionalno bavljenje tim zanatima tako i kurseva za amatere; – organizovanje susreta i smotri zanatlija; – organizovanje savetovanja i stru~nih skupova nau~nih i kulturnih radnika koji se bave prou~avanjem starih i tradicionalnih zanata; – organizovanje i podsticanje istra`iva~kih projekata koji se odnose na razli~ite aspekte problematike starih i tradicionalnih zanata; – organizovano sakupljanje i za{titu proizvoda starih i tradicionalnih zanata; – organizovanje i podsticanje izlaganja u muzejima, na izlo`bama i sajmovima proizvoda starih i tradicionalnih zanata; – fiskalne i druge olak{ice, kao i druge podsticajne mere, za subjekte koji finansijskim i drugim doprinosima po- ma`u ostvarivanje ciljeva ove konvencije; – podsticanje i pomaganje rada udru`enja i drugih neprofitnih organizacija koje se bave za{titom i unapre|i- vanjem starih i tradicionalnih zanata; – sve druge mere i aktivnosti za koje dr`ave potpisnice ocene da doprinose ostvarivanju ciljeva ove konvencije. Dr`ave potpisnice }e navedene mere i aktivnosti preduzimati i ostvarivati kako na nacionalnom tako i na me|u- narodnom planu, u me|usobnoj saradnji, kao i u saradnji s dr`avama koje nisu potpisnice ove konvencije. Evropski komitet }e podsticati, planirati i koordinirati saradnju izme|u dr`ava potpisnica i subjekata u njima na realizaciji mera i aktivnosti usmerenih ka ostvarivanju ciljeva ove konvencije, posebno se staraju}i o tome da {to {iri krug tih mera i aktivnosti poprimi evropski karakter, koji }e doprineti daljem kulturnom i civilizacijskom pro`i- manju i razvijanju svesti o jedinstvu duhovnog nasle|a na ovom planu.

FINANSIRANJE ^lan 14 Dr`ave potpisnice }e u svojim nacionalnim bud`etima predvideti odgovaraju}a sredstva za ostvarivanje svojih nacionalnih strategija i nacionalnih godi{njih programa za{tite starih i tradicionalnih zanata. Ovom konvencijom osniva se Evropski fond za za{titu starih i tradicionalnih zanata (dalje: Fond). Sredstva Fon- da ~ini}e: – doprinosi dr`ava potpisnica i – doprinosi i pokloni koje daju drugi subjekti. Evropski komitet }e odrediti kriterijume po kojima }e se godi{nje utvr|ivati finansijski doprinos Fondu svake dr`ave potpisnice, u skladu s njenim mogu}nostima. O kori{}enju sredstava Fonda odlu~iva}e Evropski komitet, u skladu s ciljevima ove konvencije. Sredstva iz Fonda koristi}e se za: a) ostvarivanje saradnje i preduzimanje zajedni~kih, evropskih mera i aktivnosti radi ostvarivanja ciljeva kon- vencije;

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on the pursuit of the European Strategy and national strategies in that year, and on any other significant issues related to the attainment of the objectives set out in this Convention in the segment they are responsible for and which have emerged in the course of the year concerned (European and national annual reports on the protection of old and traditional crafts – hereinafter referred to as the European annual report and national annual reports). The signatory states shall submit their annual reports to the European Committee and, through the European Committee, to all other signatory states. The European Committee shall submit its annual reports to the signatory states, the Parliamentary Assembly and the Committee of Ministers of the Council of Europe.

INSTRUCTIONS Article 12 If deemed necessary, in consideration of uniformity and convenience or for other reasons, the European Committee shall issue and submit to the signatory states instructions for the compilation of national inventories and the drawing up of national strategies, national annual programmes and national annual reports.

MEASURES AND ACTIVITIES Article 13 The annual programmes of the signatory states shall envisage measures and activities leading to the attainment of the objectives of this Convention, and in particular: – measures of social assistance to craftsmen; – measures of material and other encouragement for young persons to engage in old and traditional crafts either as professionals or as amateurs; – organizing training for the practice of old and traditional crafts, including both training in schools preparing for professional engagement in these crafts, and courses for amateurs; – organizing gatherings and conventions of craftsmen; – organizing seminars and expert gatherings of scholars and cultural officials who are engaged in the research of old and traditional crafts; – organizing and encouraging research projects related to various aspects of the old and traditional crafts issues; – collecting, in an organized fashion, and safeguarding products of old and traditional crafts; – organizing and encouraging the staging of exhibitions in museums, shows and fairs of products of old and traditional crafts; – tax shelters and other arrangements, as well as other measures of encouragement for entities which, by way of financial and other contributions, support the attainment of the objectives hereunder; – encouraging and aiding the work of associations and other non-profit organizations involved in the protection and promotion of old and traditional crafts; – and all other measures and activities which the signatory states deem capable of contributing to the attainment of the objectives hereunder. The signatory states shall take and implement the said measures and activities both at the national and inter- national levels, through mutual cooperation, and through cooperation with states that are not signatories hereto. The European Committee shall encourage, plan and coordinate cooperation between the signatory states and entities within them, with respect to the implementation of measures and activities aimed at attaining the objectives hereunder, particularly ensuring that as broad an array as possible of such measures and activities be of European character, contributing to further cultural and civilizational interaction and raising of the awareness of the common spiritual heritage in this respect.

FINANCING Article 14 The signatory states shall designate adequate funds in their respective national budgets for the implementation of their national strategies and their national annual programmes for the protection of old and traditional crafts. Under this Convention, a European Fund for the Protection of Old and Traditional Crafts (hereinafter referred to as the Fund) shall be established. The Fund shall include: – contributions by signatory states and – contributions and gifts by other entities. The European Committee shall define the criteria for determining, on an annual level, the financial contributions owed by the signatory states to the Fund in accordance with their respective financial capabilities. The European Committee shall decide on the use of the Fund in keeping with the objectives set out hereunder.

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b) pru`anje pomo}i pojedinim dr`avama potpisnicama u ostvarivanju njihovih godi{njih programa; Evropski komitet }e svake godine utvr|ivati, po unapred odre|enim kriterijumima koje }e sam uspostaviti, kojim }e dr`avama potpisnicama i u kom iznosu biti pru`ana pomo}, vode}i posebno ra~una o mogu}nostima dr`ava i o njihovom doprinosu ostvarivanju ciljeva ove konvencije; c) finansiranje rada Evropskog komiteta i njegovih pomo}nih tela. Pri izradi Evropske strategije i nacionalnih strategija i evropskih i nacionalnih godi{njih programa te`i}e se ostvarivanju {to ve}eg stepena samofinansiranja.

OZNA^AVANJE I SERTIFIKACIJA ^lan 15 Evropski komitet }e uspostaviti op{te uslove pod kojima }e se utvr|ivati koji se predmeti smatraju proizvodima starih i tradicionalnih zanata. Svaka dr`ava }e odrediti svoj sistem ozna~avanja i sertifikacije proizvoda starih i tra- dicionalnih zanata sa svojih prostora. Oznaka kojom }e se obele`avati proizvodi starih i tradicionalnih zanata s prostora dr`ava potpisnica sastoja}e se od jedinstvenog evropskog znaka, koji }e utvrditi Evropski komitet, kombinovanog s nacionalnim znakom, koji }e odrediti svaka od dr`ava potpisnica. Svaki proizvod starih i tradicionalnih zanata s prostora dr`ava potpisnica bi}e pra}en, osim oznaka na koje }e se nalaziti na njemu, i sertifikatom kojim se potvr|uje da se radi o originalnom proizvodu starih i tradicionalnih zana- ta i u kojem }e biti navedeni osnovni podaci o tom proizvodu. Sadr`aj sertifikata odre|uju dr`ave ~lanice prema op{tem uputstvu koje izdaje Evropski komitet.

EVROPSKA PRESTONICA I EVROPSKI DAN STARIH I TRADICIONALNIH ZANATA ^lan 16 Evropski komitet }e svake godine izabrati jedan grad za Evropsku prestonicu starih i tradicionalnih zanata, i to svaki put grad u drugoj dr`avi potpisnici. Evropski komitet }e odrediti datum koji }e biti progla{en za Evropski dan starih i tradicionalnih zanata.

POTPISIVANJE I STUPANJE NA SNAGU ^lan 17 Ova konvencija bi}e otvorena za potpis svim evropskim dr`avama koje se obrate generalnom sekretaru Saveta Evrope sa `eljom da budu njene potpisnice. Ova konvencija podle`e ratifikaciji, prihvatanju i odobrenju. Instrumenti o ratifikaciji, prihvatanju i odobrenju bi}e deponovani kod generalnog sekretara Saveta Evrope. Ova konvencija stupi}e na snagu po{to kod generalnog sekretara Saveta Evrope bude deponovano pet instrume- nata o ratifikaciji, prihvatanju ili odobrenju, ali samo u odnosu na dr`ave koje su navedene instrumente deponovale.

PRISTUPANJE ^lan 18 Nakon njenog stupanja na snagu ovoj konvenciji mo`e pristupiti svaka evropska dr`ava koja se obrati general- nom sekretaru Saveta Evrope sa `eljom da bude njena potpisnica. U odnosu na dr`ave koje naknadno pristupe Konvenciji, ona stupa na snagu onog dana kada se njihovi instru- menti o pristupanju deponuju kod generalnog sekretara Saveta Evrope.

REZERVE ^lan 19 Na odredbe ove konvencije ne mogu se stavljati nikakve rezerve.

OTKAZIVANJE ^lan 20 Dr`ava potpisnica mo`e u svako doba otkazati ovu konvenciju pismenim obave{tenjem upu}enim generalnom sekretaru Saveta Evrope. Otkaz stupa na snagu godinu dana od dana kada generalni sekretar primi to obave{tenje.

36 MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE DIANA #13

The Fund shall be used for: a) establishing cooperation and undertaking joint European measures and activities for the purpose of attaining the objectives hereunder. b) lending assistance to certain signatory states in the implementation of their annual programmes. Every year, the European Committee shall decide, in accordance with the criteria it determines earlier on, which states are to be aided and which amounts are to be allotted thereto, particularly taking into account the respective capabilities of the states and their contribution to the attainment of the objectives hereunder. c) funding the work of the European Committee and ancillary bodies thereof. In crafting the European Strategy and the national strategies, and the European and national annual programmes, as high a degree as possible of self-financing shall be aspired to.

CERTIFICATION

Article 15 The European Committee shall establish general terms whereunder which objects shall be deemed products of old and traditional crafts Every state shall establish its own system of labelling and certifying products of old and traditional crafts produced on the territory thereof. The label used for marking products of old and traditional crafts produced on the territories of the signatory states shall include a single European mark, to be determined by the European Committee, in combination with a national mark, to be determined by each of the signatory states. Along with the marks thereon, each product of old and traditional crafts produced on the territory of a signatory state shall also be accompanied with a certificate warranting its status as a genuine product of old and traditional crafts, and stating basic information about the product. The content of the certificate shall be determined by the member states in accordance with the general instructions issued by the European Committee.

THE EUROPEAN CAPITAL AND EUROPEAN OLD AND TRADITIONAL CRAFT DAY

Article 16 Every year, the European Committee shall pronounce a city from a different signatory state as the European Capital of Old and Traditional Crafts. The European Committee shall specify the date to be pronounced European Old and Traditional Crafts Day.

SIGNATURE AND ENTRY INTO FORCE

Article 17 This Convention shall be open for signature by all European states which express to the Secretary General of the Council of Europe the wish to join it. This Convention is subject to ratification, acceptance and approval. Instruments of ratification, acceptance and approval shall be deposited with the Secretary General of the Council of Europe. This Convention shall enter into force after five instruments of ratification, acceptance or approval have been deposited with the Secretary General of the Council of Europe, but only in relation to the states which deposited the aforementioned instruments.

ACCESSION TO THE CONVENTION

Article 18 After its entry into force, this Convention shall be open for accession by all European states which approach the Secretary General of the Council of Europe with a wish to join it. In relation to the states that accede to the Convention at a later date, it shall enter into force on the date of depositing its instrument of accession.

RESERVATIONS

Article 19 No reservation may be made in respect of any provision of this Convention.

37 DIANA #13 MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

POSMATRA^I

^lan 21 Odlukom Evropskog komiteta bilo kojoj zainteresovanoj evropskoj dr`avi koja nije potpisnica ove konvencije ili bilo kojoj zainteresovanoj vanevropskoj dr`avi mo`e se, na zahtev te dr`ave, dati status posmatra~a. Dr`ave sa statusom posmatra~a mogu da {alju svoje predstavnike na zasedanja Evropskog komiteta i ti predstavnici mogu, nakon izlaganja predstavnika dr`ava potpisnica, uzimati re~ na zasedanjima, ali bez prava u~e{}a u odlu~ivanju. Evropski komitet }e, u koordinaciji s predstavnicima dr`ava posmatra~a, utvrditi na~ine i mehanizme u~e{}a dr`ava posmatra~a u merama i aktivnostima koje dr`ave potpisnice budu preduzimale u primeni ove konvencije na nacionalnom i evropskom planu, kao i druge oblike saradnje izme|u dr`ava potpisnica i dr`ava posmatra~a.

NOTIFIKACIJA ^lan 22 Generalni sekretar Saveta Evrope obave{tava}e sve dr`ave potpisnice, kao i sve druge dr`ave ~lanice Saveta Evrope o: a) svakom potpisu; b) deponovanju svakog instrumenta o ratifikaciji, prihvatanju, odobrenju i pristupanju; c) svakoj odluci o dodeli statusa posmatra~a d) svakom drugom aktu, obave{tenju ili komunikaciji koja se ti~e ove konvencije.

ODNOS PREMA DRUGIM PROPISIMA ^lan 23 Odredbe ove konvencije ne}e ni na koji na~in ograni~iti odredbe bilo kog nacionalnog zakona ili drugog propi- sa, me|unarodne konvencije, multilateralnog ili bilateralnog sporazuma ili bilo kog drugog pravnog akta koje su po- voljnije u pogledu za{tite starih i tradicionalnih zanata.

Sa~injeno u ______, dana ______godine, na engleskom i francuskom jeziku i oba teksta su podjed- nako verodostojna. Originali su deponovani kod generalnog sekretara Saveta Evrope, koji }e overene kopije proslediti dr`avama potpisnicama, kao i ostalim dr`avama ~lanicama Saveta Evrope.

OBRAZLO@ENJE

U obrazlo`enju predlo`enog teksta Evropske konvencije o za{titi starih i tradicionalnih zanata bi}e izlo`eni (a) osnovni podaci o predlaga~ima Konvencije, motivima za podno{enje predloga i o pravnom osnovu na kojem se pred- log zasniva i (b) obrazlo`enje pojedinih odredaba predlo`ene Konvencije.

(a) O predlaga~ima, motivima za podno{enje predloga i pravnom osnovu Predlaga~i ove konvencije su studenti Pravnog fakulteta Univerziteta u Beogradu, ~lanovi Stru~ne grupe za evropsko pravo, fakultativnog oblika rada koji okuplja najuspe{nije studente, posebno zainteresovane za pravne aspekte evropskih integracionih procesa. Re~ je o grupi studenata koji imaju poseban senzibilitet, koji pridaju pose- ban zna~aj svemu onome {to ~ini evropsko zajedni{tvo i koji su svesni toga da je bogato kulturno i civilizacijsko na- sle|e ono {to je vekovima Evropu ~inilo Evropom, {to je taj geografski ograni~en prostor u~inilo duhovnim i civili- zacijskim sredi{tem ~ove~anstva. Moto kojim smo se rukovodili prilikom izrade ovog predloga Konvencije jeste slede}i: Ako ho}emo da budemo Evropa, treba da ostanemo ono {to jesmo. A da bismo ostali ono {to jesmo, moramo da sa~uvamo vlastiti identitet, vlastitu tradiciju, vlastitu kulturu i civilizaciju i vlastito jedinstvo u razli~itosti. ^uvanje onoga {to su nam ostavili preci, dakle konzervacija onoga zbog ~ega prostor na kojem `ivimo s ponosom nazivamo Starim kontinentom, ni na koji na~in ne predstavlja konzervativizam i be`anje od modernog. ^uvanje starog i dobrog zapravo je jedini ispra- van a verovatno i jedini mogu}i na~in na koji se mo`e biti moderan i spreman na prihvatanje pravih vrednosti koje donosi novo vreme. Predlaga~i ove konvencije svesni su toga da upravo briga o o~uvanju onoga {to ~ini evropsko civilizacijsko nasle- |e i evropsko civilizacijsko jedinstvo predstavlja klju~ i odgovor na pitanja koja je svojevremeno Pol Valeri formuli- sao na slede}i na~in:

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DENUNCIATION

Article 20 A signatory state may, at any time, denounce this Convention by means of a notification addressed to the Secretary General of the Council of Europe. Such denunciation shall take effect one year after the date of receipt by the Secretary General of such notification.

OBSERVERS

Article 21 Upon decision of the European Committee, any interested European state that is not signatory hereto or any other interested non-European state may be granted observer status at the request of the state concerned. The states with observer status may send their representatives to sessions of the European Committee and such representatives may take floor after representatives of the signatory states at such sessions, but shall exercise no right to partake in the decision-making process. In cooperation with representatives of observer states, the European Committee shall determine the methods and mechanisms of observer states’ participation in the measures and activities to be taken by signatory states in the course of the implementation of this Convention on the national and European planes, as well as other forms of cooperation between signatory states and observer states.

NOTIFICATION

Article 22 The Secretary General of the Council of Europe shall notify all signatory states and all other member states of the Council of Europe of: a) any signature; b) deposit of any instrument of ratification, acceptance, approval and accession; c) any decision on the granting of observer status and d) any other act, notification or communication pertaining to this Convention.

RELATION TO OTHER REGULATIONS

Article 23 The provisions of this Convention shall in no way restrict the provisions of any national law or regulation, international convention, or multilateral or bilateral agreement, which are more effective in relation to the protection of old and traditional crafts.

Done at ______, this ____day of ____, in English and French, both texts being equally authoritative. Original copies have been deposited with the Secretary General of the Council of Europe who shall transmit certified copies to signatory states and other member states of the Council of Europe.

EXPLANATION

In the explanation of the proposed text of the European Convention on the Protection of Old and Traditional Crafts the following shall be presented: (a) basic information concerning the persons proposing the draft Convention, motives for this submission and the legal basis of this draft and (b) explanations of certain provisions of the proposed Convention.

(a) On the persons proposing the Convention, motives for submission of the proposal and its legal basis

Those submitting the Convention are students of the Faculty of Law, University of Belgrade. They are members of the Study Group for European Law, an optional group that comprises the most successful students, particularly those interested in the legal aspects of the process of the European integration. The group comprises students with a particular sensibility for and awareness of the importance of all the matters and issues that compose the European fellowship and unity and who are conscious of the rich cultural heritage and civilisation that has for centuries constituted the identity of Europe – the heritage that made this geographically limited territory the spiritual and civilisational focal point of humanity.

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Da li }e Evropa postati ono {to ona uistinu jeste, mali rt azijskog kontinenta? Ili }e Evropa sa~uvati svoj izgled kao dragulj univerzuma, biser kugle zemaljske, mozak jednog ogromnog tela? (Paul Valéry, Variétés I, 24) (L’Europe devi- endra-t-elle ce qu’elle est en réalité, c’est-à-dire un petit cap du continent asiatique? Ou bien l’Europe restera-t-elle ce qu’elle paraît, c’est-à-dire: la partie précieuse de l’univers terrestre, la perle de la sphère, le cerveau d’un vaste corps?) Predlaga~i ove konvencije po{li su od toga da je bitan deo ukupne aktivnosti Saveta Evrope upravo usmeren na o~uvanje evropskog kulturnog identiteta, {to zna~i kako kulturnog identiteta svakog evropskog naroda ponaosob tako i zajedni~kog kulturnog nasle|a Starog kontinenta. Osnov za takvu aktivnost u op{tem smislu jeste Evropska kulturna konvencija, potpisana u Parizu 19. decembra 1954. godine; neki segmenti kulture pokriveni su konvencijama ~iji je cilj za{tita evropskog kulturnog nasle|a u datim domenima, poput Evropske konvencije o za{titi arheolo{kog nasle|a, potpisane u prvoj verziji u Londonu 6. maja 1969. godine i u revidiranoj verziji u La Valeti 16. januara 1992. godine, ili Konvencije o za{titi arhitektonskog nasle|a u Evropi, potpisane u Granadi 3. oktobra 1985. godine. I predlo`ena Konvencija o za{titi starih i tradicionalnih zanata pokriva jedan deo evropskog kulturnog i civili- zacijskog nasle|a, i to u domenu s kojim – iako je re~ o aktivnostima koje se postepeno gube i izumiru – sada{nje generacije Evropljana imaju veoma neposrednu i veoma vidljivu vezu. Gotovo da nema stanovnika Starog kontinen- ta koji za opstanak svojih najbli`ih i najneposrednijih predaka, pa samim tim i za svoje postojanje, ne treba da za- hvali upravo marljivosti i ve{tini nekog pripadnika ranijih generacija koji je svoje najbli`e prehranjivao bave}i se jed- nim od zanata {to ih sada smatramo starim, tradicionalnim i, na`alost, ugro`enim. Mo`e se ~ak re}i da je do pre ne vi{e od jednog veka `ivot u evropskim gradovima, a u nimalo zanemarljivoj meri i u evropskim seoskim sredinama, bio `ivot starih i tradicionalnih zanata. Zato je za{tita starih i tradicionalnih zanata vi{e od obi~ne kulturne potre- be. Ona je dug svakog od nas prema na{im najbli`im precima. Konvencija se posebno oslanja na ~lanove 1 i 5 Evropske kulturne konvencije iz 1954. godine, koji glase: ^lan 1 Svaka ugovorna strana preduze}e odgovaraju}e mere da bi sa~uvala i podstakla razvoj svog nacionalnog doprinosa zajedni~kom kulturnom nasle|u Evrope. ^lan 5 Svaka ugovorna strana }e predmete od evropske kulturne vrednosti koji se nalaze pod njenom kontrolom smatrati integralnim delovima zajedni~kog kulturnog nasle|a Evrope, preduze}e odgovaraju}e mere da ih sa~uva i osigura}e razu- man pristup tim predmetima.

Stari i tradicionalni zanati i proizvodi tih zanata jesu sastavni i bitan deo ukupnog duhovnog i kulturnog nasle- |a svakog naroda ponaosob, ali i cele Evrope i ~itavog ~ove~anstva. Ujedinjena Evropa zahteva da to i takvo nasle|e bude tretirano kao zajedni~ko evropsko nasle|e, koje mora biti poznato i priznato na celoj teritoriji Evrope, ali uz zadr`avanje i negovanje specifi~nosti svakog naroda i njegovog nasle|a kao va`nog i jedinstvenog deli}a evropskog kulturnog mozaika. Proizvodi starih i tradicionalnih zanata imaju izuzetnu kulturnu, neretko i umetni~ku vrednost, a predstavljaju i zna~ajno svedo~anstvo o na~inu `ivota, obi~ajima, potrebama, shvatanjima, duhovnosti pojedinih naroda i kulturnim pro`imanjima izme|u razli~itih naroda. Razvoj nauke i tehnologije, a posebno industrijski razvoj i mogu}nost jeftine, brze i masovne proizvodnje, ~ini nedovoljno rentabilnim i nedovoljno privla~nim bavljenje starim i tradicionalnim zanatima. Usled tog procesa mno- gi od ovih zanata nalaze se pred ga{enjem ili su ve} uga{eni. Cilj ove konvencije jeste da doprinese, u skladu sa ciljevima Saveta Evrope, ostvarivanju {to ~vr{}e unije izme- |u evropskih dr`ava i naroda i o~uvanju i unapre|ivanju ideala i principa koji ~ine njihovu zajedni~ku ba{tinu, i to organizovanom aktivno{}u – na nacionalnom, subnacionalnom i me|unarodnom planu, posebno evropskom – na za{titi i unapre|ivanju starih i tradicionalnih zanata, kao i na {irenju znanja o njima. U tu svrhu ovom konvenci- jom predvi|eni su organi (evropski i nacionalni komiteti), sistem finansiranja i posebni mehanizmi za{tite starih i tradicionalnih zanata, sa~injavanje evropskih i nacionalnih inventara, kao i usvajanje evropskih i nacionalnih stra- tegija i godi{njih planova za{tite starih i tradicionalnih zanata itd.

(b) Obrazlo`enje teksta (pojedina~nih odredaba) Preambula – U preambuli Predloga Konvencije na uobi~ajen na~in izneti su navedeni motivi i pravni oslonac u Evropskoj kulturnoj konvenciji. ^lan 1 – U ~lanu 1 Predloga Konvencije navedeni su ciljevi Konvencije, a to su za{tita i unapre|ivanje starih i tra- dicionalnih zanata, zatim {irenje znanja o njima i, kona~no, razvijanje svesti o evropskom zna~aju tih zanata i pod- sticanje pro`imanja izme|u evropskih naroda na ovom planu. ^lan 2 – U ovom ~lanu definisani su pojmovi sadr`ani u ~lanu 1 i u daljem tekstu Predloga Konvencije, a to su pojmovi stari i tradicionalni zanati, za{tita i unapre|ivanje i {irenje znanja. Ovim ~lanom upotpunjuju se smisao i zna~enje ~lana 1.

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The motto that inspired us during the drafting of this proposal was the following: if we wish to remain Europeans we should remain what we are; and to do that, we have to safeguard our own identity, tradition, culture and civilisation and unity in diversity. Safeguarding of what has been inherited from our ancestors, namely conserving, is not in any way tantamount to conservatism and escape from modernity. Safeguarding the traditional is the only right and possible way to be modern and to remain prepared to recognize and accept the true values brought on by the new times. The persons proposing this Convention are aware that the concern to safeguard what represents the heritage and unity of the European civilisation is the answer to questions articulated at the time by Paul Valery in the following way: Whether Europe will become what it is in reality, a small promontory of the Asian continent? Or will Europe remain as it appears, namely, a precious stone of the universe, the pearl of the globe, the brain of a vast body? (Paul Valéry, Variétés I, p. 24) (L’Europe deviendra-t-elle ce qu’elle est en réalité, c’est-à-dire un petit cap du continent asiatique? Ou bien l’Europe restera-t-elle ce qu’elle paraît, c’est-à-dire: la partie précieuse de l’univers terrestre, la perle de la sphère, le cerveau d’un vaste corps ?) The persons proposing this Convention had in mind the fact that an important part of the activities of the Council of Europe concerns the safeguarding the European cultural identity, encompassing both the cultural identities of each European nation in particular and the joint cultural patrimony of the Old Continent. The basis for this activity in general terms is the European Cultural Convention, signed in Paris on 19 December 1954, while certain particular cultural aspects are covered by conventions, such as the European Convention on the Protection of the Archaeological Heritage, signed (the first version) in London on 6 May 1969 and the revised version in La Valete on 16 January 1992, or the Convention for the Protection of the Architectural Heritage of Europe, signed in Granada on 3 October 1985. Similarly, the proposed Convention on the Protection of Old and Traditional Crafts covers one aspect of the European civilisation and cultural heritage with which modern generations of Europeans have very direct and visible ties, although the very activities it concerns are slowly disappearing. Every inhabitant of Europe owes his or her existence to the hard work and skills of his or her ancestors who maintained his or her family by practicing crafts which are now considered to be old and traditional, and are unfortunately endangered. Until a century ago life in Europe was organized around old and traditional crafts. Therefore, their protection is more than a simple cultural need. It is our debt to our closest ancestors. The Convention especially relies on Articles 1 and 5 of the European Cultural Convention of 1954, which stipulate: Article 1 Each Contracting Party shall take appropriate measures to safeguard and to encourage the development of its nati- onal contribution to the common cultural heritage of Europe. Article 5 Each Contracting Party shall regard the objects of European cultural value placed under its control as integral parts of the common cultural heritage of Europe, shall take appropriate measures to safeguard them and shall ensure reasonable access thereto.

Old and traditional crafts and their products are the essential part of the overall spiritual and cultural heritage of each nation, but also of Europe as a whole and all of humanity. The unity of Europe demands that this heritage be treated as the common European heritage that must be recognised on the territory of the whole Europe, while pre- serving and cultivating the specificity of each nation as an important and unique part of the European cultural mo- saic. Old and traditional crafts have exceptional cultural and often artistic value and represent an important testimo- ny to the manners of living, customs, needs, views and spirituality of a nation and the cultural interactions between different nations. It is recognised that the progress of science and technology, in particular industrial development, with ever- increasing opportunities for cheap, fast and large-scale production, renders old and traditional crafts insufficiently profitable and thus not attractive enough as a profession. As a result, many of these crafts have disappeared or are about to disappear. The aim of this Convention is to contribute, in conformity with the aims of the Council of Europe, to a greater unity between European states and nations, as well as to the preservation and further promotion of the ideals and principles which are their common heritage, through organized pursuit of protection and promotion of old and traditional crafts and dissemination of the knowledge thereabout at the national, sub national, international and especially European level. To this end the Convention provides organs (the European Committee and national committees), a system of financing, special mechanisms for the protection of old and traditional crafts, as well as adoption of inventories, strategies and annual programmes for the protection of old and traditional crafts both at the European and at the national levels.

(b) Explanation of the text (individual provisions) Preamble – The preamble of the Convention states in the customary manner the motives, as described above, and establishes the European Cultural Convention as the legal basis for the draft Convention.

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^lan 3 – Ovim ~lanom dr`ave potpisnice obavezuju se da }e, preduzimanjem svih potrebnih mera i aktivnosti, raditi na ostvarivanju ciljeva Konvencije i da }e radi realizacije tih ciljeva ostvarivati me|usobnu saradnju kroz me- hanizme predvi|ene Konvencijom, kao i van tih mehanizama. ^lan 4 – ^lanom 4 dr`ave potpisnice obavezuju se na uspostavljanje, na nacionalnom planu, odgovaraju}eg in- stitucionalnog sredi{ta zadu`enog za ostvarivanje ciljeva Konvencije, i to kako kroz utvr|ivanje i realizaciju nacio- nalnih mera i aktivnosti tako i kroz ostvarivanje me|unarodne saradnje. Ta institucionalna sredi{ta jesu nacionalni komiteti sa~injeni od predstavnika razli~itih grupacija koje mogu da doprinesu ostvarivanju ciljeva Konvencije. Sva- koj dr`avi potpisnici ostavljeno je da vlastiti nacionalni komitet uspostavi u skladu s vlastitim dr`avnim ustrojstvom, ali uz obavezu davanja tim komitetima realnih i efektivnih ovla{}enja koja }e im omogu}iti da stvarno i efikasno do- prinose ostvarivanju ciljeva Konvencije. S obzirom na slo`enost problematike za{tite starih i tradicionalnih zanata, predvi|ena je i mogu}nost da nacionalni komiteti po potrebi oforme odgovaraju}a pomo}na tela za razli~ita pitanja iz svoje nadle`nosti. ^lan 5 – Pored nacionalnih komiteta, u ~lanu 5 predvi|eno je i formiranje Evropskog komiteta za za{titu starih i tradicionalnih zanata, kao institucionalnog sredi{ta za ostvarivanje ciljeva Konvencije na evropskom nivou. To telo zadu`eno je za podsticanje i koordinaciju nacionalnih mera i aktivnosti, kao i za realizaciju zajedni~kih, evropskih mera i aktivnosti i drugih oblika saradnje izme|u dr`ava potpisnica na ostvarivanju ciljeva Konvencije. Evropski ko- mitet sa~injen je od po jednog predstavnika svih nacionalnih komiteta, ~ija se ravnopravnost ostvaruje time {to sva- ki ~lan ima jedan glas i {to se odlu~uje prostom ve}inom, uz nastojanje da se postigne puna saglasnost svih ~lanova gde god je to mogu}e. Komitet se sastaje dva puta godi{nje na redovnim zasedanjima, uz mogu}nost vanrednih za- sedanja. I Evropski komitet, poput nacionalnih komiteta i zbog sli~nih razloga, mo`e da osniva pomo}na tela. Pred- sedavanje Evropskim komitetom i dono{enje pravila o radu regulisani su na na~in koji je uobi~ajen za ovakva tela. Predlaga~ se opredelio za to da predsednik Evropskog komiteta ne bude biran po sistemu rotacije, ve} bez ograni- ~enja i uz mogu}nost vi{estrukog reizbora nakon isteka dvogodi{njeg mandata, polaze}i od toga da se radi o dome- nu me|unarodne saradnje koji se ne odra`ava u bitnoj meri na nacionalni suverenitet i politi~ki presti` dr`ava, a u kojem, s druge strane, li~ni ugled, kreativnost i anga`ovanost pojedinaca mogu biti od velikog zna~aja za uspe{an rad tela o kojem je re~. ^lan 6 – Institucionalna mre`a koja se uspostavlja po osnovu ~lanova 4 i 5 Konvencije predstavlja centralni do- prinos Konvencije ostvarivanju ciljeva predvi|enih u njenom ~lanu 1. Kroz tu mre`u oblast za{tite i unapre|ivanja starih i tradicionalnih zanata, do sada u prili~noj meri zanemarena i zapu{tena, stavlja se pod organizovan sistem staranja stru~nih i zainteresovanih lica s realnim i efektivnim ovla{}enjima. Da bi ta institucionalna mre`a uspe{nije funkcionisala, neophodna je {to intenzivnija i ~vr{}a saradnja izme|u njenih elemenata, i to kako vertikalno, izme|u nacionalnih komiteta i Evropskog komiteta, tako i horizontalno, izme|u nacionalnih komiteta me|usobno. I nave- dena vertikalna i navedena horizontalna saradnja ostvaruju se pre svega preko predstavnika nacionalnih komiteta u Evropskom komitetu, s tim {to taj redovni put saradnje ne isklju~uje druge oblike saradnje, ni vertikalno ni hori- zontalno. Kao sastavni deo institucionalnog sistema uspostavljenog pod okriljem Saveta Evrope, Evropski komitet }e odr`avati stalnu komunikaciju s glavnim i drugim zainteresovanim organima ove me|unarodne organizacije. ^lanovi 7 i 8 – Da bi se utvrdilo stanje u pogledu postojanja i stepena rasprostranjenosti i o~uvanosti starih i tradicionalnih zanata i njihovih proizvoda u pojedinim zemljama, a zatim i ukupno, na prostoru svih dr`ava potpi- snica, u ~lanu 7 predvi|eno je da svaka dr`ava potpisnica napravi vlastiti popis, to jest nacionalni inventar starih i tradicionalnih zanata, a da se na osnovu tih nacionalnih inventara zatim, kao zbirni dokument, sa~ini Evropski inven- tar starih i tradicionalnih zanata. Ti dokumenti, u kojima }e biti sadr`an presek stanja u ovom domenu u vreme ka- da su dr`ave potpisnice usvojile Konvenciju, treba da budu polazna materijalna osnova za dalji rad na ostvarivanju ciljeva Konvencije. ^lanovi 9 i 10 – ^lanovima 9 i 10 predvi|eno je programiranje rada na za{titi starih i tradicionalnih zanata na evropskom i nacionalnom nivou, i to kako dugoro~no tako i kratkoro~no. Kao dugoro~an oblik programiranja, za pe- riode od po ~etiri godine, usvajaju se Evropska strategija i, na osnovu nje, nacionalne strategije za{tite starih i tra- dicionalnih zanata, u kojima su sadr`ana osnovna usmerenja i osnovni na~ini realizacije ciljeva Konvencije na evropskom i nacionalnom planu. Kao oblik kratkoro~nog programiranja, na evropskom nivou se, polaze}i od Evrop- ske strategije, usvajaju godi{nji programi me|unarodne saradnje radi ostvarivanja ciljeva Konvencije, dok se na na- cionalnom planu, na osnovu Evropske strategije i nacionalne strategije svake dr`ave, usvajaju nacionalni godi{nji programi za{tite starih i tradicionalnih zanata, kojima se predvi|aju konkretne mere i aktivnosti radi ostvarivanja ciljeva Konvencije. ^lan 11 – Ovim ~lanom predvi|ena je obaveza izve{tavanja o ostvarivanju evropskih i nacionalnih programa i strategija predvi|enih u ~lanovima 9 i 10, kao i uop{te o ostvarivanju ciljeva Konvencije. Izve{taje sa~injavaju godi{nje, za pitanja iz svog delokruga, kako dr`ave potpisnice tako i Evropski komitet, s tim {to dr`ave potpisnice svoje godi{nje izve{taje dostavljaju Evropskom komitetu i drugim dr`avama potpisnicama, a Evropski komitet svoje godi{nje izve{ta- je dostavlja dr`avama potpisnicama i organima Saveta Evrope – Parlamentarnoj skup{tini i Komitetu ministara.

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Article 1 – Article 1 enumerates the Convention’s objectives: protection and promotion of old and traditional crafts; dissemination of knowledge thereabout and raising awareness of the importance of these crafts for Europe and the encouragement of interaction between European nations in this respect. Article 2 – This Article defines expressions used in Article 1 and further in the text of the draft Convention. These are the following: ‘old and traditional crafts’, ‘protection and promotion’ and ‘dissemination of knowledge’. This Article is a complement to the meaning of Article 1. Article 3 – By this Article the signatory states commit themselves to undertake all necessary measures and acti- vities for the purpose of achieving the objectives of this Convention. For that purpose, the signatory states shall esta- blish mutual cooperation, both through the mechanisms set forth by this Convention and in any other manner. Article 4 – By Article 4 the signatory states are obliged to set up national committees, which should serve as focal points responsible for the achievement of the objectives of the Convention through determination and realisation of national measures and activities and through establishment of international cooperation. National committees shall be composed of representatives of different groups that can contribute to the achievement of the objectives of the Convention. Each signatory state is free to establish its own national committee in accordance with its own con- stitutional order, with the obligation to grant to its national committee such actual and effective authorizations as may be necessary for the accomplishment of the Convention’s objectives. Bearing in mind the complexity of safe- guarding old and traditional crafts, the national committees may set up adequate ancillary bodies responsible for different issues in their field of work. Article 5 – In addition to the national committees, Article 5 prescribes establishment of the European Committee for the protection of old and traditional crafts as the institutional focal point for the achievement of the objectives of the Convention at the European level. The European Committee is responsible for encouragement and coordina- tion of national activities and measures, as well as for realisation of joint European measures and activities and other forms of cooperation between the member states for the purpose of achieving the objectives of this Convention. The European Committee is composed of one representative of each national committee, their equality being ensured by each member having one vote and voting by simple majority, with the requirement that Committee members should make an effort to ensure full consensus whenever possible. Regular meetings of the European Committee shall be held twice a year, with a possibility of an extraordinary session. For the same reasons that apply to the national committees, the European Committee may establish ancillary bodies. Chairing the European Committee and passing of working rules is regulated in the manner that is common for such bodies. Those submitting this Convention decided to accept a solution whereby the President of the European Committee is not elected according to the rotation requirement, but instead allowed re-election without limitation after expiry of the first two year term in office. The rationale behind this system is the fact that on one hand, the Convention concerns an aspect of international cooperation that does not challenge national sovereignty and political prestige of states to a great extent, and, on the other hand, personal reputation, creativity and involvement of an individual may be of great importance for successful operation of the body in question. Article 6 – The institutional network established according to Articles 4 and 5 represents the main contribution of the Convention to the achievement of objectives defined in Article 1. This network puts the often neglected and ignored field of protection and improvement of old and traditional crafts under responsibility of an organised system composed of experts and interested persons with real and effective competences. In order to ensure a more success- ful operation of this institutional network, it is necessary to have an intensive and strong cooperation between its elements both vertically, between the national committees and the European Committee and horizontally, between the national committees themselves. Such vertical and horizontal cooperation should primarily be effected by represen- tatives of the national committees in the European Committee. However, this regular form of cooperation does not exclude other forms, both vertically and horizontally. As the component of the institutional system established under the auspices of the Council of Europe, the European Committee will maintain continual communication with the interested and relevant bodies of the Council of Europe. Articles 7 and 8 – In order to asses the current situation in each country and on the territory of all the signatory states in regard to the existence and level of distribution and preservation of old and traditional crafts as well as their products, Article 7 prescribes that each of the signatory states shall compile its own inventory which will serve as the basis for the European inventory of old and traditional crafts. These documents will contain an overview of the situation in the field at the moment of adoption of the document and shall represent a starting substantive basis for further efforts towards achievement of the Convention objectives. Articles 9 and 10 – Articles 9 and 10 prescribe programming of the work on the safeguarding of old and traditional crafts at the European and national level both in the long-term and in the short term. The long-term European strategy is adopted for a period of four years. It should serve as the basis for the adoption of the national strategies. The European strategy and the national strategies comprise basic guidelines for and principal manners of achieving the objectives of this Convention at both the European and national levels. The short term, annual programmes of international cooperation, stemming from the European strategy and aimed at achieving the Convention’s objectives are adopted at the European level, and together with national annual programmes should

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^lan 12 – Ovaj ~lan polazi od ~injenice da je ostvarivanje ciljeva Konvencije, ~ak i u onom delu gde se radi o na- cionalnim aktivnostima na tom planu, jedinstven proces, koji ne trpi preteranu heterogenost ni u utvr|ivanju po~et- nog stanja u dr`avama ~lanicama (nacionalni inventari), ni u dugoro~nom i kratkoro~nom programiranju delovanja na nacionalnom planu (nacionalne strategije i nacionalni godi{nji izve{taji), niti, kona~no, u na~inu izve{tavanja o postignutom (nacionalni godi{nji izve{taji). Stoga je ovim ~lanom predvi|ena mogu}nost da radi uniformnosti, eko- nomi~nosti ili iz drugih razloga Evropski komitet izda dr`avama potpisnicama uputstva za izradu nacionalnih in- ventara, nacionalnih strategija, nacionalnih godi{njih programa i nacionalnih godi{njih izve{taja. ^lan 13 – ^lan 13 propisuje obavezu dr`ava potpisnica da u svojim godi{njim programima predvide konkretne mere i aktivnosti za ostvarivanje ciljeva Konvencije. U ovom ~lanu je exempli causa navedena lista takvih mera i aktiv- nosti, s tim {to je dr`avama potpisnicama ostavljena mogu}nost da predvide i druge mere i aktivnosti koje ocene kao korisne za ostvarivanje ciljeva Konvencije. Dr`ave potpisnice }e predvi|ene mere i aktivnosti ostvarivati kako na na- cionalnom tako i na me|unarodnom planu, sara|uju}i i me|usobno i sa dr`avama koje nisu potpisnice Konvencije. Tre}i, poslednji stav ovog ~lana predvi|a obavezu Evropskog komiteta da podsti~e, planira i koordinira me|unarod- nu saradnju na realizaciji mera i aktivnosti usmerenih ka ostvarivanju ciljeva Konvencije i da nastoji da {to {iri krug mera i aktivnosti poprimi evropski karakter. ^lan 14 – Ovim ~lanom regulisan je sistem finansiranja aktivnosti na ostvarivanju ciljeva Konvencije. I izdvajanje i prikupljanje sredstava, s jedne, i njihovo kori{}enje, s druge strane, obavlja}e se kako na nacionalnim nivoima ta- ko i na evropskom nivou. Na nacionalnom planu propisana je obaveza dr`ava potpisnica da u svojim nacionalnim bud`etima predvide od- govaraju}a sredstva za ostvarivanje svojih nacionalnih strategija i programa za{tite starih i tradicionalnih zanata. [to se ti~e sistema finansiranja na evropskom nivou, ovom konvencijom osniva se Evropski fond za za{titu sta- rih i tradicionalnih zanata, ~ija sredstva ~ine pre svega doprinosi dr`ava potpisnica, kao stalni i redovni izvor finan- siranja Fonda (godi{nji doprinosi dr`ava potpisnica odre|uju se prema kriterijumima koje treba da utvrdi Evropski komitet, imaju}i u vidu posebno mogu}nosti svake dr`ave), ali i doprinosi i pokloni koje daju drugi subjekti, kao ne- stalni izvor finansiranja. O kori{}enju sredstava iz Fonda odlu~uje Evropski komitet. Iako se skupljaju na centralnom, evropskom nivou, sredstva iz Fonda koristi}e se kako na evropskom tako i na nacionalnim nivoima. Na evropskom nivou sredstva iz Fonda bi}e kori{}ena za finansiranje saradnje i zajedni~kih, evropskih mera i aktivnosti, kao i za finansiranje rada Evropskog komiteta i njegovih pomo}nih tela. Poseban zna~aj, u smislu podsticanja dr`ava potpisni- ca na rad na ostvarivanju ciljeva Konvencije, ima sistem pru`anja finansijske pomo}i dr`avama potpisnicama iz sredstava Fonda radi ostvarivanja njihovih godi{njih programa za{tite starih i tradicionalnih zanata. Naime, prili- kom odlu~ivanja o dodeli sredstava iz Fonda pojedinim dr`avama potpisnicama (o tome kome se sredstva dodeljuju i u kom iznosu) Evropski komitet }e posebno voditi ra~una o mogu}nostima dr`ava i o njihovom doprinosu ostvarivanju ciljeva Konvencije (Evropski komitet unapred utvr|uje kriterijume za dodelu tih sredstava, a zatim svake godine do- nosi konkretne odluke o njihovoj dodeli). Sredstva koja se na taj na~in dodeljuju dr`avama ~lanicama ne predstav- ljaju supstitut, ve} dodatak sredstvima koja same dr`ave odre|uju za tu svrhu u svojim nacionalnim bud`etima. Kona~no, budu}i da je jedan od klju~nih ciljeva Konvencije to da se stari i tradicionalni zanati o`ive i u~ine spo- sobnim za samostalan opstanak i napredak, a ne da ostanu trajno zavisni od pomo}i dr`ava i evropskih institucija, ovim ~lanom predvi|eno je i da }e Evropski komitet i dr`ave potpisnice prilikom izrade Evropske strategije i nacio- nalnih strategija i evropskih i nacionalnih godi{njih programa te`iti ostvarivanju {to ve}eg stepena samofinansiranja. To zna~i da }e se nastojati, gde god je to mogu}e, da se prilikom realizacije nacionalnih i evropskih mera i aktivnosti ostvari takav stepen profitabilnosti koji }e omogu}iti da se naredne mere i aktivnosti u {to ve}oj meri (i u sve ve}oj meri) finansiraju iz sredstava ostvarenih prilikom realizacije prethodnih mera i aktivnosti, odnosno da }e se te`iti tome da stari i tradicionalni zanati s vremenom sve vi{e sami finansiraju vlastiti opstanak i razvoj. ^lan 15 – Ovim ~lanom predvi|en je sistem ozna~avanja i sertifikacije proizvoda starih i tradicionalnih zanata. Smisao ovog sistema jeste da se tretman proizvoda starih i tradicionalnih zanata i odgovaraju}a za{tita pru`e samo onim predmetima koji ispune uslove {to ih propi{e Evropski komitet. Za proizvode koji ispune te uslove svaka dr`ava potpisnica odre|uje vlastiti sistem ozna~avanja i sertifikacije. Oznake koje }e nositi ti proizvodi sastoja}e se od je- dinstvenog evropskog znaka, koji }e da utvrdi Evropski komitet, kombinovanog s nacionalnim znakom, koji utvr|uje svaka dr`ava potpisnica za proizvode sa svog prostora. Uz proizvode koji ispune navedene uslove i koji }e biti ozna- ~eni navedenim oznakama izdava}e se odgovaraju}i sertifikati, ~iju }e sadr`inu odre|ivati dr`ave potpisnice prema op{tem uputstvu Evropskog komiteta. Sertifikat, jednako kao i oznaka na samom proizvodu, predstavlja potvrdu da se radi o originalnom proizvodu starih i tradicionalnih zanata, ali sadr`i i osnovne podatke o tom proizvodu, ~ime doprinosi i {irenju znanja o starim i tradicionalnim zanatima kao jednom od ciljeva Konvencije. ^lan 16 – Radi davanja podsticaja preduzimanju i realizaciji aktivnosti kojima treba da se ostvaruju ciljevi ove konvencije, njenim ~lanom 16 predvi|eno je da se svake godine jedan evropski grad odredi za Evropsku prestonicu starih i tradicionalnih zanata za tu godinu. Na taj na~in sredi{te evropske saradnje u ovoj oblasti za datu godinu lo- cira se na odre|enom prostoru, {to bi trebalo da doprinosi koncentrisanju i intenziviranju aktivnosti na tom planu.

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set forth specific activities and measures for the achievement of the Convention’s objectives in accordance with the European strategy and the national strategy of each state. Article 11 – This Article lays down the obligation of reporting on the implementation of the European and nati- onal programmes and strategies prescribed in Articles 9 and 10, as well as on the achievement of the Convention’s objectives. Both the signatory states and the European committee should prepare their reports annually, covering issues from their field of work. The signatory states submit their annual reports to the European Committee and to all other signatory states, while the European Committee submits its annual reports to the signatory states and to the bodies of the Council of Europe. Article 12 – This Article takes into account the fact that the achievement of the Convention’s objectives demands operational uniformity, even when it concerns activities at the national levels. Thus it does not tolerate excessive heterogeneity either in the determination of the current situation in member states (national inventories) or in long term and short term programming of actions at the national level (national strategies and national annual reports), or, finally, in reporting on achieved results (national annual reports). Therefore, this Article empowers the European Com- mittee to, for the purposes of uniformity and convenience, or for other reasons, issue and submit to the signatory states instructions for the compilation of national inventories, as well as for drawing up of national strategies, nati- onal annual programmes and national annual reports. Article 13 – Article 13 lays down the obligation of member states to envisage in their annual reports concrete measures and activities aimed at the attainment of the objectives of this Convention. The Article enumerates exempli causa the list of such measures and activities but also leaves the possibility for the signatory states to prescribe other measures and activities which they deem capable of contributing to the attainment of the Convention’s objectives. The signatory states shall undertake and implement the said measures and activities both at the national and international level, through mutual cooperation and through cooperation with states that are not signatories of the Convention. The third and the last paragraph of this Article sets out the obligation of the European Committee to encourage, plan and coordinate cooperation related to the implementation of measures and activities aimed at attaining the Convention’s objectives hereunder, particularly ensuring that as broad an array as possible of such measures and activities possesses a European character. Article 14 – This Article establishes a system of financing the activities for the achievement of the Convention’s objectives. The raising and expenditure of funds will be done both at the national and European levels. At the national level, the signatory states shall designate adequate funds in their national budgets for the implementation of their respective national strategies and programmes. As for financing at the European level, by this Convention a European Fund for the Protection of Old and Traditional Crafts is established. The Fund’s primary and regular source of income are contributions of the signatory states, which shall be determined according to cri- teria defined by the European Committee and corresponding to each state’s capability. Ad hoc source of the Fund’s income should be contributions and donations by other entities. The European Committee decides on the use of the Fund’s proceeds. Although collected at the central European level, the proceeds from the Fund shall be used both at the European and national levels. At the European level the Fund’s resources shall be used for supporting coopera- tion and joint European measures and actions, as well as for funding the work of the European Committee and its auxiliary bodies. A special importance in the sense of encouraging the signatory states in attaining the Convention’s objectives is attached to the proposed system of providing financial assistance from the Fund to the signatory states for the fulfilment of their annual programmes. Namely, in deciding on the allocation of the Fund’s proceeds to certain signatory states, the European Committee shall take into account individual capabilities of the states and their contribution to the attainment of the Convention’s objectives (the European Committee determines the criteria for allocation of the resources in advance and then every year adopts concrete decisions on the allocation). Proceeds that are allocated in this manner to the signatory states do not represent a substitution for but an addition to the resources determined by the states themselves for this purpose in their national budgets. Finally, one of the key objectives of the Convention is to revitalise old and traditional crafts and make them sustainable rather than per- manently dependant on state assistance and the assistance of the European institutions. With this purpose in mind this Article prescribes that the European Committee and the signatory states shall, in drafting the European Strategy and national strategies as well as the European and national annual programmes, aspire to self-financing in as high a degree as possible. Thus in the course of realisation of national and European measures and activities they will endeavour to achieve, whenever possible, a level of profitability that will enable financing subsequent measures and activities from the proceeds of previous measures and activities to the greatest possible extent, so that old and tra- ditional crafts themselves may finance their own preservation, promotion and development. Article 15 – This Article prescribes a system of labelling and certification of products of old and traditional crafts. The purpose of this system is to provide “the Product of Old and Traditional Crafts” treatment and adequate protection only to those products that fulfill requirements laid down by the European Committee. Each signatory state determines its own system of labelling and certification of such products. The labels shall include a single European mark, to be determined by the European Committee, and a national mark, to be determined by each of the signatory states. Each labelled product shall also be accompanied with a certificate, the content of which is

45 DIANA #13 MUZEOLOGIJA I ZA[TITA KULTURNOG NASLE\A

Budu}i da }e izbor Evropske prestonice starih i tradicionalnih zanata zavisiti od zna~aja datog mesta i regiona kojem ono pripada u ovom domenu, kao i od anga`ovanosti na ostvarivanju ciljeva Konvencije i postignutih rezultata samog tog mesta, te regiona i dr`ave kojima ono pripada, biranje Evropske prestonice starih i tradicionalnih zanata pred- stavlja}e i specifi~an podsticaj i nagradu za rad na ostvarivanju ovih ciljeva. Uprkos ~injenici da }e doprinos ostva- rivanju ciljeva Konvencije biti klju~no merilo za odre|ivanje evropskih prestonica starih i tradicionalnih zanata, po- treba za {to {irim prostornim anga`manom na ostvarivanju ciljeva Konvencije zahtevala je da se predvidi da }e Evropska prestonica svaki put biti grad iz druge dr`ave potpisnice. To ne zna~i da }e dr`ava ~iji je grad jednom bio Evropska prestonica morati da ~eka da po jedan grad iz svih drugih dr`ava potpisnica bude Evropska prestonica kako bi opet na nju do{ao red. Aktivnije i anga`ovanije dr`ave ~e{}e }e davati Evropsku prestonicu starih i tradicionalnih zanata od pasivnijih dr`ava, ali }e ipak biti spre~eno da neka dr`ava ili grupa dr`ava stekne monopol na davanje evropskih prestonica starih i tradicionalnih zanata, a da druge dr`ave na tom planu budu ostavljene po strani. Da bi se, pored prostornog, i na vremenskom planu utvrdila centralna ta~ka evropske saradnje i nacionalnih aktiv- nosti na za{titi starih i tradicionalnih zanata, u drugom stavu ~lana 16 predvi|eno je da }e Evropski komitet odre- diti prikladan datum za Evropski dan starih i tradicionalnih zanata. Iako rad na ostvarivanju ciljeva Konvencije treba da bude kontinuiran, postojanje ovakvog dana trebalo bi da pru`i poseban podsticaj anga`manu dr`ava potpisnica, zajedno i ponaosob, na sprovo|enju aktivnosti kojima se ti ciljevi realizuju. Trebalo bi da taj datum bude i sve~ani momenat u kojem }e se posebno konstatovati rezultati {to su ih pojedine dr`ave, regioni, mesta, institucije i poje- dinci ostvarili na planu za{tite starih i tradicionalnih zanata i u kojem }e se odr`avati odgovaraju}e smotre i spro- voditi druge aktivnosti koje }e doprinositi popularizaciji starih i tradicionalnih zanata i {irenju znanja o njima. ^lanovi 17–22 – Ovim ~lanovima reguli{u se pitanja potpisivanja Konvencije i njenog stupanja na snagu (~lan 17), naknadnog pristupanja Konvenciji (~lan 18), stavljanja rezervi (~lan 19), otkazivanja (~lan 20), davanja statu- sa posmatra~a dr`avama koje nisu potpisnice (~lan 21), notifikacija (~lan 22) i odnosa s drugim propisima (~lan 23). Sva navedena pitanja regulisana su na na~in uobi~ajen za konvencije usvojene u okviru Saveta Evrope. S obzirom na prirodu domena na koji se odnosi ova konvencija i na njene ciljeve, nju karakteri{e naj{iri stepen otvorenosti ka- ko prema postoje}im i potencijalnim dr`avama potpisnicama tako i prema dr`avama koje nisu ili koje i ne mogu bi- ti potpisnice, ali koje su spremne i zainteresovane da doprinesu ostvarivanju ciljeva Konvencije.

Opisanim odredbama predlo`ena konvencija uspostavlja jasnu i ~vrstu obavezu dr`ava potpisnica da, polaze}i od prethodno snimljenog stanja na svom podru~ju u pogledu stanja starih i tradicionalnih zanata, uspostave odgo- varaju}e institucionalne mehanizme i izdvoje odgovaraju}a finansijska sredstva za za{titu starih i tradicionalnih za- nata, te da kontinuirano, u skladu sa odgovaraju}im planskim dokumentima, preduzimaju mere i aktivnosti za ostvarivanje ciljeva ove konvencije na nacionalnom planu. Osim toga, dr`ave potpisnice }e, tako|e polaze}i od pret- hodno snimljenog stanja, imati obavezu da sara|uju na evropskom planu na ostvarivanju ciljeva Konvencije, kori- ste}i se institucionalnim mehanizmima i finansijskim sredstvima predvi|enim za tu svrhu, kao i na sve druge mo- gu}e na~ine.

* * *

Predlaga~i Evropske konvencije o za{titi starih i tradicionalnih zanata svesni su toga da predlo`eni tekst zahte- va dodatni rad i da }e mo`da krajnji rezultat procesa koji `elimo da iniciramo biti potpuno razli~it od teksta koji pod- nosimo telima Saveta Evrope na razmatranje. Na{a je `elja da onima koji imaju mo} i uticaj skrenemo pa`nju na to da je jedan zna~ajan segment na{e pro{losti, na{e tradicije i na{eg identiteta ozbiljno ugro`en i da je neophodan sta- lan i organizovan napor da bi se stari i tradicionalni zanati sa~uvali, za{titili i unapredili. Savet Evrope svakako je pravo mesto za to, a mislimo da je me|unarodni ugovor prava polazna osnova za po~etak institucionalizovanog bav- ljenja ovim problemom na evropskom nivou. Budu}i da se nalazimo na samom po~etku profesionalnog bavljenja pravom, svesni smo toga da je predlaganje teksta jednog me|unarodnog ugovora jednoj me|unarodnoj organizaciji od izuzetno velikog zna~aja ne{to prili~no smelo. Ipak, nadamo se da }e na{ predlog nai}i na odgovaraju}u pa`nju i interesovanje. Time }e na{a obaveza i pre- ma na{oj pro{losti i precima i prema na{oj budu}nosti i potomcima u ovom segmentu `ivota biti ispunjena u grani- cama na{ih skromnih mogu}nosti. Na onima ~ije su mogu}nosti ve}e jeste da dovr{e preostalo.

46 MUSEOLOGY AND PROTECTION OF CULTURAL HERITAGE DIANA #13

determined by each signatory state according to the general instruction issued by the European Committee. A cer- tificate serves as a warranty that the product at hand is a genuine product of old and traditional crafts, providing also basic information about the product and the craft itself. In this manner the certificate contributes to the dis- semination of knowledge about old and traditional crafts, fulfilling one of the Convention’s objectives. Article 16 – With the aim of encouraging the undertaking and realisation of activities that are instrumental in achieving the Convention’s objectives, Article 16 prescribes that every year one European city shall be pronounced the European Capital of Old and Traditional Crafts. In this manner the focal point of European cooperation in this field for a given year is located in one city, which should contribute to concentration and intensification of activities. The selection of the European Capital of Old and Traditional Crafts will depend on the importance of the given city and region for the achievement of the Convention’s objectives, as well as on the level of involvement and results achieved. Thus, the selection will represent encouragement and reward for efforts made towards the achievement of these objectives. Despite the fact that the contribution to the achievement of the Convention’s objectives shall be the key criterion for the selection of the European Capital of Old and Traditional Crafts, the need for as wide as possible geo- graphical spread of activities and measures for the achievement of the Convention’s objectives requires the rule that the European Capital shall be chosen each time from a different signatory state. This does not mean that the country whose city was a European Capital at some point will have to wait for all other signatory states to give a city to be the European Capital in order to have its turn. More active and more involved countries will have the European Capital of Old and Tra- ditional Crafts more often than passive countries. However, the rule described above shall prevent a certain country or a group of countries from acquiring a monopoly on holding the European Capital of Old and Traditional Crafts. In order to focus both European cooperation and national activities on safeguarding old and traditional crafts, not only in terms of location but also in terms of time, the second paragraph of Article 16 stipulates that the European Committee shall specify an appropriate date to be pronounced the European Old and Traditional Craft Day. Although efforts toward attaining the Convention’s objectives should be continuous, the existence of such a day should give a particular encouragement to the efforts of the signatory states, jointly and individually, in undertaking the activities for the fulfilment of those objectives. This date should also represent a formal moment when results achieved in the protection of old and traditional crafts by particular countries, regions, places, institutions and individuals will be assessed as well as when appropriate public events aimed at contributing to the promotion of old and traditional crafts and dissemination of knowledge about them will be held. Articles 17–22 – These Articles regulate the following issues: signature and entry into force (Article 17), acces- sion of the new signatory states (Article 18), reservations (Article 19), denunciation (Article 20), granting observer status to those states that are not signatories (Article 21), notification (Article 22) and relation to other regulations (Article 23). All the above-mentioned issues are regulated in the manner common for the conventions passed within the Council of Europe. Due to the nature of the field dealt with by this Convention and its objectives, the Convention is characterised by the utmost level of openness both towards the existing and potential signatory states and towards the states which are not or cannot be signatories but which are ready and interested to contribute to the achieve- ment of the Convention’s objectives. The proposed Convention prescribes to the signatory states a clear and firm obligation to survey the situation on their territories in regard to old and traditional crafts and establish adequate institutional mechanisms and raise corresponding funds in the aim of the protection of such crafts, and to continuously, in accordance with the appro- priate planning documents, undertake measures and activities for the achievement of the Convention’s objectives at the national level. Besides, the signatory states will, using a previously surveyed situation as a starting point, have the obligation to cooperate at the European level in the aim of the achievement of the Convention’s objectives by using institutional mechanisms and financial means determined for that purpose as well as in all other possible ways.

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Having proposed the draft European Convention on the Protection of Old and Traditional Crafts, we are aware that the proposed text requires additional work and that the final result of the process we intend to initiate may differ significantly from this initial draft. It is our wish to draw attention of those who have power and influence to the fact that old and traditional crafts as an important segment of our history, tradition and identity are seriously endangered and that there is a need for organised effort to safeguard and improve them. The Council of Europe surely is the most suitable organization for doing that. We also believe that an international agreement is the proper starting point to begin institutionalising this problem at the European level. Since we are at the very beginning of our professional legal careers, we are aware that proposing the text of an international agreement to an international organisation of great importance is a bold step. However, it is our hope that our proposal will succeed in drawing attention and encouraging interest. In this manner, we shall fulfil to the best of our abilities the obligation that we owe to our ancestors and to our past, as well as to our future and our descen- dants, leaving it up to those who have more authority to finish the task.

47 DIANA #13 ARHEOLOGIJA I ISTORIJA UMETNOSTI

Biljana \OR\EVI] Narodni muzej u Beogradu

NEOPIPLJIVA BA[TINA: ETNOARHEOLO[KA ISTRA@IVANJA TRADICIONALNIH TEHNOLOGIJA KERAMIKE1

ARHEOLOGIJA I ETNOLOGIJA, iako bliske na po~ecima razvoja obe discipline, s vremenom su se udaljavale jedna od odvojena polja, s jasno vidljivom me|om koju je mogu}e povre- druge (Palavestra 2005: 87–94). Kulturnoistorijski pristup, meno presko~iti da bi se {togod pozajmilo, ali se onda vratiti i danas dominantan u srpskoj arheologiji, udaljio nas je od i „obra|ivati svoj vrt“ (Palavestra 2005: 93). mogu}nosti da pojave u savremenim dru{tvima, kako arha- Etnoarheologija je jedan od dobrih na~ina ru{enja ve- i~nim tako i visokocivilizovanim, poredimo me|usobno, ali {ta~ki stvorenih barijera izme|u etnologije i arheologije. i s podacima pribavljenim tokom arheolo{kih istra`ivanja. [ta je, zapravo, etnoarheologija? Postoji vi{e razli~itih, a Udaljio nas je i od analiziranja mogu}nosti primene pojedi- opet bliskih definicija etnoarheologije. Bez ula`enja u njiho- nih saznanja na stvaranje modela koji bi se mogli uzeti u vu analizu i polemika s njihovim autorima, mo`emo ih obje- obzir prilikom tuma~enja izvesnih aspekata `ivota zajedni- diniti iskazom da je etnoarheologija antropolo{ki pristup re- ca iz pro{losti. {avanju arheolo{kih problema, arheolo{kom metodologijom Osvrnemo li se na razvoj odnosa arheologije i etnologi- i iz arheolo{kog ugla posmatranja, radi sagledavanja mogu}ih je samo na teritoriji biv{e Jugoslavije,2 vide}emo da su od na~ina formiranja arheolo{kog zapisa i dinami~nih procesa kraja XIX i po~etka XX veka [na primer: radovi ]ira Truhel- koji su mu prethodili.7 ke (1901, 1914), Miloja Vasi}a (1906), Vejsila ]ur~i}a (1909), Ono {to se za etnoarheologiju pouzdano mo`e re}i jeste Sime Trojanovi}a, Veselina ^ajkanovi}a],3 pa sve do sredi- to da su etnoarheolo{ka istra`ivanja, kao vid indirektnog ne XX veka [Milenko Filipovi} (1951), Cvetko \. Popovi} eksperimenta, nezaobilazna u savremenoj arheologiji. Ona (1959, 1960) i drugi], te dve discipline bile koliko-toliko nam omogu}uju da detaljnije i preciznije sagledamo mnoge povezane i upu}ene jedna na drugu. U drugoj polovini XX aspekte `ivota u pro{losti. veka sasvim su se udaljile, tako da je pominjanje etnolo{kih Specifi~nost etnoarheologije le`i u pristupu, tako da se paralela u arheolo{kim radovima postalo nepopularno,4 samo mali deo klasi~ne etnolo{ke/etnografske literature mo- dok je arheologija, zatvorena u klasi~an metod svog rada, sa- `e iskoristiti, ali ona, svakako, treba da slu`i kao polazi{te i/ili modovoljan bez obzira na ograni~enja koja je takav pristup nametao, ostajala neosetljiva na mogu}nosti koje interdi- sciplinarnost pru`a. Setimo se samo otpora koji je u srpskoj 1] Naslov ovog teksta ujedno je i naziv projekta koji se ve} ne- arheologiji izazvala pojava nove arheologije, i to njen zaka- koliko godina odvija u okviru programa Narodnog muzeja u Beogra- sneli odjek (Palavestra 2005: 92–93). du. Rukovodilac projekta je autor ovog rada, a zasad jedini stalni ~lan Tokom poslednjih nekoliko decenija stanje se ipak pro- ekipe je Aca \or|evi}, vi{i kustos Narodnog muzeja u Beogradu. menilo. Interdisciplinarnost u arheolo{kim istra`ivanjima 2] Teritorije biv{e Jugoslavije bile su i administrativno i komu- postala je op{teprihva}en metod rada. Mogu}nosti koje nam nikacijski usko povezane tokom gotovo celog XX veka. pru`aju primena razli~itih disciplina iz oblasti prirodnih 3] O tome vi{e: Palavestra 2005: 87–94 i prate}a literatura. nauka i razvoj tehnologije (geosondiranje, satelitski snimci, 4] Tome je dosta doprinela i vulgarizacija etnolo{kih paralela matemati~ki prora~uni, totalna stanica, fizi~ko-hemijske u tekstovima pojedinih autora, {to je rezultiralo odbacivanjem sva- ke mogu}nosti primene saznanja ste~enih etnolo{kim prou~avanji- analize, paleobotanika, paleozoologija i drugo) prve su bile ma u arheolo{kim istra`ivanjima. prihva}ene i danas gotovo da nema arheologa koji u svojim 5] Na Odeljenju za arheologiju Filozofskog fakulteta u Beo- istra`ivanjima ne}e primeniti neke od tih metoda, bilo da je gradu na redovnim studijama arheologije, u okviru predmeta Uvod re~ o rekognosciranju, arheolo{kom iskopavanju, bilo o obra- u arheologiju i Arheologija i socijalna antropologija, koje predaje di materijala. prof. dr Aleksandar Palavestra, prou~avaju se etnoarheologija, nje- Sa etnologijom (ili antropologijom) stvari stoje ne{to ni dometi, ograni~enja i perspektive; nau~no-istra`iva~ki projekat druga~ije. Jednom pokidane veze te`e se uspostavljaju. Po- Interkulturna komunikacija u paleobalkanskim dru{tvima (Ministar- ve}ano interesovanje za mogu}nosti koje pru`a etnoarheo- stvo za nauku, br. 147040), koji vodi doc. dr Sta{a Babi}, tako|e okuplja istra`iva~e koji se bave etnoarheologijom; Centar za teorij- logija kao posebna disciplina (ili poseban metodolo{ki pri- sku arheologiju pri Odeljenju za arheologiju Filozofskog fakulteta 5 6 stup) u okviru arheologije (ali i antropologije) polako ali u Beogradu spreman je da se bavi i ovom tematikom itd. sigurno povezuje te dve nauke, koje, svaka na svoj na~in i 6] Odeljenje za etnologiju i antropologiju Filozofskog fakulteta svojom specifi~nom metodologijom, prate razvoj ljudskih u Beogradu ponovo je pokrenulo ~asopis Etnoantropolo{ki problemi, zajednica i pojedinaca u njima. koji tretira i etnoarheolo{ka pitanja (primer: Por~i} 2006: 105–121). Bilo kako bilo i koliko god se arheolozi tome odupirali, 7] Vi{e o etnoarheologiji: David, Kramer 2001; Por~i} 2006: etnologija i arheologija ne mogu vi{e biti posmatrane kao 105–121.

48 ARCHEOLOGY AND ART HISTORY DIANA #13

Biljana DJORDJEVI] National Museum in Belgrade

THE INTANGIBLE HERITAGE: ETHNOARCHAEOLOGICAL RESEARCH OF TRADITIONAL CERAMICS TECHNOLOGIES1

ARCHAEOLOGY AND ETHNOLOGY, although close at the outset of their respective developments, gradually drifted spective ways and methodologies, observe the progress of apart (Palavestra 2005: 87–94). The culture-historical ap- human societies and individuals within them. proach, prevalent in Serbian archaeology today, has not No matter how fervently the archaeologist may resist only distanced us from the possibility of comparing ethnic it, ethnology and archaeology can no longer be regarded as phenomena arising in contemporary societies, both archaic separate fields, with a clear-cut borderline that we can cross and highly civilised, but also from comparing these with data to borrow something, and than return and cultivate our own gathered during archaeological research. It has also hinde- garden (Palavestra 2005: 93). Ethnoarchaeology is a good way red the analysis and possible application of certain ideas to to obliterate artificial boundaries between ethnology and models that could be considered and used to interpret certain archaeology. aspects of life in communities of the past. Indeed, what is ethnoarchaeology? There are a number If we reflect solely on developments in the relation of different, yet related definitions. We can integrate them, between archaeology and ethnology in former Yugoslavia,2 without getting involved in their analysis or arguing with we shall see that the two disciplines were more-or-less linked their authors, by stating that ethnoarchaeology is an anthro- and interrelated from the end of the 19th to the beginning pological approach to solving archaeological problems, using of the 20th centuries [seen in the works of: ]iro Truhelka an archaeological methodology point of view, for the purpo- (1901, 1914), Miloje Vasi} (1906), Vejsil ]ur~i} (1909), Sima se of identifying possible ways of forming archaeological re- Trojanovi}, Veselin ^ajkanovi}]3 and even in the mid 20th cords and the dynamic processes that have preceded them.7 century [Milenko Filipovi} (1951), Cvetko \. Popovi} (1959, 1960) and others]. In the second half of the 20th century the disciplines diverged from each other completely, which 1] This text bears the same title as the project conducted for made mentioning ethnological parallels in archaeological several years within the programme of the National Museum in works unpopular.4 However, archaeology, locked in its clas- Belgrade. The author of this work is in charge of the project, while the only permanent team member is Aca \or|evi}, Curator of the sical methods, and complacent, in spite of all the limitations National Museum in Belgrade. imposed by such a position, remained impervious to the 2] The territories of former Yugoslavia were intimately con- possibilities offered by an interdisciplinary approach. One nected for most of the 20th century, both administratively and in needs only to recall the resistance to the emergence of New terms of communication. Archaeology, or its belated echo, in Serbian archaeology (Pa- 3] See more on this subject in Palavestra 2005: 87–94 and lavestra 2005: 92–93). related literature. However, this state of affairs has changed during the last 4] What contributed considerably to this was the vulgarisation few decades. An interdisciplinary approach in archaeolo- of ethnologic parallels, in the texts of certain authors; as a result, gical research has become a universally accepted method of any possibility of applying the knowledge acquired through ethno- work. The possibilities offered by the application of various logic studies within archaeological research was shunned. disciplines from the fields of natural sciences, as well as te- 5] Ethnoarchaeology, its domains, limitations and perspectives chnological developments (geo-probing, satellite imaging, are studied in the courses Introduction to Archaeology and Archae- ology and Social Anthropology, taught by Professor Dr Aleksandar mathematical estimates, total station, physical-chemical ana- Palavestra, offered by the the Department of Archaeology at the lysis, palaeo-botany, palaeo-zoology and others) were the Faculty of Philosophy in Belgrade, within the accademic studies of first to be embraced. Nowadays, almost every archaeologist archaeology. The research project Intercultural Communication applies some of these methods within their research, be it among the Paleobalkan Societies (Ministry of Science No. 147040), reconnaissance, archaeological excavation, or material conducted by Assistant Professor Sta{a Babi}, also involves research processing. in the field of ethnoarchaeology. The Centre for Theoretical Archa- The situation with ethnology (or anthropology) is some- eology, at the Deparment of Archaeology, Faculty of Philosophy in Belgrade, is ready to address this subject as well, etc. what different. Once severed, ties are less easily restored. 6] The Department of Ethnology and Anthropology at the The increased interest in the possibilities offered by ethno- Faculty of Philosophy in Belgrade has relaunched the magazine archaeology as a separate discipline (or as a separate metho- Etnoantropolo{ki problemi, which also deals with ethnoarchaeologi- 5 dological approach) within the framework of archaeology cal issues (for instance: Por~i} 2006: 105–121). 6 (but within anthropology as well) has gradually, but reli- 7] For further reference on ethnoarchaeology, see David, Kra- ably, reconnected the two sciences, which in their own re- mer 2001; Por~i} 2006: 105–121.

49 DIANA #13 ARHEOLOGIJA I ISTORIJA UMETNOSTI oslonac prilikom etnoarheolo{kih istra`ivanja. Drugi problem ja mo`e i etnolozima da skrene pa`nju na razli~ite nivoe pro- jeste udaljavanje etnologije od materijalne kulture, od koje mena koje su se dogodile tokom poslednjih tridesetak godina arheolog u svojim istra`ivanjima mora da krene. Dovoljan (sociokulturne promene, socioekonomske, rodna zastuplje- je samo letimi~an pogled na etnolo{ku/etnografsku litera- nost itd.). turu objavljivanu tokom poslednjih tridesetak godina da Kada je re~ o arheologiji, ono {to keramiku ~ini izuzet- bismo se u to uverili. no pogodnom za ovu vrstu istra`ivanja jeste ~injenica da u Keramika je u tom smislu idealan primer. ^ini se da su kerami~koj proizvodnji, uprkos razvijanju novih tehnika i etnolozi zaklju~ili kako je u toj oblasti odavno sve re~eno. osvajanju novih tehnologija, ve} ste~ena znanja nikada ni- Osnovna i relevantna literatura datira uglavnom iz pedese- su sasvim napu{tana i zapostavljana, ve} su nastavljala da tih i {ezdesetih godina pro{log veka [Milenko S. Filipovi} `ive paralelno sa osvojenim inovacijama. Uporedo s razvo- (1951), radovi Cvetka \. Popovi}a u Glasniku Zemaljskog jem industrijske proizvodnje postojali su i postoje punkto- muzeja itd.], zaklju~no s publikacijom Perside Tomi} Grn~ar- vi u kojima se kerami~ke posude jo{ uvek izra|uju rukom, stvo u Srbiji, objavljenom 1983. godine. Posle toga kao da su modeluju na ru~nom vitlu i peku na otvorenoj vatri ili u svi grn~ari iz regiona nestali. Neki i jesu. Broj `ena vi~nih pe}ima na~injenim na tradicionalan na~in, dok se savreme- ne tehnologije izbegavaju. Ciljevi projekta Neopipljiva ba{tina: etnoarheolo{ka is- tra`ivanja tradicionalnih tehnologija keramike jesu: – dokumentovanje i prou~avanje svih do danas o~uva- nih radionica, to jest punktova za izradu utilitarne kerami- ke (prvenstveno ra|ene arhai~nim postupkom, bez grn~ar- skog vitla i na ru~nom vitlu), pre svega u Srbiji, a potom i u jugoisto~noj Evropi i Evropi u celini; – kriti~ka analiza, putem posebnog metodolo{kog po- stupka, a ne preuzimanjem neposrednih analogija iz etno- grafskih izvora, svih segmenata u `ivotu jedne kerami~ke posude, od procesa nastanka (majdani, alat, tehnike mode- lovanja, tehnologija pe~enja), preko upotrebe (primarna, sekundarna), do odbacivanja;8 – sistematizacija dobijenih rezultata i ustanovljavanje mogu}eg stepena primene ste~enih saznanja na celokupan korpus arheolo{kih nalaza; – doprinos, ako je to ikako mogu}e, za{titi tradicional- nih tehnologija keramike i o~uvanju za budu}nost; takvih punktova i osoba koje poseduju odgovaraju}a znanja i ve- {tine u vezi sa ovom obla{}u danas je sve manje i ta ~inje- nica obavezuje nas na brzo i efikasno delovanje. Da bi se prva dva cilja projekta mogla ostvariti, neop- hodna su terenska istra`ivanja u krajevima u kojima su se arhai~ni grn~arski centri jo{ uvek odr`ali, kao i saradnja s relevantnim institucijama iz regiona (iz Bosne i Hercegovine, Hrvatske, Makedonije, Rumunije, Bugarske, Gr~ke, Alba- Sl. 1. Mota del Cuervo, Španija (Romero, Cabasa 1999) nije, Crne Gore) i iz onih delova Evrope u kojima se izrada Fig. 1. Mota del Cuervo, Spain (Romero, Cabasa 1999) keramike bez grn~arskog vitla i na ru~nom vitlu zadr`ala ([panija, Portugalija) (\or|evi}-Bogdanovi} 2003). Ostvarenje ovog cilja blisko je povezano sa zakonskom regulativom u Srbiji, ali i zakonodavstvom na evropskom izradi crepulja bez grn~arskog to~ka danas je jednocifren; to nivou. Tradicionalna proizvodnja keramike deo je svetske su uglavnom one `ene koje su kao male pomagale u tom po- kulturne ba{tine.9 Keramika kao najstariji sinteti~ki mate- slu majkama i babama, pa ga se se}aju, dok je neznatan broj rijal i grn~arsko vitlo kao prva mehani~ka sprava u istoriji onih koje su to same radile. Da ih jo{ ima, znamo na osno- ~ove~anstva zaslu`uju da im i istra`iva~i i sistem za{tite vu rezultata lingvisti~kih istra`ivanja (]irkovi} 2005), a ne etnolo{kih. Kazivanja tih `ena su zabele`ena, ali etnolozi propu{taju da uz pomo} novih tehnologija, kao {to su digital- 8] Sagledavanjem svih ovih faza, od nastanka do kraja aktivnog postojanja kerami~kog predmeta, sa arheolo{ke ta~ke gledi{ta, kao ni snimci i video zapisi, zabele`e i sliku, kojom bi dopunili i dekompozicione faze, dobijaju se dragoceni podaci koji nam omo- ono {to su njihove starije kolege pre vi{e decenija opisale i gu}uju da tokom arheolo{kih istra`ivanja uo~imo i one pojave koje ilustrovale prvo crte`ima, a potom i crnobelim fotografija- su do tada izmicale na{oj pa`nji ili nam nisu bile indikativne. ma, koje su ~esto, iz objektivnih razloga, lo{eg kvaliteta. 9] Uneskova Konvencija o za{titi nematerijalne kulturne ba{tine, Pored toga {to svojim specifi~nim pristupom otvara doneta u oktobru 2003. godine (http://www.unesco.org/culture/ich/ novo polje istra`ivanja u oblasti arheologije, etnoarheologi- index.php?pg=00006).

50 ARCHEOLOGY AND ART HISTORY DIANA #13

What can definitely be said is that ethnoarchaeological re- that they still exist from the findings of linguistic rather than search, as a form of indirect experimentation, is unavoidable ethnologic research (]irkovi} 2005). Their stories have been in contemporary archaeology. It provides a much more de- recorded, but ethnologists have thus far failed to capture tailed and precise insight into many aspects of life in the past. their images using new technologies, such as digital and The uniqueness of ethnoarchaeology lies in its approach. video recording. This would supplement what their elder Although this means that just a small portion of classical colleagues described and illustrated several decades ago, ethnologic/ethnographic literature can be used, it ought to first with sketches and subsequently with black and white photographs, often, understandably, of poor quality. Not only does the specific approach of ethnoarchae- ology open a new field of study within archaeology, but it can also draw ethnologists’ attention to various levels of change that have taken place over the course of the last thirty years (socio-cultural and socio-economic changes, gender share, etc). When it comes to archaeology, what makes pottery particularly suitable for this sort of research is the fact that the traditional manufacture of ceramics, despite the deve- lopment of new technologies and the mastery of new skills, once adopted is never quite abandoned or neglected, and con- tinues to exist simultaneously with mastered innovations. Alongside the development of industrial manufacturing, there used to be – and still are – locations where ceramic vessels are still handmade, modelled on a hand wheel and fired in an open fire or traditional kiln, avoiding contempo- rary technology. The objectives of the project Intangible Heritage: Ethno- archaeological Research of Traditional Ceramic Technology are: – Documenting and researching workshops surviving to the present day, i.e. all locations where utilitarian ceramics are made (primarily using an archaic method, without a potter’s wheel or on a hand wheel), initially in Serbia, and subsequently in Southeast Europe and Europe as a whole; – Critical analysis of all the stages in the life of a ceramic vessel, from the process of creation (quarries, tools, model- Sl. 2. Moveros, Španija (Romero, Cabasa 1999) ling techniques, firing technology), through utilisation, Fig. 2. Moveros, Spain (Romero, Cabasa 1999) and ending with disposal. This analysis is done by means of a special methodical procedure, and not by adopting direct analogies from ethnographic sources;8 – Systematisation of results obtained and establishing be used as a starting point and/or support in ethnoarchaeolo- possible ways by which the knowledge can be applied to the gical research. Another problem is posed by the distancing of entire corpus of archaeological findings; and ethnology from material culture, with which an archaeolo- – Contribution, if at all possible, to the protection of gist must commence his/her research. To ascertain this, all traditional ceramic technologies and their preservation for we need is to take a cursory glance at the ethnologic/ethno- future. Today the number of such locations and persons with graphic literature published over the last thirty years. knowledge and skills in this field is dwindling, and this Ceramics is a perfect example of this. Ethnologists have obliges us to react swiftly and efficiently. reached the conclusion that in this field everything was said To achieve the first two objectives of the project, it is a long time ago. The main, relevant literature dates mostly necessary to conduct fieldwork in areas where archaic pot- from the 1950s and 1960s. [Milenko S. Filipovi} (1951), the tery centres still survive, and to cooperate with relevant works of Cvetko Dj. Popovi} in Glasnik zemaljskog muzeja], institutions in the region (i.e. in Bosnia and Herzegovina, ending with Persida Tomi}’s Pottery in Serbia (Grn~arstvo u Croatia, Macedonia, Romania, Bulgaria, Greece, Albania, Srbiji), published in 1983. It is as if all the potters of the region have since disappeared. Indeed, some of them have. Today the number of women skilful at making earthenware dishes without a potter’s wheel can be counted on the fin- 8] Having observed all these phases, from the creation to the disappearance of a ceramic object as an active entity, from an gers of one hand. These are mainly the women who helped archaeological point of view, as well as the phase of decomposition, their mothers and grandmothers with this craft as little valuable data is obtained. This enables us to detect, during archae- girls and still retain the skills, whereas the number of those ological research, ocurrences that we failed to notice beforehand who acquired the skills on their own is insignificant. We know or which we did not find to be indicative.

51 DIANA #13 ARHEOLOGIJA I ISTORIJA UMETNOSTI kulturnih dobara poklone posebnu pa`nju.10 U Srbiji je u li~itim aspektima problematike starih i tradicionalnih zanata, toku izrada predloga ~itave grupe novih zakona, od Zakona kao i organizovanje savetovanja i stru~nih skupova nau~nih i o kulturi do Zakona o muzejskoj gra|i (radni naslov), koji kulturnih radnika koji se bave prou~avanjem starih i tradici- treba jasno da odrede za{titu nematerijalne/neopipljive ba- onalnih zanata.15 {tine, do sada nedefinisanu ili neprecizno definisanu.11 To- Trebalo bi da tako postavljen zakonski okvir za{tite ne- me treba dodati i Predlog Konvencije o za{titi starih i tradi- opipljive ba{tine u celini, pa i onog njenog dela koji se odno- cionalnih zanata, koji je, na inicijativu Srbije, Savet Evrope si na za{titu tradicionalnih tehnologija keramike, ne samo uzeo u razmatranje.12 Ciljevi Konvencije su: za{tita i una- pomogne njihovom o~uvanju za budu}nost ve} i olak{a nji- pre|ivanje starih i tradicionalnih zanata, {irenje znanja o hovo dalje istra`ivanje i prou~avanje, kao i da omogu}i po- njima i razvijanje svesti o tome da stari i tradicionalni zana- dr{ku i finansiranje projekata ~iji je predmet istra`ivanja ti koji su postojali i koji postoje na prostoru svake od dr`ava upravo ova tematika. potpisnica ~ine sastavni deo zajedni~ke evropske, pa ~ak i I time se krug zatvara. „ svetske kulturne i civilizacijske ba{tine, kao i podsticanje, na ovom planu, daljeg duhovnog, kulturnog, civilizacijskog i svakog drugog pozitivnog pro`imanja izme|u evropskih na- roda u okviru ~itavog ~ove~anstva.13 Tim dokumentom 10] ICOM je svoju Dvadesetu generalnu konferenciju, odr`a- predvi|eno je osnivanje nacionalnih komiteta i Evropskog nu u Seulu u oktobru 2004, u celosti posvetio temi pod nazivom Mu- zeji i neopipljiva ba{tina (http://icom.museum/general-conference komiteta sa odborima zadu`enim za brigu o zanatima, for- 2004.html). miranje standarda za pojedine zanate i usvajanje evropske 11] Videti na: www.kultura.sr.gov.yu. strategije za{tite i unapre|ivanja starih i tradicionalnih za- 12] Predlog je pre ulaska u proceduru podr`alo {est zemalja: nata, o~uvanje znanja i ve{tina koji te zanate ~ine, kao i da- Engleska, Nema~ka, [panija, Finska, Litvanija i Kipar (http://www. lje usavr{avanje tih znanja i ve{tina i njihovo {irenje, zatim mfa.gov.yu). prikupljanje, za{tita i o~uvanje proizvoda tih zanata, pro{i- 13] ^lan 1 Predloga Evropske konvencije o za{titi starih i tra- renje kruga lica koja se bave tim zanatima profesionalno ili dicionalnih zanata. amaterski, unapre|ivanje ekonomskog i socijalnog polo`aja 14] ^lanovi 2 i 5 Predloga Evropske konvencije o za{titi starih lica koja se profesionalno njima bave i drugo.14 Konvenci- i tradicionalnih zanata. ja, izme|u ostalog, u okviru mera i akcija predvi|a i organi- 15] ^lan 13 Predloga Evropske konvencije o za{titi starih i tra- zovanje i podsticanje istra`iva~kih projekata koji se bave raz- dicionalnih zanata.

LITERATURA/REFERENCES:

]irkovi}, S. 2005, Terminologija crepuqarstva kod Srba na Kosovu i Metohiji, nepublikovani magistarski rad, Filolo{ki fakultet u Beogradu; ]ur~i}, V. 1908, Prehistori~ka sojenica iz bron~anog doba u Ripcu, kraj Biha}a u Bosni, Glasnik Zemaljskog Muzeja XX/2, Sarajevo, 149–180; David, N., Kramer, C. 2001, Ethnoarchaeology in Action, Cambridge University Press, Cambridge; \or|evi}-Bogdanovi}, B. 2003, Posibilidades de la Etnoarqueología en el estudio de la cerámica prehistórica, neobljavljeni magistarski rad, Filozofski fakultet Autonomnog univerziteta u Barseloni; Filipovi}, M. 1951, @enska keramika kod balkanskih naroda, SAN, posebna izdawa CLXXXI, Etnografski institut, kw. 2, Beograd; Palavestra, A. 2005, Dobrosusedsko neme{awe. Srpska arheologija i etnologija, u: Etnologija i antropologija: stawe i perspektive, Zbornik Etnografskog instituta SANU 21 (ur. Q. Gavrilovi}), Beograd, 87–94; Popovi}, C. \. 1959, Tehnika primitivnog lon~arstva u Jugoslaviji, Glasnik Zemaqskog muzeja XIV. Etnologija, Sarajevo, 25–52; 1960, Neki zadaci i problemi u prou~avawu narodnog lon~arstva, Etnolo{ki pregled 2, Beograd, 31–37; Por~i}, M. 2006, Etnoarheologija – sada{njost kao klju~ za pro{lost, Etnoantropolo{ki problemi 1/2 (n. s.), Odeqewe za etnologiju i antro- pologiju Filozofskog fakulteta u Beogradu, Beograd, 105–121; Tomi}, P. 1982, Grn~arstvo u Srbiji, Galerija SANU 39, Beograd, 10–30; 1983, Grn~arstvo u Srbiji, Zbirke I, Etnografski muzej, Beograd; Truhelka, ]. 1901, Prehistoriska sojenica u koritu Save kod Donje Doline, Glasnik Zemaljskog muzeja BiH XIII / 2 i 3, Sarajevo, 227–287; 1914, Kulturne prilike Bosne i Hercegovine u doba prehistorisko, Glasnik Zemaljskog muzeja XXVI, Sarajevo; Vasi}, M. M. 1906, Starosrpska nalazi{ta u Srbiji, Starinar, n. r. I/1, Srpsko arheolo{ko dru{tvo, Beograd, 87–88.

52 ARCHEOLOGY AND ART HISTORY DIANA #13

Sl. 4. Zlakusa, Srbija (foto: B. Ðor|evi}) Fig. 4. Zlakusa, Serbia (photo: B. Djordjevi})

Sl. 3. Zlakusa, Srbija (foto: B. Ðor|evi}) Fig. 3. Zlakusa, Serbia (photo: B. Djordjevi})

and Montenegro), as well as those from the parts of Europe products of these crafts, broadening the circle of individuals where the manufacture of pottery without the potter’s who practice them, both professional and non-professional, wheel or on a hand wheel is still preserved (Spain, Portugal) and improving the economic and social status of those who (\or|evi}-Bogdanovi} 2003). practice these crafts professionally, etc.14 Among other The achievement of this goal is closely related both to things, as part of its measures and actions, the Convention Serbian and European legislation. The traditional manufac- envisages the organisation and stimulation of research ture of pottery forms part of the world’s cultural heritage.9 projects dealing with different aspects of problems pertaining Pottery, as the oldest synthetic material, and the potter’s to old and traditional crafts, and the organisation of consul- wheel, as the first mechanical device in human history, tations and expert meetings, bringing together scientists and deserve special attention from both researchers and the cultural researchers studying old and traditional crafts.15 system of cultural heritage conservation.10 The drafting of A legal framework for the protection of the overall a whole set of bills is in progress in Serbia, starting with the intangible heritage postulated in this way and even section Law on Culture to the Law on Museum Items (draft working referring to traditional ceramic technologies, should not only title), which should unequivocally determine the protection aid their preservation for posterity, but also facilitate of intangible heritage, thus far undefined or defined only further research and studies, and enable the support and roughly.11 Furthermore, there also exists the Convention financing of projects whose subject of research is this on the Protection of Old and Traditional Crafts, which the issue. And this is where the circle closes. „ Council of Europe took into consideration upon Serbia’s initiative.12 The goals of the Convention are: to protect and promote old and traditional crafts; to disseminate knowledge 9] The UNESCO Convention for the Safeguarding of Intangible thereabout; to raise popular awareness of the fact that old and Cultural Heritage, passed in October 2003 (http://www.unesco.org/ traditional crafts that existed and still exist on the territory of culture/ich/index.php? pg=00006). each signatory state represent an integral part of the common 10] Twentieth general conference of ICOM, held at Seoul in October 2004, was entirely dedicated to the issue of Museums and European, and even global, cultural and civilizational herita- the intangible heritage (http://icom.museum/general-conference ge, and to encourage further spiritual, cultural, civilizational 2004.html). and any other positive interaction in this context, among the 11] See www.kultura.sr.gov.yu. European nations and within the whole mankind.13 This do- 12] Six countries endorsed the bill before it entered parlia- cument envisages the establishment of both European and mentary procedure: UK, Germany, Spain, Finland, Lithuania, and national committees with boards in charge of safeguarding Cyprus (http://www.mfa.gov.yu). crafts, creating standards for particular crafts and adopting 13] Art. 1 of the draft European Convention on the Protection European strategies for the protection and advancement of of Old and Traditional Crafts. old and traditional crafts, preservation of the knowledge and 14] Arts. 2 and 5 of the draft European Convention on the Pro- skills incorporated in them, as well as the further perfec- tection of Old and Traditional Crafts. tion of this knowledge and skills and their dissemination. It 15] Art. 13 of the draft European Convention on the Protection further envisages collecting, safeguarding and preserving of Old and Traditional Crafts.

53 DIANA #13 ARHEOLOGIJA I ISTORIJA UMETNOSTI

Eva CINCAR, apsolvent arheologije Fran~esko ^INI, geolog

EKSPERIMENTALNA ARHEOLOGIJA. PROCES TOPLJENJA BAKRA I BRONZE

KOOPERATIVA ICHNOS nastala je 2004. godine i deo je Sistema muzeja iz Montelupa Fiorentina (Firenca), u ~ijem Faze eksperimenta se sastavu nalaze Arheolo{ki muzej i Muzej keramike. Ichnos 1. Priprema jame za otapanje bakra ili bronze ~ine mladi arheolozi i geolozi, a osnovne delatnosti koopera- Prvo je iskopana jama ovalnog oblika, dimenzija oko 40 × tive jesu arheolo{ka iskopavanja, podu~avanje u osnovnim 50 cm i dubine 15 cm; jama je zatim oblo`ena blatom do- i srednjim {kolama i, pre svega, eksperimentalna arheologi- bijenim od iskopane zemlje. Unutra{njost jame ostala je ja. Tokom vi{egodi{njeg delovanja ste~ena su mnoga znanja glatka i pravilnog oblika, dimenzija oko 30 × 40 cm i dubi- na polju eksperimentalne arheologije, naro~ito u oblasti iz- ne 10 cm. Jedna od u`ih strana jame modelovana je tako da rade i pe~enja keramike i u arheometalurgiji. Od samog po- se dobije zid koji je gotovo vertikalan u odnosu na dno. Na- ~etka delatnosti kooperative osnovni ciljevi njenih ~lanova kon modelovanja u jami je zapaljena vatra kako bi se ona bili su detaljno upoznavanje sa arheolo{kim lokalitetima na osu{ila i kako bi ~itava struktura postala stabilnija. teritoriji Montelupa i okoline, zatim arheolo{ka i arheotehno- Za rekonstrukciju jame poslu`io je sli~an primer na lo- lo{ka tematika povezana s tim, upoznavanje sa osnovnim kalitetu Querciola – Sesto Fiorentino (Firenca) iz eneolit- sirovinama koje se tu nalaze, s petrografskim karakteristi- skog i ranog bronzanog doba. U toj jami prona|eni su osta- kama raznih tipova keramike sa obli`njih arheolo{kih loka- ci crvene pe~ene zemlje, {to ukazuje na pomenuti postupak liteta, kao i rekonstrukcija artefakata i verifikacija ta~nosti oblaganja blatom. Osim toga, tu su na|eni i sitni fragmen- rekonstrukcije, a zatim i kori{}enje ste~enih iskustava za ti bakarne zgure, kao i fragmenti keramike prekriveni slojem podu~avanje. stakla, {to upu}uje na postizanje izuzetno visokih tempera- tura potrebnih za otapanje bakra.

2. Izrada kerami~kih cevi (Tuyere) i kerami~ke posude za to- pljenje metala Bakar prelazi u te~no stanje kada se dostigne temperatura od 1083°C, a bronza na temperaturi od 1000°C, pa za to ni- je dovoljna obi~na vatra. Zbog toga su izra|ene dve kerami~- ke cevi od gline pome{ane s gabrom (veli~ina zrna iznosi oko jedan milimetar) u odnosu 1 : 1. Takva keramika izu- zetno je otporna na visoke temperature. Du`ina svake cevi je oko 20 cm; kraj cevi koji je postavljen preko vertikalnog zida jame zaobljen je za 90° nadole, tako da vazduh koji se uduvava u cevi pomo}u mehova sti`e neposredno u posu- du za topljenje bakra, pa se razvija izuzetno visoka tempe- ratura. Na suprotne krajeve cevi pri~vr{}eni su mehovi za uduvavanje vazduha. Za rekonstrukciju cevi i posude za otapanje bakra ili Sl. 1. Ulivanje otopljene bronze u kalup bronze poslu`ili su primeri s bogatog nalazi{ta kulture Ter- Fig. 1. Pouring of meltid bronze in to the mould ramare iz bronzanog doba u blizini Modene. Na lokalitetu Montale (Modena) prona|eni su fragmenti zaobljenih cevi, du`ine oko pet santimetara, za koje se veruje da su slu`ile Tokom izvo|enja eksperimenata posebna pa`nja bila je za uduvavanje vazduha tokom postupka topljenja metala. posve}ena rekonstrukciji tehnike i tehnologije otapanja ba- U istim slojevima na tom lokalitetu prona|ena je i kerami~- kra ili bronze u bakarnom i bronzanom dobu. Izvedeni eks- ka posuda veoma grube izrade s vidnim tragovima gorenja. perimenti zasnivaju se, pre svega, na otapanju i ulivanju Pretpostavlja se da je slu`ila kao recipijent u koji se stavljao ve} pre~i{}enog metala u kalup, tako da se odnose samo na bakar i u kojem je prelazio u te~no stanje nakon dostizanja finalni metalur{ki proces. Razlog tome jesu pote{ko}e u potrebne temperature. Obim recipijenta iznosi oko osam pronala`enju dovoljne koli~ine bakarnih ruda potrebnih za santimetara; na njemu se nalazi jedna horizontalna dr{ka, proces odvajanja metala bakra (pre svega halkopirita i bor- a na ivici posude, 90° od dr{ke, u smeru kretanja kazaljke nita). Metal kori{}en u eksperimentima isti je onaj koji se na satu, postoji udubljenje koje je najverovatnije slu`ilo za koristi za umetni~ku izradu statua, a sastavljen je od 90% precizno ulivanje otopljenog bakra u prethodno izra|eni bakra i 10% kalaja. kalup.

54 ARCHEOLOGY AND ART HISTORY DIANA #13

Eva CINCAR, student of archaeology Francesco CINI, geologist

EXPERIMENTAL ARCHAEOLOGY: THE COPPER AND BRONZE MELTING PROCESS

THE ICHNOS cooperative was founded in 2004 and forms part of the staff of the Museums’ System of Montelupo Fio- sufficient to achieve these temperatures. For this reason rentino (Florence), composed of the Archaeological Museum two ceramic tubes were made using clay mixed with gabro and the Museum of ceramics. In Ichnos, young archaeolo- in the proportion 1:1. The size of the gabro particles was gists and geologists cooperate. Their main activities are ar- approximately 1 mm. In this way the ceramic becomes re- chaeological research; archeological education in primary sistant to high temperatures. The length of the tube was and secondary schools; and especially experimental archae- around 20 cm. The end of the tube lying along the vertical ology. With years of experience, the Ichnos cooperative has wall of the pit was curved down to an angle of 90°, so air gained much knowledge in the field of experimental archa- blown in to the tubes with bellows mounted on the oppo- eology, especially in producing and firing pottery and in site side of the tube arrived directly into the melting pot, archeo-metalurgy. The aim of the cooperative was to acquire and a high temperature was reached. detailed knowledge of archaeological sites on the territory of Montelupo and archaeological and archeo-technological issues connected with them; knowledge of the raw materials found in this area; knowledge of the petrographic characte- ristics of different types of pottery found in the area; accura- te reconstruction of items and their established use; and the application of this knowledge in archeological education. The experiments focused on the reconstruction of techniques and technologies used to melting bronze or cop- per in the late Neolithic and early Copper age. The experi- ments are mostly based on melting pure metal and pouring it in already prepared casts, thus covering only the final stage of the metallurgic process. This is because it is diffi- cult to find copper ore (chalcopyrite and bornite) in suffi- cient quantities to conduct authentic copper extraction. The metal used in experiments is that is usually used for artistic sculptures, composed of 90% copper and 10% tin. Sl. 2. Ulivanje otopljene bronze u kalup Fig. 2. Pouring of meltid bronze in to the mould The Stages of the Experiment 1. Preparation of a pit for melting bronze and copper Firstly an oval pit was dug, 40 × 50 cm and 15 cm depth. Examples from the Bronze Age Terramare culture near Then the pit walls were covered with mud obtained from Modena were used for reconstruction of the pipe and mel- the excavated earth. In this mode the interior of the pit re- ting pot. At the Montale (Modena) site there were fragments mained smooth and of regular shape, size 30 × 40 cm, 10 cm of a curved pipe, about 5 cm in length, which are thought deep. One of the narrow walls of the pit was modeled to be to have been used to blow in air during the metal melting almost vertical. A fire was lit inside to dry the pit and make process. In the same layers ceramic vessels were found, the structure more stable. made in the same way as the pipes, with traces of firing. It For reconstruction of this pit, the example of a similar appears that they were used as containers for copper or structure was used, found during the excavations of a late bronze. After reaching the required temperature the metal Neolithic archeological site, Querciola – Sesto Fiorentino became liquid. The melting pot was around 8 cm in diame- (Florence). Within this archaeological pit traces of fired red ter with a horizontal handle. There is a hollow on the rim soil were found, which suggests that the pit had been covered of the pot, about 90° to the handle in a clockwise direction, with mud. Fragments of pottery coated with glass were also which was probably used to pour the molten metal into the found, which suggests that the temperature inside the pit mold precisely. became high enough to melt copper (or bronze). 3. The bellows 2. Preparation of the tube (Tuyere) and the melting pot: The bellows were made of leather, in the form of a tube Since copper melts at a temperature of 1083 degrees Celsius about 40 cm in diameter and 50 cm in height. On the top and bronze at 1000°C, a simply fire would not have been of the bellows there is a valve, the raising of which fills the

55 DIANA #13 ARHEOLOGIJA I ISTORIJA UMETNOSTI

3. Mehovi zduha u vatru bio konstantan, a `eljena temperatura ostva- Mehovi su izra|eni od ko`e i u obliku su cevi ~iji obim izno- rena je br`e. Trenutak u kojem bakar prelazi u te~no stanje si oko 40 cm, a visina oko 50 cm. Na gornjem kraju meha jasno se prepoznaje jer plamen postaje zelenkaste boje. Ka- nalazi se ventil kroz koji se pri podizanju meh puni vazdu- da se to dogodilo, posuda sa otopljenim bakrom (bronzom) hom, dok se pri spu{tanju vazduh uduvava u cevi i preko uhva}ena je za horizontalnu dr{ku pomo}u dva {tapa i te~- njih neposredno u posudu za topljenje metala. ni bakar (bronza) uliven je u izra|eni kalup (sl. 1 i 2). Na- Mehovi su izra|ivani od ko`e, pa je gotovo nemogu}e kon nekoliko minuta, kada se metal ohladio, kalup je otvo- ustanoviti njihove tragove na arheolo{kim lokalitetima. ren i dobijena je `eljena forma [no` (sl. 3), sekira itd.].

4. Kalup Zaklju~ak Kalup kori{}en u eksperimentu izra|en je od pe{~ara ru~no, Cilj eksperimenta bilo je {to vernije rekonstruisanje proce- udubljivanjem `eljene forme (no`, sekira i sli~no). Osim od sa otapanja metala, postupka koji je svakako, posle otkri}a pe{~ara, kalupi su se mogli izra|ivati od gline ili nekog dru- keramike, jedan od najbitnijih procesa u razvoju civilizaci- gog kamena otpornog na visoke temperature. je. Osim toga, `eleli smo da otkrijemo i {ta ostaje na terenu Kalupi izra|eni od pe{~ara ~esto su pronala`eni na arhe- posle procesa otapanja metala; mnoge jame prona|ene na olo{kim lokalitetima, npr. na lokalitetima pomenute kulture raznim arheolo{kim lokalitetima, a koje su najverovatnije Terramare, na lokalitetu Manciano u blizini Groseta itd. slu`ile za otapanje metala, nisu tako interpretirane, izme|u ostalog i zbog toga {to je nakon aktivnosti topljenja ostajalo Proces otapanja bakra vrlo malo tragova. Naime, na{i preci verovatno su skupljali Na vertikalni zid jame prislonjene su cevi sa zaobljenim zguru bronze ili bakra nakon postupka otapanja jer se ona krajevima okrenutim nadole, tako da vazduh mo`e nepo- mogla ponovo iskoristiti, a metal je uvek imao visoku vred- sredno da se uduvava u prethodno pripremljenu posudu s nost. Mehovi nisu sa~uvani, a kerami~ke cevi i recipijenti bakrom ili bronzom. Zatim je u jami zapaljena vatra, s tim za topljenje bakra nisu uvek pravilno interpretirani. Jedini {to su prvo kori{}ena drva, a potom drveni ugalj. Recipijent tragovi na osnovu kojih se neka jama na arheolo{kom loka- je prekriven ugljem, a u me|uvremenu su dve osobe naiz- litetu mo`e interpretirati kao jama za otapanje metala jesu meni~no uduvavale vazduh pomo}u mehova; dok je jedan crvena pe~ena zemlja i fragmenti staklastih povr{ina koji meh bio podignut, drugi je bio spu{ten. Tako je dotok va- govore o dostizanju visokih temperatura. „

Du{ko [LJIVAR, Narodni muzej u Beogradu Julka KUZMANOVI]-CVETKOVI], Narodni muzej Toplice, Prokuplje

PLO^NIK, ARHEOLOGIJA I KONZERVACIJA

ARHEOLO[KA ISTRA@IVANJA u Plo~niku u septembru i oktobru 2007. godine dala su jedinstvenu arheometalur{ku ni~ke stanice. Interesovanja ovog istra`iva~a bila su usme- situaciju, prvi put ustanovljenu u tom preistorijskom nase- rena na severoisto~ni deo plo~ni~kog naselja. Iz ogromne lju. Istorijat istra`ivanja na ovom lokalitetu je dug i se`e do koli~ine raznorodnog materijala izdvajamo, opet, nalaze 1926. godine, kada su, prilikom izgradnje `elezni~ke pruge dve ostave bakarnih i kamenih alatki. Publikuju}i taj mate- Ni{–Pri{tina, svetlost dana ugledali prvi – pokazalo se – va`- rijal, Bla`enka – Seka Stalio opredeljuje ga u vreme mla|eg ni materijalni ostaci iz preistorijskog doba. Tada{nja Direkci- neolita, plo~ni~ku fazu vin~anske kulture, a same bakarne ja Jugoslovenskih `eleznica poklonila je Narodnom muzeju nalaze u vreme ranog eneolita, faza Bubanj – Hum 1a, pre- u Beogradu prvu ostavu bakarnih alatki. Ti nalazi naveli su ma hronologiji M. Gara{anina. dr Miodraga Grbi}a da ve} naredne godine zapo~ne s prvim, Tre}a serija istra`ivanja u Plo~niku po~inje 1996. godi- moglo bi se re}i, za{titnim istra`ivanjima na tom nalazi{tu. ne, opet u organizaciji Narodnog muzeja iz Beograda, u sa- Ugro`ena povr{ina od oko 700 m² dala je veliku koli~inu radnji s Narodnim muzejom Toplice iz Prokuplja. Ogromna materijala, a najva`niji je nalaz druge ostave bakarnih arte- gra|a i dokumentacija iz prethodnih istra`ivanja uslovila je fakata. Publikuju}i te nalaze, Grbi} ih opredeljuje u eneolit- to da prvi korak budu rekognosciranja doline reke Toplice i ski period, a sam Plo~nik svrstava u red zna~ajnih lokaliteta samog nalazi{ta u selu Plo~nik. Na taj na~in dobijena je jugoisto~ne Evrope. okvirna povr{ina plo~ni~kog naselja od oko 120 hektara. To Druga serija istra`ivanja zapo~inje 1960. godine. Dr Bla- je izuzetna veli~ina za naselje vin~anske kulture, a plo~ni~ko `enka – Seka Stalio istra`ivala je u Plo~niku, u devet kam- je bilo i ve}e – poznato je da je meandriranjem reke Topli- panja, do 1978. godine. Otkriveno je oko 1.000 m² na dve ce uni{ten veliki deo centralnih delova naselja. Drugi poda- razli~ite pozicije tog velikog naselja. Radovi manjeg obima tak koji je usmerio potonja istra`ivanja jesu mesta nalaza obavljeni su u jugozapadnom delu naselja, u blizini `elez- plo~ni~kih ostava. Njihovim kartiranjem ustanovljeno je da

56 ARCHEOLOGY AND ART HISTORY DIANA #13 bellows with air, while bringing it down blows air through the pipe (Tuyere), directly into the melting pot. Since the bellows were made of leather, it is impossible to find their traces on archaeological digs.

4. The cast The sandstone cast was modeled of by hand, using a knife. Apart from sandstone, the cast could have been made of clay or some other stone resistant to high temperatures. Casts made of sandstone are often found on archaeolo- gical sites, for examples those of the Terramare culture, or the Manciano site (near Grosseto).

The Process of Copper Melting On the vertical wall of the pit, the tubes were placed in a Sl. 3. No` u kalupu mode whereby the curved part was turned downward, so Fig. 3. Knife in the mould that the air could be blown directly in to the melting pot containing the bronze or copper. To start the fire in the pit we used wood and then we added coal. The crucible (melting ceramics. Apart from that, our intention was also to find out pot) was covered with coal, and two people alternately rai- what remained on the site after the process of melting metal. sed and lowered the bellows: while one bellows was raised, Our conclusion is that probably pits for melting metals found the other was lowered and vice versa. In this way, the air on archaeological digs were not often interpreted as such, reached the fire constantly, and the desired temperature because they leave few traces. Our ancestors probably col- was reached more quickly. The fire became green once the lected waste left after the melting process, because it could copper or bronze had melted. The crucible was then lifted by have been reused, and the metal always had a high value. its horizontal handle, using two sticks, and the melted copper Also, bellows were made from organic material so they do (bronze) was poured into the cast (Fig. 1 and 2). After a few not leave traces. The crucibles (melting pots) and tubes minutes, when the metal had cooled, the cast was opened, (tuyeres) are not always interpreted as such. The only safe revealing the desired object [knife (Fig. 3), axe, etc]. clues suggesting that a pit was used for melting are traces of baked red soil and fragments of glass surfaces, proving Conclusion that high temperatures were reached. The goal of this experiment was to recreate the process of The next step in this project, if possible, will be an melting metals, certainly one of the most important proces- experiment to obtain copper from ore, allowing us to com- ses in the development of civilization after the discovery of plete our knowledge about the metallurgical process. „

Du{ko [LJIVAR, National Museum in Belgrade Julka KUZMANOVI]-CVETKOVI], the Toplica National Museum, Prokuplje

PLO^NIK, ARCHAEOLOGY AND CONSERVATION

ARCHAEOLOGICAL RESEARCH conducted in Plo~nik in September and October 2007 resulted in a unique archaeo- to the Eneolithic Era, whilst he classified Plo~nik itself as a metallurgical situation, never before recorded in this prehis- leading archaeological site in South East Europe. toric settlement. There is a long history of archaeological The second period of excavation started in 1960. By research at this site, going back to 1926. During the con- 1978, Dr Bla`enka Seka Stalio had excavated Plo~nik in nine struction of the Ni{-Pri{tina railway line, significant pre- campaigns. A large settlement, approximately 1,000 m², was historic material came to light. The Director of Yugoslav discovered, in two different segments. Further work on a Railways donated the first hoard of copper tools to the smaller scale was carried out in the south-western part of National Museum in Belgrade. These finds prompted Dr the settlement, near the present railway station, while Dr Miodrag Grbi} to commence the first salvage archaeology Stalio directed her attention to the north-eastern segment. work on the site the following year. The threatened area of From the huge quantity of varied materials, we would single approximately 700 m² yielded a great quantity of material, out two hoards of copper and stone tools. Publicising this the most important being the finding of the second hoard material, Dr Stalio dated it to the later Neolithic period, the of copper artefacts. Publicising these finds, Grbi} dated them Plo~nik phase of the Vin~a culture, whilst she places the

57 DIANA #13 ARHEOLOGIJA I ISTORIJA UMETNOSTI one poti~u iz zapadnih i jugozapadnih delova naselja. Ra- `ivota ili aktivnosti. Tako je bilo sve do pro{logodi{njih istra- stojanje od I do IV ostave iznosi oko 200 metara. Takva kon- `ivanja u sondi XX. Insistiranje i istrajavanje istra`iva~a na centracija metalnih artefakata ukazivala je i na funkcionalnu pojedinim interdisciplinarnim analizama urodilo je plodom ili urbanisti~ku determinaciju tog dela naselja. Pretpostav- iznad svih o~ekivanja. ljeno je da je tu re~ o zanatskom delu naselja, izdvojenom i Arheolo{kim radovima iz 2007. godine prethodile su, sme{tenom na periferiju zbog opasnosti od po`ara. Broj od najpre, interdisciplinarne analize ko{tanog materijala, a po- 45 bakarnih alatki koje su tu prona|ene do 1978. godine tom i geomagnetska snimanja tog dela lokaliteta. Petnaest presudio je da se planirana istra`ivanja obave na tom delu paleozoolo{kih uzoraka s razli~itih stratigrafskih pozicija, za- plo~ni~kog lokaliteta. hvaljuju}i kolegi Du{anu Bori}u, tretirano je AMS metodom Arheolo{kim radovima otpo~etim 1997. godine pretho- u laboratorijama Oksforda, u Engleskoj. Dobijeni apsolutni dila su geofizi~ka snimanja na dve lokacije. Skeniranje geo- datumi od 5400. do 4600. godine stare ere u potpunosti ko- radarom i merenja elektri~ne otpornosti odredili su u`e lo- respondiraju s relativnom hronologijom koja je ura|ena na kacije na koje su postavljane sonde. Rezultati tih radova u osnovu stilsko-tipolo{kih analiza materijala iz Plo~nika i sa velikoj su meri unapredili znanja o Plo~niku i samoj vin- analognog lokaliteta Belovode, a ra|ene su i fiziko-hemijske ~anskoj kulturi, kojoj pripada to naselje. Ovom prilikom iz- analize uzoraka malahita i azurita s lokaliteta Belovode. Na dvajamo nekoliko osnovnih i novih saznanja. taj na~in dobijena je i hronologija bakarnih artefakata, ~ije Pokazano je da je plo~ni~ko naselje osnovano u vreme su vreme nastanka poslednji vekovi VI milenijuma stare ere. najstarijih etapa faze Vin~a – Tordo{ I, prema hronologiji M. Geomagnetska snimanja tog dela lokaliteta, koja je Gara{anina. Na osnovu stilsko-tipolo{kih i statisti~kih ana- obavio in`enjer Vladimir Mileti} sa saradnicima, registro- liza kerami~kog materijala iskristalisale su se tri razvojne, vala su oko petnaest lokacija ili anomalija nastalih antropo- evolutivne faze te kulture, ~iji kraj u plo~ni~kom naselju genim delovanjem. Na jednoj od njih, sa izuzetno visokim korespondira sa zavr{nim etapama grada~ke faze. Odre|e- vrednostima ili odstupanjima, postavljena je otvorena son- na je kulturno-hronolo{ka pozicija plo~ni~kih ostava. Vreme da XX. Na relativnoj dubini od 0,80 metara osnova sonde kojem pripada ta ve} razvijena metalurgija odgovara gra- bila je potpuno ispunjena {utom, brojnim ulomcima kera- da~koj fazi vin~anske kulture. Iz ove ~injenice proisti~e i mi~kog materijala, celim i razbijenim posudama, amorfnim mnogo zna~ajniji zaklju~ak o tome da primarni oblici me- i obra|enim kamenom. Takvu jedinstvenu celinu dopunio talurgije nastaju i razvijaju se u njenim starijim fazama. je nalaz masivnog bakarnog dleta. Na povr{ini od 25 m²,

Sada je sasvim izvesno da je vin~anska kultura metalur{ka kultura i da, kao takva, ima prioritet u odnosu na istovre- mene pojave u jugoisto~noj Evropi. Nalazima jo{ nekoliko bakarnih artefakata i parcijalnih situacija razja{njeno je da ostave, u stvari, predstavljaju delove zanatskih objekata, ra- dionica, sru{enih u po`aru. Ostaje nejasno za{to su vlasnici ili majstori ostavili taj dragoceni materijal. Uz ove arheo- metalur{ke komponente, ostali pokretni nalazi upotpunili su repertoar, kao i na{a znanja o vin~anskoj kulturi. Neki od njih, pogotovo pojedini nalazi antropomorfne i zoomorfne plastike, predstavljaju jedinstvene eksponate prema svim estetsko-umetni~kim kriterijumima. Ipak, istra`ivanja u Plo~niku, koja traju gotovo jedan vek, nisu dala situacije bilo koje sadr`ine na osnovu kojih bi se mogao celovito determinisati ijedan segment ~ovekovog

58 ARCHEOLOGY AND ART HISTORY DIANA #13 copper finds in the early Eneolithic Era, its Bubanj-Hum 1a more significant conclusion that the primary forms of me- phase, according to M. Gara{anin’s chronology. tallurgy were born and developed during its earlier phases. The third series of excavation in Plo~nik started in It is now fairly clear that the Vin~a culture had mastered 1996, organised by the National Museum in Belgrade in metalworking, and was thus more advanced than its South- cooperation with the Toplica National Museum, Prokuplje. eastern European contemporaries. Several other finds of The voluminous documentation and large quantity of previ- copper artefacts and partial sub-sites shed light on the fact ous finds meant that the first step would be reconnaissance that the hoards in fact represent parts of craftsmens’ work- of both the Toplica river valley and the archaeological site shops destroyed in a fire. Why the owners or craftsmen left in the village of Plo~nik. This provided us with a general behind such valuable materials remains a mystery. In geographical area of the Plo~nik settlement of approxima- addition to these archaeo-metallurgical components, the tely 120 hectares. For a Vin~a-culture settlement this is of rest of the movable finds have made the site inventory – as extraordinary magnitude. However, the Plo~nik settlement well as our knowledge of the Vin~a culture – more complete. was even larger, as it is known that the meandering of the Some of these, especially certain finds of anthropomorphic River Toplica destroyed a considerable portion of the settle- and zoomorphic sculptures, are unique according to all cri- ment’s central parts. Another fact that determined the teria of aesthetics and art. course of future research was the location of the Plo~nik However, the almost century-long research in Plo~nik hoards. Mapping ascertained that they originated from the did not yield a single sub-site containing anything that western and southeastern parts of the settlement. The could be used to fully establish any segments of human life distance between hoards I and IV is approximately 200 and activity. Such was the state of affairs up until last year’s meters. Such a concentration of metal artefacts indicated excavation of sonde XX. The researchers’ resolve and insi- both the functional and the urban purposes of this part of the stence on certain interdisciplinary analyses turned out to settlement. It is assumed that this was the craftsmen’s part be exceedingly fruitful. of the settlement, isolated and situated on the periphery, The 2007 excavation was preceded by interdisciplinary due to the danger of fire. A total of 45 copper tools had been analyses of bone materials, leading to geomagnetic measure- found here by 1978, prompting further excavation of this ment of this area of the site. Thanks to our colleague Du{an part of the Plo~nik site. Bori}, 15 paleo-zoological samples collected from different The archaeological work that began in 1997 was prece- stratigraphic positions have been treated by the AMS method ded by geophysical soundings in two locations. Geo-radar in the laboratories of Oxford, England. The resultant abso- scanning and electrical resistance measurements determined lute dates, from 5400 to 46000 BC, fully correspond to the the precise location for these sondes. The results have greatly relative chronology completed on the basis of the stylistic furthered our knowledge of Plo~nik, and the Vin~a culture and typological analyses of the Plo~nik materials, as well as to which the settlement belongs. We hereby expound some those of the analogous archaeological site of Belovode. How- of the fundamental new discoveries. It was revealed that the ever, physicochemical analyses of the malachite and azurite Plo~nik settlement was established during the latest stages found on the site of Belovode were also conducted. Thus we of the Vin~a-Tordo{ I phase, according to M. Gara{anin’s also obtained the chronology of copper artefacts, dating from chronology. On the basis of stylistic, typological, and statis- the late 6th millennium BC. Geomagnetic measurements in tic analyses of ceramics, three developmental, evolutional these parts, performed by Vladimir Mileti} with associates, phases of this culture were crystallised. The end of these registered approximately fifteen localities with anomalies phases in the Plo~nik settlement corresponds to the final resulting from human activity. The open sonde XX was placed stages of the Gradac phase. Both cultural and chronological in a location exhibiting extremely high anomalous values. positions of the Plo~nik hoards were determined. These At the relative depth of 0.80 meters, the sonde’s base was advanced metalworking skills correspond to the Gradac filled with rubble, numerous fragments of pottery, whole and phase of the Vin~a culture. This fact also leads to a far broken vessels, with amorphous and cut stone. The finding of a massive copper chisel contributed to this unique find. In the area of 25 m², the dimensions of the sonde, the straight line of a structure destroyed in an intensive fire was visible. Without hesitation the sonde was gradually widened, mos- tly in the northern part, increasing its dimensions to 55 m². The entire sub-site was finally mapped, and the overall di- mensions of the burned structure were established. A kiln at the northwest corner of the area dominates the sub-site. The base of the kiln is square, measuring 1.40 × 1.40 meters. The largest preserved kiln walls are 0.50 meters high. The walls are massive, with visible secondary coats and traces of contact with high temperatures in the lower half. Inside, there are numerous brown smears resulting from smelting. The contours of the structure itself are ill-defined, and mea- sure approximately 6 × 6 meters. The overall content of the construction and the remains of the parts above ground at

59 DIANA #13 ARHEOLOGIJA I ISTORIJA UMETNOSTI koliko su iznosile dimenzije sonde, uo~avao se jedan pravac metalur{koj radionici. Pored dleta, prona|ene su dve bakar- objekta uni{tenog u intenzivnom po`aru. Dileme nije bilo i ne alke razli~ite profilacije i minijaturna perla. Ti nalazi sonda je postupno pro{irena, najvi{e u severnom delu, tako upotpunjuju poznati repertoar i ujedno su dokaz o visokom da su njene dimenzije na kraju iznosile 55 m². Na tom pro- nivou metalurgije bakra u Plo~niku. Zatim, prikupljeno je storu kona~no je dobijena cela situacija i uhva}eni su gaba- dosta grumenova malahita razli~ite profilacije i izmenjene riti izgorelog objekta. Situacijom je dominirala pe} na severo- strukture usled kontakta s visokim temperaturama. Posebno zapadnom uglu povr{ine. Pe} je kvadratnog oblika u osnovi, su zanimljive kerami~ke cevi koni~ne profilacije s podu`- dimenzija 1,40 × 1,40 metara. Najve}a o~uvana visina zi- nim perforacijama. Ti objekti, sa analogijama na Belovoda- dova pe}i je 0,50 metara. Zidovi su masivni, a u donjoj po- ma, deo su metalur{kih instalacija za dovod i usmeravanje lovini s vidljivim sekundarnim premazima i tragovima kon- cirkulacije vazduha prilikom topljenja rude ili pretapanja takta s visokim temperaturama. Unutra je dosta mrkih mrlja, samog bakra. Pretpostavci o tom ekstraktivnom tehnolo{- nastalih u redukcionim uslovima upotrebe. Konture samog kom nivou dobijanja bakra idu u prilog i nalazi mnogih ke- objekta neizrazite su i pribli`no iznose 6 × 6 metara. Uku- rami~kih posuda deformisanih usled jake vitrifikacije. Ali pan sadr`aj te konstrukcije i ostaci nadzemnih delova, u va`niji detalj jeste njihov istopljeni sadr`aj, koji }e determi- ovom stadijumu istra`ivanja, opredeljuju je kao objekat pri- nisati predvi|ene fiziko-hemijske analize, a prema na{im vrednog karaktera. Radionica, u kojoj je centralni objekat iskustvima, re~ je o izdrobljenoj rudi malahita pripremlje- masivna pe}, bila je za{ti}ena zidovima od pletera obleplje- noj za metalur{ki tretman. nog zemljom. Krovnu konstrukciju ~inio je tako|e pleter, Sve to ukazuje na izuzetan zna~aj cele situacije, kojom prekriven travom. Pod nije formiran kao lep, ali se na jed- dominira velika masivna pe}, retkog oblika i specifi~ne na- nom delu osnove nalaze kamene plo~e. Taj nivo objekta is- mene. Njen oblik, stanje o~uvanosti i sam zna~aj presudili tra`i}e se u narednoj kampanji, kada }e mo}i da se upotpuni su da se taj objekat preventivno konzervira. Njegova dalja opis ostalih konstruktivnih detalja. Objekat je bio ispunjen sudbina zavisi od toga koje }e se re{enje, od dva predlo`ena, brojnim kerami~kim posudama, velikim, prvenstveno za primeniti. Prvo podrazumeva trajnu konzervaciju i izme{ta- vodu: amforama, kr~azima i dubokim bikoni~nim posuda- nje u jedan od muzeja, a drugo konzervaciju in situ i prezen- ma. Ostatak nalaza jo{ izrazitije ukazuje na to da je re~ o taciju u sklopu budu}eg arheolo{kog parka u Plo~niku. „

Ksenija \uri{i}, vi{i konzervator restaurator Centar za arheolo{ka istra`ivanja Crne Gore

IKONOSLIKARSTVO CRKVE SVETOG LUKE U KOTORU

CRKVU SVETOG LUKE u Kotoru sagradili su 1195. godi- ne Mavro Kazafranki i njegova supruga Buona. Kasniji pa- pisana. Tragovi plavih slova mogu se vidjeti i na ikoni Hrista troni bile su porodice Drago i Kufeti. Odlukom pape Julija II s krunom na glavi; na njegovoj ode`di vide se plavi tonovi. uprava crkve preneta je 1511. godine na redovnice Gospe Sti~e se utisak da je vjerovatno isti majstor na toj ikoni radio An|ele, {to je trajalo do 1657, kada je bila predana na pora- samo retu{e, i to glave s krunom, koja je vje{ta~ki ukompo- bu sljedbenicima pravoslavne vjere.1 novana. Ikona s Hristovim likom ne{to je manja od prestolne Jedna od glavnih karakteristika ikonoslikarstva u crkvi ikone s likom Jovana Krstitelja; usje~ena je po bordurama, Svetog Luke jeste bogatstvo i raznovrsnost ikonografije, dok koje se lijepo mogu vidjeti. se ikonostas odlikuje dekorativno{}u. Kada je rije~ o ikoni Jovana Krstitelja, o~igledno je da je Donja zona ikonostasa po svoj prilici je uni{tena, a re- ona skra}ivana kako bi mogla u}i u sada{nji ram, izrezba- konstrukcija je izvedena na veoma jednostavan na~in. Po- ren i s krunom na gornjem dijelu. Ikona je stavljena u goto- stavljeni su vertikalni redovi dasaka, u vidu lamperije patini- vo isti ram kao ikona s Hristovim likom u tamnom koloritu; rane bojom oraha, sa usje~enim dverima. Na njima su ~etiri Hristos je predstavljen kako sjedi na prijestolu, bez nekog prestolne ikone, pore|ane ovim redom: Jovan Krstitelj, Bogo- sveta~kog izraza. Ono {to odmah pada u o~i jeste ba{ taj rodica sa Hristom, Hristos u crkvenoj ode`di, s krunom na prijesto, kakav se te{ko mo`e na}i u slikarstvu te vrste kod glavi, i, na kraju, u desnom uglu sveti Luka kao zograf. nas. On vi{e li~i na namje{taj iz XVIII ili XIX vijeka, za- Ikone su naslikane na sasvim razli~ite na~ine. Lik Jova- krivljenih oblika, u stilu bidermajera ili rokokoa. na Krstitelja prikazan je u oker boji sa zatamnjenim tonovi- Ikona svetog Luke rad je nekog majstora Grka. Bogato ma umbre; ode`da od kamilje dlake nije prikazana u sivo- je oslikana draperija svetog Luke, koji sjedi pognut i slika plavom tonu, osim, u manjoj meri, po vrhovima ramena, dok na lijevom ide ne{to du`e niz ruku, do lakta. Inkarnat je do- sta svijetao, bez one sveta~ke zelene boje lica, osim na glavi 1] Likovna enciklopedija Jugoslavije I, Zagreb 1984, 242 (Olga koju svetitelj dr`i u ruci. Slova na svitku dosta su nevje{to Perovi}).

60 ARCHEOLOGY AND ART HISTORY DIANA #13 this stage of the research bear all the hallmarks of a work- are particularly interesting. These structures, substantially shop. Wattle-and-daub walls protect the workshop, whose similar to ones found in Belovode, formed part of metal- centrepiece is a massive kiln. The roof construction is also working installations used to supply and direct air for ore made of grass-covered wattle. The floor was not formed of smelting or copper melting. The existence of this level of daub, but there are stone tiles in one portion of the base. This copper extraction technology is also borne out by the finds level of the structure is to be investigated in a future cam- of many ceramic vessels deformed due to strong vitrification. paign, when we will be able to complete the description of However, a more significant detail is their melted content: the remaining structural details. The structure was filled with our experience leads us to believe that this is crushed mala- copious large, ceramic vessels, usually utilised for water, chite ore prepared for metallurgical treatment, but proof of amphorae, jugs, and deep biconic vessels. The rest of the this hypothesis will have to be established by upcoming phy- finds indicate even more decidedly that this is a metallurgi- sicochemical analyses. All this highlights the importance of cal workshop. In addition to the chisel, two copper rings of the whole sub-site, dominated by the massive kiln of unusual different appearance and a miniature bead have been found. shape and specific purpose. Its shape, state of preservation, These complete the known inventory and at the same time and significance have led to the preventive conservation of serve as evidence of the highly developed level of copper- this structure. What will become of it depends on the reali- working in Plo~nik. Furthermore, a considerable amount of sation of one of two proposed solutions. The first would be malachite lumps have been collected, differing in appearan- permanent conservation and transfer to a museum; the ce, their structure altered due to contact with high tempe- second could be conservation in situ and presentation ratures. Conical ceramic pipes with horizontal perforations within a future archaeological park in Plo~nik. „

Ksenija DJURI[I], senior conservator-restorer Center for Archeological Studies of Montenegro

CHURCH OF ST. LUKE, KOTOR. ICON PAINTING

THE CHURCH OF ST. LUKE, Kotor, was built by Mavro Kacafrangi and his wife Buone in 1195. Later patrons were is slightly smaller than the royal icon of John the Baptist, the Drago and Cuffeti families. By decision of Pope Julius clearly cut and set in according to the existing borders. II, church administration was assigned to the nuns of Our It is obvious that the icon of John the Baptist was shor- Lady Angela, who continued this ministry until 1657, when tened in order to fit into the existing carved frame, which the church was ceded to the Serbian Orthodox Church.1 has a crown on top. The icon was placed in the same frame One of the main artistic characteristics of St. Luke’s as the dark-coloured icon of Christ. Christ sits on the throne, Church is the lavishness and variety of its iconography, but without a saintly expression. It can be observed that this especially the decoration of its iconostasis. particular type of throne is unusual for paintings of this The lower zone of the iconostasis was probably destro- kind in this region. It looks more like a piece of 18th or 19th yed but reconstruction was done in a very simple manner. century furniture, with some twisted shapes in Biedermeier Vertical rows of boards coated with walnut-coloured paint, or Rococo style. similar to paneling, were fixed in place, with cut-in Royal The icon of St. Luke is the work of a superb 16th cen- doors. There are four royal icons: St. John the Baptist, the tury Greek master, with lavishly painted robes. The image Virgin Mary with Christ, an Icon of Christ in red attire with of St. Luke depicts him sitting and bent forward, suppo- a crown on his head, and at the very end, in the right hand sedly painting the Virgin Mary with the Christ. The anato- corner, St. Luke as zograph (icon-painter). mical shapes and motion suggest that this is the work of a Each of these icons was painted in a very different great master, possibly aligned with some western schools. manner. The picture of St. John the Baptist is pained in The icon of the Virgin Mary on the lower part left hand side ochre with dark shades of umber. His camel-hair robe was is the work of a different master, so it is likely that the com- not painted in grey-blue timbre, apart from a small section positional scheme was painted later. St. Luke was probably on his shoulders and down his left arm as far as the elbow. painted in the 18th century. The Incarnate is very bright, not of a saintly green, except The Royal doors, which are almost completely preserved, for the severed head that the Saint holds in his hand. are the work of the Rafailovi} iconography school, Bay of Letters on the scroll are very clumsily written. Traces of Kotor. Dimitrije Rafailovi} created the main door in 1777. blue letters can be seen on the icon of the crowned Christ. Blue tones are also visible in his robe. It seems that the same master probably retouched the head and added the 1] Encyclopedia of Fine Arts of Yugoslavia I, Zagreb 1984, 242 artificially composed crown to this icon. The icon of Christ (Olga Perovi}).

61 DIANA #13 ARHEOLOGIJA I ISTORIJA UMETNOSTI

Sl. 2. Hristos, prestona ikona (48 × 77 cm) Fig. 2. Christ, Royal icon (48 × 77 cm)

Sl. 1. Sveti Jovan Krstitelj, prestona ikona (54 × 89 cm) Fig. 1. St. John the Baptist, Royal icon (54 × 89 cm) daleko vi{e podataka, jer oskudna dokumentacija ne mo`e pru`iti jasan uvid u cjelokupno stanje tog ikonopisa. Jedno je sigurno – gr~ki majstor je ostavio svoj pe~at, iako se mo`e Bogorodicu sa Hristom. Anatomski modelovane forme i po- pretpostaviti da nije bio dovoljno upu}en u ~itavu proble- kret koji uvjerljivo svjedo~i o velikom slikarskom umije}u matiku ikonografije. majstora govore o tome da je on vjerovatno pripadao nekoj Na`alost, Deizis nije vi{e na ikonostasu zbog toga {to je zapadnja~koj {koli. Lik Bogorodice u donjem dijelu, na lije- stradao, ali je smje{ten u riznicu Srpske pravoslavne crkve u voj strani, rad je nekog drugog majstora, tako da se mo`e Kotoru, a njegovih {est ikona djelo su majstora Grka.2 To su: re}i da je kompoziciona {ema naknadno naslikana. Sveti 1. Hristos Imago Pieta Luka vjerovatno poti~e iz XVIII vijeka. 2. Sveti Spiridon i sveti Luka Carske dveri, koje su gotovo potpuno o~uvane, rad su 3. Nevjerstvo Tomino bokokotorske ikonopisne {kole Rafailovi}a. Glavne dveri ra- 4. Kr{tenje Hristovo dio je Dimitrije Rafailovi} 1777. Dveri su izrezbarene gotovo 5. Arhan|eli Gavrilo i Mihail filigranski, s malim oslikanim scenama Blagovijesti, u dosta 6. Atanas Veliki i Sava Osve}eni. tamnom koloritu. Nadverje je tako|e rad Rafailovi}a i go- tovo je u potpunosti o~uvano. Rezbarska kompozicija krsta Deizis obuhvata trinaest dobro o~uvanih i konzervira- rad je istog majstora, ali ne i naslikano Raspe}e. Krst je iz nih ikona. [est su radovi ruskih majstora, a sedam gr~kih, 1708, dok je naslikano Raspe}e jednostavno usje~en rad najvjerovatnije onog ikonopisca koji je naslikao prestolnu majstora Grka. ikonu s likom svetog Luke. Kolorit ikona gr~kog majstora Raspe}e je gotovo istovjetno s Raspe}em koje se nala- dosta je taman; preovladava uglavnom nekoliko tonova, zi u riznici Srpske pravoslavne crkve u Kotoru. Ono poti~e plava, cinober i mjestimi~no oker. iz druge polovine XVIII vijeka. Izrezbareno je u drvetu i Vizantijski uticaj dosta je primjetan. Zanatski, ikone islikano sa obje strane na veoma plasti~an na~in, po ugledu su dosta dobro ura|ene, {to se vidi i po stepenu njihove na Raspe}a renesansnih majstora, s tamnim koloritom i po- o~uvanosti. Drveni nosa~ tako|e je konzerviran; potopljen je zla}enom draperijom, opu{tenim i mrtvim tijelom Hrista, u vosak, s novim ku{acima, koji su veoma vje{to postavljeni. ~ija je glava pognuta i zaba~ena na desnu stranu. Isti takav lik prikazan je na krstu ikonostasa Svetog Luke, ~iji su re- zbarski rad i kompoziciona {ema djelo Rafailovi}a. 2] Podaci o ikonama dobijeni su u Republi~kom zavodu za Mo`e se re}i da je ikonopis u crkvi Svetog Luke stilski za{titu spomenika kulture, Cetinje, i Regionalnom zavodu za za{titu i hronolo{ki veoma raznovrstan i da je potrebno prona}i spomenika kulture, Kotor.

62 ARCHEOLOGY AND ART HISTORY DIANA #13

5. Two Archangels Gabriel and Michael 6. Athanasius the Great and St. Sava consecrated

On this diesis there are 13 icons, very well preserved and conserved. Six of them were works by Russian masters, while seven are works of a Greek master, most likely the painter of the Royal icon of St. Luke. Greek masters tended to use rather dark colours, but a few brighter hues prevail: blue, vermillion, and ochre. The Byzantine influence is present. The workmanship is of very good quality, which is obvious from the condition and level of the icons’ preservation. A wooden support is also well conserved. This was dipped into wax, with new cross- bars skillfully placed. Both doorframes belong to the Kotor School of Rafailo- vi}, 1689, but the doorframe above the main door is older.

Sl. 4. Sveti Luka, prestona ikona Fig. 4. St. Luka, Royal icon

Sl. 3. Bogorodica sa Hristom, prestona ikona (50 × 77 cm) Fig. 3. The Virgin Mary with Christ, Royal icon (50 × 77 cm)

The door is carved with filigree ornaments and shows small painted scenes of the Annunciation in dark colors. The door- frame was also done by Rafailovi} and is almost completely preserved. The same artist made cross carvings, but did not paint the crucifixion scene. The cross dates from 1708, while the painted crucifixion is the work of a Greek master. The crucifixion is almost identical to the crucifixion in the Treasury of the Serbian Orthodox Church in Kotor. It dates from the late 18th century. The crucifixion is on carved wood, painted on both sides in a very plastic way, similar to crucifixions depicted by Renaissance artists, with dark colours and gilded drapery. Christ’s dead body sags, while his head is bent down, turned to the right. The same image is shown on the cross of the iconostasis of St Luke, a carved work of the Rafailovi} compositional scheme. By examining the iconostasis in St. Luke’s Church, it is The overlays of the Virgin Mary and Christ are displayed on obvious that it is heterogeneous regarding its style and the floor below the icon. Ornamented silver overlays, with chronology, but that more data and documentation need to gold encrusting of the crown, present some highly skilled be obtained to provide clearer insight into its condition. One workmanship. St. Luke and St John the Baptist had over- thing is positive – the Greek master left his stamp on his lays on their aureoles that have been dismantled and are work, although it can be assumed that he was not comple- kept in the church treasury. tely familiar with all iconography problems. St. Luke, as well as the icon of the Virgin Mary, was Unfortunately, the diesis is no longer forms part of the dates from the 18th century. Its painting style and technique iconostasis, because it was damaged and is stored in the belong to some western schools that existed in our region treasury of Orthodox Church in Kotor. Its six icons are the at that time. work of a Greek master.2 1. Christ Imago Pieta 2. St. Spiridon and St. Luke 2] Data of icons obtained from the Republic Institution for 3. Doubting Thomas Protection of Cultural Monuments – Cetinje and Regional Institu- 4. Baptism of Christ tion for Protection of Cultural Monuments – Kotor.

63 DIANA #13 KONZERVACIJA

Oba nadverja djelo su kotorske {kole Rafailovi}a iz 1689. Osnovna o{te}enja drvenih nosa~a odnose se isklju~ivo godine, dok je nadverje iznad glavnih vrata starije. Okovi na vertikalne pukotine po sredini ikona, du` ~itavog nosa~a. Bogorodi~ine ikone, kao i one s Hristovim likom, izlo`eni su Vjerovatno je uzrok to {to su daske na tim mjestima spaja- na podu, ispod ikona. Bogato ukra{eni okovi od ~istog srebra, ne, pa se drvo, primaju}i i osloba|aju}i vlagu, {irilo, odnosno sa zlatnim inkrustacijama na krunama, pokazuju visoko za- odvajalo, kao kod ikone Jovana Krstitelja, Bogorodice sa natsko umije}e. Okovi na oreolima koji su postojali na ikona- Hristom, pa i ikone Isusa Hrista. ma s likovima svetog Luke i Jovana Krstitelja skinuti su i Na ikoni s likom svetog Luke drveni nosa~ je pri samom ~uvaju se u riznici crkve. vrhu odvojen horizontalno, a po du`ini ukoso, na zdravom Ikona s likom svetog Luke, kao i ikona s likom Bogorodi- mjestu. Na donjem dijelu uo~ljiv je ~itav niz manjih pukoti- ce, nastala je u XVIII vijeku, a po slikarskom maniru odgo- na. O{te}enja grunda na pozlati pojavila su se u vidu fleka, vara djelima nekih zapadnja~kih {kola koje su u to vrijeme negdje ve}ih, a negdje manjih. Konsolidacija drvenih nosa- radile u ovim oblastima. ~a kod svih ikona obavljena je tehnikom potapanja u vosak i kolofonijum. Bojeni sloj je dobro o~uvan. Konzervatorska ispitivanja ikona u crkvi Svetog Luke Ikonostas Svetog Luke nije o~uvan kao cjelina, osim Prilikom analize ikona i ikonostasa uo~eno je da su drveni gotovo neo{te}enog krsta. Obnova ikonostasa uglavnom je nosa~i dosta dobro o~uvani i da su izvjesna konzervatorska obavljena na jednostavan na~in; postavljen je red dasaka i restauratorska tretiranja ve} obavljana. koje su patinirane i na njih su stavljene prestolne ikone. „

Prevela i priredila Aleksandra D`iki}-Nikoli}, konzervator Narodni muzej u Beogradu

TERMINOLOGIJA – KONZERVACIJA MATERIJALNOG KULTURNOG NASLE\A

Verzija teksta na srpskom jeziku pripremljena je uz saglasnost Radne grupe za terminologiju i Sekretarijata ICOM-CC-ja kako bi se zapo~elo s postupkom uskla|ivanja termina kori{}enih u srpskom jeziku u oblasti konzervacije s konzervacijskom terminologijom me|unarodne zajednice, uz puno po{tovanje lokalne tradicije i konotacije koju dati termini u srpskom jeziku nose. Tokom pripreme ovog broja ~asopisa iz {tampe je iza{ao Glasnik Dru{tva konzervatora 33, u kojem je tako|e objav- ljen prevod Rezolucije o terminologiji ICOM-CC-ja, usvojene 2008. godine u Nju Delhiju. Taj prevod prilago- |en je terminologiji koja se koristi u oblasti konzervacije nepokretnog kulturnog nasle|a kod nas. Tako je u njemu termin sanaciona konzervacija upotrebljen kao prevod za engleski termin remedial conservation. U prevodu koji se objavljuje u ~asopisu Dijana u istom zna~enju koristi se termin kurativna konzervacija, koji prati poreklo re~i remedial, a neposredno se vezuje za francusku re~ curative.

BUDU]I DA: a) na{ cilj jeste da predamo materijalno kulturno na- e) javnost postala klju~ni partner u ~uvanju na{eg za- sle|e narednim generacijama, obezbe|uju}i istovre- jedni~kog kulturnog nasle|a, meno njegovu sada{nju upotrebu i po{tuju}i njegov f) terminologija ponekad nenamerno gomilana,* {to je dru{tveni i duhovni zna~aj, izazvalo zbrku i nerazumevanje, b) preduzete mere i aktivnosti predstavljaju rezultat sve- obuhvatnog interdisciplinarnog procesa odlu~ivanja, ICOM-CC – koji preko ICOM-a predstavlja {iroku me|una- c) proces odlu~ivanja uvek uklju~uje dokumentaciju i rodnu stru~nu mre`u – uo~ava potrebu za postojanjem jasne ispitivanje (istorijsko, umetni~ko-istorijsko, nau~no i dosledno primenjivane terminologije, a radi unapre|ivanja ili tehni~ko), te uzima u obzir pro{li, sada{nji i budu- }i kontekst predmeta, * Primeri: neinterventivna konzervacija, indirektna konzervacija, kao i da je od osnivanja me|unarodnog Komiteta za konzer- pasivna konzervacija, briga o zbirkama, prezervacija, preventativna konzervacija, odr`avanje, indirektna prezervacija, aktivna konzervaci- vaciju ICOM-a (ICOM-CC): ja, konzervacija, direktna konzervacija, interventivna konzervacija, d) na{a profesionalna zajednica zna~ajno pro{irena u remedijalna konzervacija, kurativna konzervacija, stabilizacija, tret- pogledu broja i raznovrsnosti predstavljenih struka man, direktna prezervacija, popravka, rehabilitacija, renovacija, kon- i kultura, zervacija restauracija itd.

64 CONSERVATION DIANA #13

Conservation Examination of Icons Regarding the icon of St. Luke, the wooden support is in St. Luke’s Church horizontally disjointed at the top, and diagonally cracked During examination and analysis of the icons and icono- where the wood is most solid. A number of small cracks can stasis, the wooden supports were found to be in rather good also be seen all along the lower part. There is characteristic condition. Certain conservation and restorative works had damage to the base gilding, shown by stains, some small already been undertaken. and some large. Consolidation of all wooden supports was Regarding basic damage to the wooden supports, there done by dipping them in wax and resin. The painted layer were some full-length vertical cracks in the middle of the is well preserved. icon, running down the support. The reason for this was pro- The iconostasis of St. Luke was not preserved as a whole, bably that the boards were jointed at that spot, and the cra- except for the cross, which is almost undamaged. The re- cking spread as the wood expanded or shrank according to storation of the iconostasis was mostly done in a simple humidity. The same is the case with the icon of John the Bap- manner by placing a row of patinated boards on which royal tist, the Virgin Mary with Christ, and even the icon of Christ. icons were placed. „

Resolution to be submitted to the ICOM-CC membership on the occasion of the XVth Triennial Conference, New Delhi, 22–26 September 2008

TERMINOLOGY TO CHARACTERIZE THE CONSERVATION OF TANGIBLE CULTURAL HERITAGE

CONSIDERING THAT: a) our aim is to hand on tangible cultural heritage to The definitions of the terms are as follows: future generations while ensuring its current use Conservation – all measures and actions aimed at safe- and respecting its social and spiritual significance, guarding tangible cultural heritage while ensuring its acces- b) any measures and actions taken result from an sibility to present and future generations. Conservation em- inclusive interdisciplinary decision-making process, braces preventive conservation, remedial conservation and c) the decision-making process always includes docu- restoration. All measures and actions should respect the mentation and investigation (historical, art histori- significance and the physical properties of the cultural cal, scientific or technical), and takes into account the heritage item. past, present and future context of the item, – Preventive conservation – all measures and actions aimed at avoiding and minimizing future deteriorati- and that, since the creation in 1967 of the international on or loss. They are carried out within the context or on Committee for Conservation of ICOM (ICOM-CC), the surroundings of an item, but more often a group of d) our professional community has grown significantly items, whatever their age and condition. These measures in size and in the variety of professions and cultures and actions are indirect – they do not interfere with represented, the materials and structures of the items. They do not e) the public has increasingly become an essential par- modify their appearance. tner in safeguarding our shared cultural heritage, Examples of preventive conservation are appropriate f) there has been a sometimes haphazard multiplication measures and actions for registration, storage, handling, of terminology*, resulting in confusion and mis- packing and transportation, security, environmental ma- understanding, nagement (light, humidity, pollution and pest control), emergency planning, education of staff, public awareness, ICOM-CC, which represents through ICOM a wide inter- legal compliance. national professional network, in order to facilitate com- – Remedial conservation – all actions directly applied to munication amongst its membership, the ICOM member- an item or a group of items aimed at arresting current ship, the world heritage professional community, and with the general public, sees the need for a clear and consistent * terminology. Examples non-interventive conservation, indirect conservation, ICOM-CC adopts the following terms: preventive conser- passive conservation, collection care, preservation, preventative con- servation, maintenance, indirect preservation, active conservation, vation, remedial conservation, and restoration which together conservation, direct conservation, interventive conservation, remedial constitute conservation of the tangible cultural heritage. conservation, curative conservation, stabilisation, treatment, direct pre- These terms are distinguished according to the aims of the servation, repair, rehabilitation, renovation, conservation-restoration, measures and actions they encompass. preservation, etc.

65 DIANA #13 KONZERVACIJA komunikacije izme|u svojih ~lanova, ~lanova ICOM-a, zatim diranih metala, konsolidacija zidnih slika, uklanjanje u svetskoj zajednici stru~njaka u oblasti nasle|a, kao i radi korenja iz mozaika. bolje komunikacije sa {irom javno{}u. – Restauracija obuhvata sve aktivnosti neposredno pri- ICOM-CC usvaja slede}e termine: preventivna konzer- menjene na stabilnom predmetu radi pobolj{anja nje- vacija, kurativna konzervacija, restauracija, a tim pojmovi- govog vrednovanja, razumevanja i kori{}enja. Te aktiv- ma ozna~ava se sve ono {to zajedno ~ini konzervaciju mate- nosti sprovode se samo onda kada je predmet izgubio rijalnog kulturnog nasle|a. Mere i aktivnosti na koje se deo svoje vrednosti ili funkcije zbog propadanja i pro- pomenuti termini odnose razlikuju se u pogledu ciljeva. mena koje je pretrpeo u pro{losti. One se zasnivaju na po{tovanju originalnog materijala predmeta. Takve ak- Definicije termina su slede}e: tivnosti naj~e{}e menjaju izgled predmeta. Konzervacija se odnosi na sve mere i aktivnosti koje se Primeri restauracije: retu{iranje slika, spajanje fragme- sprovode radi ~uvanja materijalnog kulturnog nasle|a i koje nata polomljenih skulptura, vra}anje prvobitnog oblika istovremeno omogu}uju njegovu pristupa~nost dana{njim korpe, popunjavanje {upljina kod staklenog suda. i budu}im generacijama. Konzervacija obuhvata preventiv- nu konzervaciju, kurativnu konzervaciju i restauraciju. Treba- Mere i aktivnosti konzervacije ponekad nemaju samo lo bi da sve mere i aktivnosti podrazumevaju po{tovanje jednu svrhu. Na primer: uklanjanje laka mo`e da predstavlja zna~aja i fizi~kih osobina predmeta kulturne ba{tine. i restauraciju i kurativnu konzervaciju, primena za{titnih – Preventivna konzervacija obuhvata sve mere i aktiv- obloga mo`e da bude istovremeno i restauracija i preven- nosti usmerene na izbegavanje ili svo|enje propadanja tivna konzervacija, a zatrpavanje mozaika mo`e biti i pre- i gubitka nasle|a u budu}nosti na najmanju mogu}u ventivna i kurativna konzervacija. meru. One se sprovode u sredini u kojoj se predmet ili, U tom smislu se, za potrebe ozna~avanja kompletne {to je ~e{}e, grupa predmeta nalazi, bez obzira na sta- intervencije na predmetima, u praksi preporu~uje kori{}e- rost i stanje predmeta. Te mere i aktivnosti su posredne nje termina konzervacija-restauracija. – ne sprovode se na materijalu ili strukturi predmeta i Konzervacija je kompleksna i zahteva saradnju kvalifiko- ne menjaju njihov izgled. vanih stru~njaka. Konkretnije re~eno, projekti koji uklju~uju Primeri preventivne konzervacije: odgovaraju}e mere i neposredne aktivnosti na kulturnom nasle|u zahtevaju anga- aktivnosti u vezi s registracijom, pohranjivanjem, pako- `ovanje konzervatora-restauratora (ICOM-CC definicija pro- vanjem i transportom, obezbe|ivanjem, upravljanjem fak- fesije, Kopenhagen 1984; ICOM-ov Eti~ki kodeks). torima okru`enja (svetlo, vla`nost, zaga|enje i kontrola Za potrebe me|unarodnih sastanaka i vi{ejezi~nih publi- {teto~ina), planiranjem za slu~aj vanrednih prilika, obu- kacija, prevod terminologije na engleski jezik glasi: conserva- kom stru~nog osoblja, podizanjem svesti u javnosti, uskla- tion (konzervacija), preventive conservation (preventivna kon- |ivanjem sa zakonom. zervacija), remedial conservation (kurativna konzervacija) i – Kurativna konzervacija podrazumeva sve aktivnosti restoration (restauracija). koje se neposredno primenjuju na predmetu ili na gru- Za potrebe me|unarodnih sastanaka i vi{ejezi~nih publi- pi predmeta radi zaustavljanja postoje}ih {tetnih pro- kacija, prevod terminologije na francuski jezik glasi: conser- cesa ili u~vr{}ivanja strukture predmeta. Te aktivnosti vation-restauration (konzervacija), conservation préventive primenjuju se samo onda kada su predmeti u tako tro- (preventivna konzervacija), conservation curative (kurativna {nom stanju ili propadaju takvom brzinom da mogu konzervacija) i restauration (restauracija). nestati u relativno kratkom periodu. One ponekad me- Za potrebe me|unarodnih sastanaka i vi{ejezi~nih publi- njaju izgled predmeta. kacija, prevod terminologije na {panski jezik glasi: conserva- Primeri kurativne konzervacije: dezinfekcija tekstila, de- ción (konzervacija), conservación preventiva (preventivna kon- salinizacija keramike, deacidifikacija papira, dehidrata- zervacija), conservación curativa (kurativna konzervacija) i cija vla`nog arheolo{kog materijala, stabilizacija koro- restauración (restauracija). „

Ana SIRK FAKU^, konzervator i restaurator savetnik Gori{ki muzej, Slovenija

FLUORESCENTNA ULTRAVIOLETNA FOTOGRAFIJA U KONZERVACIJI UMETNI^KIH SLIKA

OBIMNA IZLO@BA o baroknom slikaru Antoniju Paroli (1688–1768), koji je radio u regionu Gori{ka u Sloveniji, bljani, u Musei Provinciali di Gorica (Italija) i u Gori{kom organizovana je 1996. godine u Nacionalnoj galeriji u Lju- muzeju u Novoj Gorici.1

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damaging processes or reinforcing their structure. These restoration and remedial conservation. The application of actions are only carried out when the items are in such protective coatings can be both restoration and preventive a fragile condition or deteriorating at such a rate, that conservation. Reburial of mosaics can be both preventive they could be lost in a relatively short time. These actions and remedial conservation. sometimes modify the appearance of the items. Conservation is complex and demands the collaborati- Examples of remedial conservation are disinfestation of on of relevant qualified professionals. In particular, any textiles, desalination of ceramics, de-acidification of paper, project involving direct actions on the cultural heritage dehydration of wet archaeological materials, stabilizati- requires a conservator-restorer (ref. ICOM-CC definition on of corroded metals, consolidation of mural paintings, of the profession, Copenhagen, 1984, and ICOM code of removing weeds from mosaics. ethics). – Restoration – all actions directly applied to a single and For the purposes of international meetings and multilin- stable item aimed at facilitating its appreciation, under- gual publications, the translation into French of the Termino- standing and use. These actions are only carried out logy is: Conservation-Restauration (for Conservation), Conser- when the item has lost part of its significance or fun- vation preventive (for Preventive conservation), Conservation ction through past alteration or deterioration. They are curative (for Remedial conservation) and Restauration (for based on respect for the original material. Most often Restoration). such actions modify the appearance of the item. For the purposes of international meetings and multilin- Examples of restoration are retouching a painting, reas- gual publications, the translation into Spanish of the Termi- sembling a broken sculpture, reshaping a basket, filling nology is: Conservación (for Conservation), Conservación losses on a glass vessel. preventiva (for Preventive conservation), Conservación Conservation measures and actions can sometimes serve curativa (for Remedial conservation) and Restauración (for more than one aim. For instance varnish removal can be both Restoration). „

Ana SIRK FAKU^, conservation and restoration counselor Gori{ki museum, Slovenia

PHOTOGRAPHY OF ULTRAVIOLET FLUORESCENCE IN PAINTING CONSERVATION

THE EXTENSIVE EXHIBITION about the baroque painter Antonio Paroli (1688–1768), who worked in the Gori{ka re- caused by various components of organic origin in painting gion of Slovenia, was organised in 1996 at the National Gal- materials, especially binders in paint layers and resins in lery in Ljubjana, the Musei Provinciali di Gorica (Italy) and protective varnishes. With ageing, the chemical interactions Gori{ki Museum in Nova Gorica.1 between binders and pigments stabilize or new molecular In 1993 I received six of his paintings, for restoration compounds develop that fluoresce.3 in my laboratory in Gori{ki Museum. Five of them had been The photography of UV fluorescence is technically a partially over-painted. The question that arose was how to very simple procedure. The process of taking photos takes distinguish the original paint layer from the later retouches place in a totally darkened room where the painting is and over-painted parts. viewed under special lamps with incorporated black filters, I started to experiment on the paintings using various which let the UV light pass through. Using yellow filter on non-destructive methods, intending to get reliable data the camera one gets a UV fluorescence photography which that would tell me whether I was dealing with over-painting is mainly yellow-green. Some pigments fluoresce in a typi- or with the original, or to what extent the over-painting cal colour, for example zinc white is canary yellow, azure covered the original surface of the painting2. I came to the carmine red is pink-orange, and Indian yellow has a golden conclusion that besides the compulsory use of radiography, which shows underlying original layers and damage, we can obtain especially good results using UV fluorescence pho- 1] Ferdinand [erbelj, Antonio Paroli, katalog razstave, Ljublja- tography. na, Gorizia, Nova Gorica, 1996. Ultraviolet fluorescence is an optical phenomenon that 2] Ana Sirk Faku~, Opti~ne metode pri restavriranju slik, Di- occurs when an object is put under a source of ultraviolet plomska naloga na podiplomskem {tudiju konservatorstva in re- light. Some of the rays are reflected, change their wave- stavratorstva, Ljubljana 1995. length and become part of the visible light spectrum and 3] Mauro Matteini, Arcangelo Moles, Scienza e restauro, meto- therefore visible to the bare eye. On paintings fluorescence is di di indagine, Firenze 1990, p. 175–181.

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Godine 1993. dobila sam {est slika Antonija Parole za Na po~etku rada pojavili su se izvesni problemi pri od- restauraciju u mojoj laboratoriji u Gori{kom muzeju. Pet re|ivanju razlika u fluorescenciji, uglavnom zato {to su novi slika delimi~no je bilo preslikano. Pitanje koje se postavilo slojevi potpuno prekrili konture originala u osnovi. U takvim bilo je kako razlikovati originalni sloj boje od retu{a i pre- slu~ajevima kasnije pore|enje s rendgenskim snimkom po- slikanih delova. moglo mi je da identifikujem druga~ije izvedeno lice, haljinu, Po~ela sam da eksperimenti{em sa slikama koriste}i se golubicu, skriveno lice an|ela ili deo noge i drugo. Ponekad je raznim nedestruktivnim metodama, s namerom da do|em posmatranje donjeg sloja bilo nejasno zbog upotrebe olov- do pouzdanih podataka o tome da li se bavim preslikanim nog pigmenta, koji apsorbuje rendgenske zrake, pa odgova- delom ili originalnim i u kojoj je meri novi sloj prekrio ori- raju}i deo rendgenske plo~e ostaje svetao. ginalnu povr{inu.2 Do{la sam do zaklju~ka da se posebno Prema nekim podacima, pojedine od ovih slika restauri- dobri rezultati mogu ostvariti upotrebom fotografije UV rane su 1850. godine. Na fotografijama UV fluorescencije fluorescencije, uz, naravno, obavezne rendgenske snimke, doslikani delovi isti~u se prigu{enim tamnozelenim tonom, koji pokazuju originalne slojeve u osnovi i o{te}enja. koji se pokazuje kao kontrast `utozelenoj, `utonarand`a- Ultravioletna fluorescencija jeste opti~ki fenomen koji stoj i belo`utoj fluorescenciji originalne povr{ine slike; ona nastaje kada se predmet izlo`i izvoru ultravioletnog svetla. je naknadno u celini premazana slojem laka, koji daje fluo- Neki zraci se reflektuju, menjaju talasnu du`inu i postaju rescenciju u zelenkastoj boji. deo vidljivog spektra svetla, pa su stoga vidljivi golim okom. Pomenuti metod koristila sam i prilikom restauracije Fluorescencija je na slikama izazvana razli~itim komponen- drugih ve} restauriranih slika ili onih za koje sam smatrala tama organskog porekla u slikarskom materijalu, posebno da su preslikavane u ve}oj meri, delimi~no izmenjene ili u vezivu u sloju boja i u smolama u za{titnim lakovima. mo`da samo retu{irane. Najvi{e iskustva, me|utim, imam Starenjem se hemijske interakcije izme|u veziva i pigme- sa slikama iz baroknog perioda, posebno iz druge polovine nata stabilizuju ili se razvijaju nova molekularna jedinjenja XVIII veka, na kojima je slikarski materijal tokom protek- koja daju fluorescenciju.3 lih 250 godina zadobio takve osobine da daje fluorescenciju. Fotografisanje UV fluorescencije tehni~ki je vrlo jed- Pretpostavlja se da su te slike restaurirane znatno kasnije i nostavna procedura. Snimanje fotografija obavlja se u pot- stoga su naknadno nastali delovi na fotografijama UV flu- puno mra~noj prostoriji, u kojoj se slika posmatra ispod po- orescencije mnogo tamniji od originalne povr{ine. sebnih lampi sa crnim filterima kroz koje prolazi UV svetlo. Na starijim slikama, onim iz XVI i XVII veka, postoji Sa `utim filterom na objektivu fotoaparata dobija se foto- ve}a mogu}nost da su doslikani delovi ve}eg obima tako|e grafija UV fluorescencije uglavnom `utozelene nijanse. starijeg datuma, pa se zbog toga fluorescencija pojavljuje i Neki pigmenti daju fluorescenciju tipi~ne boje, na primer na njima, kao kada je re~ o slici Sveti Mateja iz druge polo- cink bela daje kanarsko`utu, azur karmincrvena ru`i~asto- vine XVI veka. Zbog postojanja fluorescencije na celoj po- narand`astu, a indijsko`uta zlatno`utu fluorescenciju.4 Fo- vr{ini slike razlikovanje originala i kasnije nanetih slojeva tografija UV fluorescencije slika pokazuje stanje povr{ine boje nije bilo mogu}e (sl. 2). Ipak, kod takvih primera rezul- slike tako {to se delovi koji su preslikani u ve}em obimu i tat mo`e da pomogne pri odre|ivanju vremena preslikava- retu{irani ponekad pojavljuju kao tamni i bez fluorescenci- nja i imena autora. je, pa se i na taj na~in mogu razlikovati od originalnih slika- Slika svetog Matije – ranije svetog Mateja – delo nepo- nih povr{ina, koje daju fluorescenciju zbog starenja slikar- znatog autora, kvalitetne je izrade, ali je, kao {to je pokazao skog materijala (sl. 1). rendgenski snimak, u ve}oj meri preslikana. Crkva Svetog Matije, u kojoj se slika prvobitno nalazila, obnovljena je u baroknom stilu izme|u 1700. i 1750. godine; novi patron Sl. 1. A. Paroli, Smrt svetog Jovana, ulje na platnu, 190 × 96 cm, detalj crte`a fotografisanog pod UV svetlom postao je sveti Matej. Crkva je opremljena novim mermernim (foto: A. Sirk Faku~) delovima oltara, sagra|ena je bo~na kapela, a nju je 1755. go- dine oslikao poznati slovena~ki barokni slikar Franc Jelov{ek. Fig. 1. A. Paroli, The Death of St. John, oil on canvas, Fotografija UV fluorescencije pokazala je da je verovatno isti 190 × 96 cm. The detail of the painting photographed under slikar izmenio sliku i prilagodio je novom ukusu, iako ona UV light (photo: A. Sirk Faku~) nije bila o{te}ena. Slika je najverovatnije stajala na glavnom oltaru, po{to su njene dimenzije odgovarale dimenzijama oltara. U prilog pretpostavci da je slika preslikana u nave- denom periodu govori fluorescencija na licu novonaslikanog

1] F. [erbelj, Antonio Paroli, katalog razstave, Ljubljana, Go- rizia, Nova Gorica 1996. 2] A. Sirk Faku~, Opti~ne metode pri restavriranju slik, Diplom- ska naloga na podiplomskem {tudiju konservatorstva in restavra- torstva, Ljubljana 1995. 3] M. Matteini, A. Moles, Scienza e restauro, metodi di indagi- ne, Firenze 1990, 175–181. 4] Isto, 181–182.

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Sl. 2. Sveti Matija, ulje na platnu, 138 × 92,5 cm, fotografija UV fluorescencije (foto: A. Sirk Faku~) Fig. 2. St. Mathias, oil on canvas, 138 × 92,5 cm. Photography of UV fluorescence (photo: A. Sirk Faku~)

Sl. 3. Lice svetog Matije pri normalnom svetlu i pod rendgenskim zracima (foto: A. Sirk Faku~ i Marija Sirk Saksida)

Fig. 3. The face of St. Mathias, in normal light and under X-rays (photo: A. Sirk Faku~ and Marija Sirk Saksida)

yellow fluorescence.4 The photography of UV fluorescence baroque period, especially from the second half of the 18th of a painting shows the condition of the surface of a pain- century, in which the painting materials have already ting in such a way that the repainted areas and the re- acquired their fluorescence over the past 250 years. The touching sometimes appear as dark non-fluorescent areas restorations that they had undergone are expected to be and can thus be distinguished from original painted sur- from a much later period and therefore on the UV fluores- faces that have become fluorescent because of the aging of cence photography they appear much darker than the painting materials (fig. 1). original surface. At the beginning I had certain problems while deciphe- On older paintings from the 16th and 17th centuries ring differences in fluorescence, mostly because the repain- there is a stronger possibility that the repainting is also ting completely overlapped the outlines of the underlying from an older date and therefore fluoresce, as is the case original. In such cases a later comparison with X-ray pictu- with the painting of St. Mathias from the second half of 16th res helped me to identify a differently sketched face, dress, century. Because of general fluorescence in this painting or dove, or a hidden angel face, or part of a leg appearing the distinction between original and later colour layers was etc. Sometimes the observation of the underlying layer was not possible (fig. 2). Nevertheless in such a case the result obscured by the use of lead pigment, which absorbs X-rays can help determine when the over-painting was done and so that the corresponding part of the X-ray plate in this who was the potential author. case remains light. The painting representing St. Mathias, previously St. According to certain data, some of these paintings Matthew, is a painting of good quality by an unknown artist, were restored in 1850. On photographs of UV fluorescence but as the X-ray shows, repainted nevertheless. The church the repainted areas distinguish themselves by subdued of St. Matthew where it was originally situated was refurbi- areas of dark green tonalities that act as a contrast to the shed in baroque style between 1700 and 1750. The new yellow-green, yellow-orange and white-yellow colours of patron became St. Mathias. The church was furnished with fluorescence of the original surface of the painting, which new marble altarpieces and a chapel was built to the side, is additionally covered overall with a layer of varnish that which was frescoed in 1755 by the famous Slovenian fluoresced in a greenish colour. baroque painter Franc Jelov{ek. The photography of UV I also use this method in the restoration of other pain- fluorescence of the painting proves that the same painter tings that have already been restored or which I suspect have been repainted, partly altered, or perhaps just retouched. I have however most experience with paintings from the 4] M. Matteini, A. Moles, 1990, p. 181–182.

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slike, u kojem se nalaze figure. Tu se delimi~no vide tamni- je ili malo svetlije mrlje i potezi koji predstavljaju razli~ite popravke i retu{e na naborima ode}e, na nekim licima i kosi ili kod kontura brada. Ukratko, na slici se prime}uju mnoge izmene. Neke od njih su o~iglednije, tamnije i bez fluore- scencije. Druge su svetlije, daju fluorescenciju zelenkastih tonova i ti se delovi jedva razlikuju od originalnog sloja. Po- {to je razlika veoma mala, izmenjeni delovi stapaju se s ho- mogenom zelenom fluorescencijom za{titnog laka koji se nalazi na sredi{njem delu slike, izmenjenom u manjoj me- ri. @ute sjajne povr{ine oko glava Bogorodice i Hrista (zelen- kaste na fotografiji UV fluorescencije) nisu originalne iako daju fluorescenciju, verovatno zato {to su slikane olovno- `utim pigmentom (sl. 4). Rendgenski snimak pokazuje da ti Sl. 4. J. M. Liechtenreitt, Poklonjenje mudraca, delovi originalnog sloja nedostaju. ulje na platnu, 90 × 111 cm, fotografija UV fluorescencije Pojedine obojene povr{ine sa olovnobelim pigmentom, (foto: A. Sirk Faku~) koji ima tipi~nu svetlu fluorescenciju, mogu se smatrati ori- Fig. 4. J. Michael Liectenreitt, The Adoration of the Magi, ginalnim: prikazani pla{t mudraca koji kle~i, povr{ine crvene oil on canvas, 90 × 111 cm. Photography of UV fluorescence boje i telo deteta Hrista. U kontrastu sa zelenom, jasno se (photo: A. Sirk Faku~) isti~e ljubi~asta fluorescencija Bogorodi~ine crvene haljine. Obele`ja fotografije UV fluorescencije na slici Poklonje- svetitelja (okrenuto je na drugu stranu – v. rendgenske snim- nje pastira su sli~ne. Zanimljivo je to {to fotografija pokazu- ke, sl. 3), zatim njegove ruke, koje se u potpunosti poklapaju je velike o{te}ene i dosta popucale povr{ine, ali samo zbog s konturama originalnih, kao i ponovo naslikano nebo.5 toga {to su tamni delovi u fragmentima. Primeri na kojima se pomo}u fotografije UV fluorescen- Upotrebom fotografije UV fluorescencije na razmatra- cije jasno vidi razlika izme|u originala i obimnijeg novog nim slikama utvr|eno je da su restauracije izvedene u tri na- sloja jesu dve slike iz druge polovine XVIII veka. U toku resta- vrata: oko 1750, 1850. i oko 1900. godine. Svaka od njih po- uracije otkriveni su potpis autora i godina nastanka – 1766. kazuje razli~itu fluorescenciju slikanog materijala. Najstariji Slike Poklonjenje mudraca i Poklonjenje pastira delo su primer jeste slika Sveti Matija, sa fluorescencijom na celoj slikara Johana Mihaela Lihtenrajta (Johann Michael Lie- povr{ini. Slede izmene na slikama A. Parolija, koje delimi~no chtenreitt, 1705–1780). On je poreklom bio iz grada Pasau pokazuju fluorescenciju, a mogu se identifikovati na osnovu u Bavarskoj, a nastanio se u Gorici; radio je u gori{koj obla- razlika u fluorescenciji. Kona~no, na obe slike J. M. Lihten- sti Frijuli, na dana{njoj teritoriji Slovenije i Italije.6 rajta pojavljuju se tamne, jasno vidljive preslikane povr{ine, Obe slike bile su restaurirane. Pri pa`ljivoj proveri po- koje uglavnom nemaju fluorescenciju. Ovi rezultati mogu vr{ine uo~avaju se ispucali slojevi boje, koji se delimi~no da poslu`e kao dobra polazna ta~ka za dalja istra`ivanja. „ ljuspaju, uz specifi~ne izmene izazvane restauracijom. Po- klonjenje mudraca vrlo je ozbiljno o{te}eno u gornjem delu, {to se vidi na rendgenskim snimcima. 5] A. Sirk Faku~, Restavriranje slike Sv. Matija iz Slapa pri Fotografija UV fluorescencije pokazuje da su najve}a Vipavi, Gori{ki letnik, Zbornik Gori{kega muzeja 30/31, Nova Go- o{te}enja nastala tokom restauracije. Ona se lako mogu pre- rica 2005, 373–382. poznati kao homogena tamna povr{ina. Plava boja kori{}ena 6] F. [erbelj, Baro~no slikarstvo na Gori{kem, katalog razstave, je na desnoj strani. Slo`enije je posmatranje donjeg dela Ljubljana 2002, 144, 206.

Ljiljana PROTI], konzervator tehni~ar Muzej rudni~ko-takovskog kraja

KONZERVACIJA CRKVENOG INVENTARA IZ CRKVE SVETOG SAVE NA SAVINCU

SAVINA^KU CRKVU gradio je neimar Milutin Go|evac, poreklom iz Bosne. Crkva je zavr{ena u novembru 1820. go- Crkva je predmetima potrebnim za bogoslu`enje opremljena dine. Unutra{nje radove u crkvi izvodili su majstori Italijani u prole}e 1821. godine. Nova savina~ka crkva, ~iji je za{tit- koji su boravili u Srbiji za vreme vladavine kneza Milo{a. nik sveti Sava, osve}ena je u nedelju, 19. jula 1821. godine.

70 CONSERVATION DIANA #13 probably altered the painting and adapted it to the new and they merge with the homogenous green fluorescence taste, although it had not been damaged. The painting must of the protective varnish, which can be detected on the less have been positioned in the main altar because the dimen- over-painted, central part of the painting. Although fluores- sions match the opening on the altar. In favour of the cent, the yellow glow (greenish with UV) around the heads of supposition that the repainting belongs to the mentioned the Virgin Mary and Jesus is not original, probably because period, there is the fluorescence of the newly painted saint’s it was painted with yellow lead pigment (fig. 4). The X-ray face (turned to opposite direction – see X rays – fig. 3), his shows that the glow on the original surface is missing. hands matching completely the outline of those underneath We can consider original the fluorescence of certain and the over-painted sky.5 colour surfaces where lead white pigment was employed A case of obvious difference between the original and and thus have typically bright fluorescence: the mantle of repainting can well be observed in the photography of UV the kneeling king, and to a certain extent, some carnations fluorescence of two paintings from the second half of 18th and the body of baby Jesus. In contrast to the greens, the century. During restoration I uncovered the signature of pinkish fluorescence of the Virgin Mary’s red dress stands the author and date – 1766. out strongly. The paintings The Adoration of the Magi and The Ado- The features on the photography of UV fluorescence ration of the Shepherds are the work of the painter Johann of the painting The Adoration of Shepherds are similar. It Michael Liechtenreitt (1705–1780), who originated from is interesting that the photograph shows extensive areas Passau in Bavaria and settled in Gorica. He worked in the that seem to reflect a very cracked and damaged surface, Friuli and Gori{ka region, on Slovenian and Italian territo- but this is just because the dark patches are fragmented. ries today.6 With the application of UV fluorescence photography Both paintings have been restored. Cracking of the on these paintings, I documented restorations that were colour layer and partial flaking, together with specific made in three different periods: around 1750; 1850; and alterations due to restoration, can be seen on the surface on around 1900, each of them representing different stages of close inspection. As we can see from X-rays, The Adoration fluorescence of the painting materials. First we have the of the Magi was especially severely damaged on its upper oldest examples on the painting of St. Mathias, which already part. fluoresces. Next we have the over-painting on the paintings The comparison of this picture with the photography of A. Paroli, which partly fluoresce, but can be identified be- of UV fluorescence shows that major damage was caused to cause of the difference in fluorescence. Finally, we have dark, the painting during restoration. It can easily be recognized clearly visible over-painted surfaces on both paintings of J. as dark homogenous areas. In the process, blue colour was M. Liechtenreitt, which are mostly non-fluorescent. These used in the right. Observation of the lower part of the pain- results could well serve as a starting point for further ting, with figures, is more complicated. Here we partly noti- comparisons. „ ce darker or slightly lighter patches and strokes that repre- sent different corrections and retouches on the folds of the garments, on some faces and hair, or to outlines of beards. 5] Ana Sirk Faku~, Restavriranje slike Sv. Matija iz Slapa pri In short, there are many changes. Some are more obvious, Vipavi, Gori{ki letnik, zbornik Gori{kega muzeja 30/31, Nova Gori- darker and non-fluorescent, others are lighter and fluoresce ca 2005, p. 373–382. in greenish tones. The latter can barely be distinguished 6] Ferdinand [erbelj, Baro~no slikarstvo na Gori{kem, katalog from the original because the difference is only very slight razstave, Ljubljana 2002, p.144, p. 206.

Ljiljana PROTI], conservator-technician Museum of Rudnik–Takovo Region

CONSERVATON OF CHURCH TREASURES FROM ST. SAVA CHURCH SAVINAC

THE CHURCH IN SAVINAC was built by a Bosnian, Milu- tin Godjevac, in November 1820. The church interior was 19th July 1821. That was Young Sunday day: a church fair completed by workers from Italy, staying in Serbia during was held at Savinac. The Church was then closed until the reign of Prince Milo{. In the spring of 1821 the new Sa- 1860 but several years later the narthex was renovated and vinac Church, whose patron saint was St. Sava, was equip- a new wooden belfry constructed. The builder, Nastas ped with all items necessary for the performance of Djordjevi} from Gornji Milanovac, executed these religious services, and was subsequently consecrated on building-construction works. The extended narthex was

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Tog dana bila je mlada nedelja i odr`an je sabor na Savin- cu. Od tada do 1860. godine crkva je bila zatvorena, a u tom periodu obnovljena je priprata i izgra|ena je nova drvena zvonara. Graditeljske radove na savina~koj crkvi vodio je Nastas \or|evi}, neimar iz Gornjeg Milanovca. Dogra|ena priprata osve}ena je u leto 1860. godine. Tom sve~anom ~i- nu prisustvovao je i knez Milo{, jer je to bila njegova prva zadu`bina, a 27. septembra iste godine knez je umro u Beo- gradu. Crkva je kona~no po~ela da se koristi za slu`bu Bo`i- ju 1902. godine, kada je o`ivela i kada je narod u sve ve}oj meri po~eo da je pose}uje. Kasnije je do{lo do promena na crkvi jer su se pojavile vlaga i mnoge destruktivne promene, tako da je crkva bila jedna od najugro`enijih u rudni~ko-takovskom kraju tog vremena. Za rekonstrukciju je bilo prioritetno uraditi pre- krivku, zbog o{te}enja krovne konstrukcije, spoljnu drena- `u, jer je u crkvu ulazila voda (stvarala se vlaga). Voda je o{tetila zidove u unutra{njosti crkve, a tako|e je ugro`ava- la ikonostas i ikone. Gra|evina je ponovo morala da se re- konstrui{e i to je ura|eno 2005. godine.1 Na inicijativu Ljubi{e Mili}a, jereja savina~ke crkve, a uz saglasnost Muzeja rudni~ko-takovskog kraja, dobijeno je odobrenje za konzervaciju crkvenog inventara iz savina~ke crkve (ba{ u vreme kada su obavljeni radovi na rekonstruk- ciji crkve). Po re~ima jereja, crkveni inventar preme{ten je u ~ardak, ali on tu nije bio siguran, te su eksponati morali {titu. Budu}i da je metal osetljiva vrsta materijala i da se da se izmeste. Jerej Ljubi{a Mili} doneo je eksponate u kar- ~esto susre}e u manjim muzejima u kojima nema specijali- tonskoj kutiji u Muzej rudni~ko-takovskog kraja i zamolio zovanih stru~njaka za konzervaciju metala, ovaj tekst o da se oni o~iste, za{tite i da se ~uvaju u muzeju. Direktor metalu napisan je da bi se prezentovali na~in konzervacije muzeja bio je saglasan s tim da se uradi konzervacija crkve- i tretiranje eksponata. nog inventara. U knjizi reversa evidentirani su ~etiri kan- Plemeniti metali, kao {to su zlato, srebro, platina, za- dila, {est kadionica, dva putira, dva sve}njaka i dve krune za tim metali poput bakra, olova, kalaja, cinka, aluminijuma, ven~anje. Eksponati su fotografisani zajedno i pojedina~no, magnezijuma, druga~ije se pona{aju u ~istom stanju nego a nakon dva dana otpo~elo se s konzervatorskim radovima kada su izme{ani s drugim metalima. Me{avine imaju ne- na eksponatima. obi~no va`nu odliku da se, za razliku od ~istog metala, tope na ni`oj temperaturi. Naj~e{}e legure su bronza (legura ba- Opis zate~enog stanja pre konzervacije kra i kalaja), mesing (legura bakra i cinka) i ~elik (legura gvo- i uzroci propadanja `|a i ugljenika). Oblikovanje predmeta od metala obavlja se Eksponati su bili prekriveni velikim naslagama ne~isto}e, na dva na~ina: livenjem i kovanjem. Metali se mogu kovati slepljeni jedan uz drugi i jedva su se raspoznavali; bilo ih je u hladnom stanju (zlato i srebro) i u zagrejanom (bronza, ba- te{ko identifikovati zbog na~ina na koji su ~uvani i zbog kar i gvo`|e). Kod livenja postoje dva na~ina pripremanja: uslova u kojima su se nalazili tokom dugog niza godina. Na pun liv i odlivak. [uplje livenje podrazumeva kalup ~iji nega- njima se videla vi{eslojna ne~isto}a debljine pet milimetara. tiv pravi pozitiv, to jest reprodukuje original. Original se To su bile masne naslage voska i ~a|i pome{anih sa zemljom prevla~i slojem voska odre|ene debljine. U prora~unato po- i vlagom; one su stvarale utisak da je na povr{ini i u unu- stavljen kalup uliva se te`ak metal koji zauzima mesto isto- tra{njosti eksponata sve uni{teno. Naro~ito debele naslage pljenog voska. Za ukra{avanje predmeta od metala koriste postojale su na kandilima i kadionicama. Svaki eksponat se razli~ite tehnike i postupci: iskucavanje, cizeliranje, a`u- morao je biti posebno tretiran, u zavisnosti od vrste meta- riranje, graviranje, granulacija, filigran, emajl. la od kojeg je liven. Obavljena su konzervatorska ispitivanja svakog metalnog eksponata; oni su detaljno analizirani i utvr|ena je vrsta materijala. Predmeti su pod lupom pregle- dani, a svaki je u manjoj meri o~i{}en vatom i acetonom da 1] Lj. Proti}, Konzervacija spomenika u porti crkve Sv. Save na Savincu (241–244) i Konzervacija spomen-plo~a u crkvi Sv. Save na bi se videla boja metala. I patina je pomogla da se otkrije o Savincu (244–252), Zbornik radova Muzeja rudni~ko-takovskog kra- kojoj vrsti metala je re~. Kori{}ena je literatura da bi se si- ja, Gornji Milanovac, 3–4, Gornji Milanovac 2006; M. K. Milovano- gurnije utvrdili i vrsta metala i na~in ~i{}enja (knjiga Otpor- vi}, Savinac, Gornji Milanovac 1995, 71–89. 2 nost metala i legura na koroziju, ~a~anski Zbornik radova 2] F. L. Laque, H. R. Kopson, Otpornost metala i legura na ko- 11).3 Nakon toga obavljene su konsultacije s tehnologom roziju, Beograd 1975, 245–248. Todorom Popovi}em, koji je dao kratka uputstva i ujedno 3] B. Vujovi}, Crkva Sv. Dimitrija, u: Zbornik Narodnog mu- predlo`io sredstva koja mogu da se primene za ~i{}enje i za- zeja u ^a~ku 11, ^a~ak 1981, 16–19.

72 CONSERVATION DIANA #13 consecrated in the summer of 1860. Prince Milo{ was Precious metals such as gold, silver, platinum as well present at this formal ceremony, since this was his first as more common metals such as copper, lead, tin, zinc, alu- memorial church, but he died on September 27th the same minum, or magnesium behave differently in a pure state, year in Belgrade. Regular religious services did not start in than they do when they are mixed with other metals. Metal the church until 1902, when many people came to the alloys have characteristics significantly different from pure Church, breathing life into it. metal. In particular, they melt at a lower temperature. The Subsequently, there were many destructive changes to most frequent alloys are bronze (copper and tin alloy), brass the Church caused by damp and it became one of the most (copper and zinc alloy), and steel (iron and carbon alloy). imperiled buildings in the Rudnik–Takovo Region. The most Shaping of metal objects is done in two ways: by casting and important reconstruction work was to cover the damaged forging. Metals can be forged cold (gold and silver), or warm roof, since outdoor drainage leaked into the church, causing (bronze, copper and iron). There are two preparation me- damp. Not only were the walls, church interior, and icono- thods for casting: full casting and hollow casting. The latter stasis damaged by water, but the icons were also jeopardi- implies using a mould, in which negative features create po- zed. The church had to be reconstructed again, which was sitive ones, and vice versa, producing the original shape on done in 2005.1 completion of the casting procedure. The original is covered Upon the initiative of Ljubi{a Mili} and in coordination with wax of a certain thickness. Heavy metal was poured into with the Museum of the Rudnik–Takovo Region, the priest the moulds, and distributed by calculation, occupying the of Savinac Church obtained permission for the church tre- place of melted wax. For ornamentation of metal objects, se- asures to be conserved-restored when the reconstruction veral procedures and techniques are used: hammering, chi- works of the church were completed. According to the priest, seling, engraving, granulation, filigreeing, and enameling. the church treasures was moved into the enclosed porch, Under the influence of damp and oxygen (oxidation), but that place was not safe, so the objects had to be moved destructive changes occur to metal, causing damage and elsewhere. The priest, Ljubi{a Mili}, transported these valu- destruction. The major cause of decay in metal objects is ables in a cardboard box to the Museum of Rudnik–Takovo corrosion, which destroys the physical and chemical struc- Region and asked the museum staff to clean, protect and ture both on their surface and inside. Several metals are not preserve them in the Museum. The director of the Museum subject to corrosion; these are alloys and precious metals, or agreed to conserve all the church objects. Four icon lamps, metals covered with other metals (gold plated, nickel-plated, six censers, two chalices, two candlesticks and two wedding zinc-plated). Although no patinas are good for metals, some crowns were registered in the book of receipts. All the ex- are stable and others are not. The most frequent patinas hibits had been photographed as a group and individually are of characteristic colors: green – malachite, blue – lapis and two days later, conservation work began. lazuli, and red – cuprite. The color of the patina helps to reveal the type of material or metal that is in question. Description of Conditions before Conservation, treatment, and causes of Decay Mechanical and Chemical Treatment The exhibits had been poorly looked after for a number of Since the censer of Milo{ Obrenovi} with its inscription years and were covered with several layers of dirt, 5 mm stands out from this group of valuable objects, the conser- thick, and glued together, so that it was hard to identify vation procedure applied to it is explained in detail. them. The layers were of greasy wax and soot, mixed with earth and moisture, giving the impression that the surfaces Object: CENSER and the interiors of the items had been destroyed. Extre- Mechanical Treatment mely thick layers covered the icon lamps and censers. Each The censer was mechanically cleaned since it was comple- item had to be treated individually, depending on the type tely covered with black soot and earth. With gentle move- of metal casting. Conservation testing (examination) of each ments of a scalpel, a layer of earth was removed, and the metal item was performed, detailed analysis done and ashes filling the inside of the censer were mechanically material-type certified. All items were examined with a removed. The inside of the censer was covered with a layer magnifying glass and cleaned superficially using cotton- of dirt, 5 mm thick. The walls were covered with soot and wool swabs and acetone, in order to see the metal colour. The patina of the items also helped reveal the type of metal. The team studies relevant literature to help them to correc- tly identify the metal type and manner of cleaning. Resi- 1] Ljiljana Proti}, Conservation of Monuments in the Enclosure stance of Metals and Alloys to Corrosion, by F.L. Laque and of the St. Sava Church at Savinac (pp. 241–244) and Conservation H.R. Kopson2, and the Anthology of the National Museum of the Commemorative Plaque in the St. Sava Church at Savinac (pp. 244–252), The Anthology of the Museum of Rudnik – Takovo Regi- of ^a~ak no. 113 were useful. A technical expert, Todor Po- on no. 3–4, Gornji Milanovac, 2006; Mihailo Kala Milovanovi}, povi}, gave brief instructions and recommended suitable Savinac, the Museum of Rudnik – Takovo Region, Gornji Milanovac, cleaning and protection agents. Since metals are often sen- 1995 (pp. 71–89) sitive, and are often found in small museums where there 2] Laque, F. L. Kopson, H. R. Resistance of Metals and Alloys to are metal conservation experts, this article about metal was Corrosion, Narodna Knjiga Beograd, Beograd, 1975 (pp. 245–248) written in order to introduce methods of conservation and 3] Branko Vujovi}, The St. Dimitrije Church, The Anthology further treatment of metal items. of the National Museum in Cacak, no. 11, Cacak, 1981 (pp. 16–19)

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Pod uticajem vlage i kiseonika (oksidacije) na metalu nastaju destruktivne promene koje ga o{te}uju i uni{tava- ju. Glavni uzrok propadanja metalnih predmeta jeste koro- zija, koja po povr{inskom sloju i u dubini razara njihovu hemijsku i fizi~ku strukturu. Mali broj metala ne podle`e koroziji; to su plemeniti metali i legure, metali presvu~eni drugim metalom (pozla}eni, niklovani, pocinkovani). Ni- jedna patina nije korisna za metal, s tim {to su neke stabil- ne, a neke nestabilne. Patine koje se naj~e{}e pojavljuju ka- rakteristi~nih su boja: zelena malahit, plava azulit, crvena kuprit; boja patine poma`e u otkrivanju vrste materijala, to jest metala o kojem je re~.

Mehani~ko i hemijsko tretiranje Budu}i da se kadionica s posvetom kneza Milo{a Obrenovi- }a po zna~aju izdvaja iz ove grupe predmeta, konzervatorski postupak detaljnije je obja{njen na primeru tog predmeta.

Eksponat KADIONICA Mehani~ko tretiranje Kadionica je mehani~ki tretirana jer je bila prekrivena crnom ~a|i i zemljom po celoj povr{ini. Blagim pokretima skalpelom skinut je sloj zemlje, a pepeo kojim je kadionica bila ispu- njena mehani~ki je odstranjen. U unutra{njem delu video se sloj naslaga ne~isto}e, debljine do pet milimetara, ~a| i smo- la spe~ena s voskom uz zidove kadionice. Spe~ena i slojevita prljav{tina nije se mogla odstraniti mehani~kim putem, pa neophodno ponavljanje procesa ~i{}enja zbog ne~isto}e u de- je tretiranje moralo da se nastavi hemijskim sredstvima. belim slojevima. Kadionica je stajala pola sata u destilisanoj vodi, zatim je izva|ena i ostavljena da se osu{i. Taj tre}i tret- Hemijsko tretiranje man ujedno je bio i poslednji. Svi slojevi i ostaci ne~isto}e U plasti~nu posudu uliveni su antirost – sredstvo za skidanje odstranjeni su i nije bilo potrebe za daljim tretiranjem. r|e (u sastavu sadr`i H3PO4, fosfornu kiselinu, cink-fosfat, Konzervatorski proces je zatim nastavljen destilisa-

ZnHPO4, i butol, CH3CH2CHO) – i destilisana voda, u odno- nom vodom i univerzalnom pastom. Univerzalna pasta je su jedan litar antirosta prema dva litra zagrejane destilisane proizvod koji spada u grupu zeleno ~istih tehnologija. Sadr- vode. Kadionica je potopljena u rastvor, posuda je hermeti~- `i biorazgradive aktivne materije, ekstrakte lekovitog bilja, ki zatvorena i oblo`ena folijom da bi se zadr`ala tempera- najvi{e bosiljka, a u njoj nema alkalija i fosfata. Pasta je ze- tura. Nakon dva sata folija je otklonjena, posuda je otvorena lene boje. Koristi se za ~i{}enje i odstranjivanje svih vrsta i u rastvoru se ve} videlo da su slojevi omek{ani i da su se ne~isto}e s metala i ujedno polira eksponat, daje mu sjaj. odvojili od zidova kadionice. Ne~isto}a je u velikoj meri od- Taj proizvod se mo`e nabaviti u D.O.O. Elisa pro u Pan~evu. stranjena. Zagrevanjem rastvora omek{avale su se masno}a Tri ka{ike paste pome{ane su sa dva litra destilisane vode, i ~a|, koje su ostajale u rastvoru, sve dok povr{ina kadioni- rastvor je prome{an da bi se pasta istopila i potom je kadio- ce nije ugledala svetlost dana. Kadionica je zatim dobro is- nica potopljena u rastvor. U njemu je stajala deset minuta. prana u destilisanoj vodi. Posle su{enja se videlo da je na Nakon toga je izva|ena, ostavljena da se osu{i i ispolirana nekim delovima ostalo jo{ ne~isto}e, pa je blagim potezima pamu~nom tkaninom. Kadionica je dobila prvobitni sjaj i skalpelom skinut preostali manji sloj ~a|i. Na mestima ko- boju, a unutra{njost i spolja{njost pokazale su svoj pravi iz- ja su bila nepristupa~na i nepodesna za skalpel kori{}ene su gled. Tretman kadionice na taj na~in je okon~an. Tokom kon- zubarske iglice da bi se preostala ne~isto}a blago istisnula. sultacija s tehnologom Todorom Popovi}em do{lo se do za- Nakon toga kadionica je ponovo stavljena u dva litra zagre- klju~ka da je re~ o leguri srebra i olova. jane destilisane vode da bi se preostala ne~isto}a odvojila, pa je posle petnaest minuta izva|ena i ostavljena da se osu{i. Tehnika livenja kadionice je {uplji liv. Na to ukazuju Posle su{enja jasno se video broj na ornamentici: na osnovi o~igledne ~injenice: {upljine koje postoje na kadionici, kao kadionice nalazi se upisana godina 1822, a na obodu, izme|u i to {to se njena tri dela mogu razdvojiti – stopa, donji deo i stope i donjeg dela, oko dr`a~a kao nose}eg dela kadionice, poklopac sa alkama kroz koje su provu~eni veliki lanci {to ih pi{e na staroslovenskom jeziku: Prilo`i vrhovni srpski knez spajaju sa dr`a~em kadionice kao nose}im delom. Milo{ Obrenovi} 1822. Cela povr{ina kadionice prekrivena je ornamentima. Po- Ukra{avanje kadionice izvedeno je tehnikom iskucava- sle podrobnog opisivanja i dokumentovanja zapa`enih deta- nja, koja se primenjuje na srebru ve{tim udarima. Na tu teh- lja kadionica je ponovo potopljena u destilisanu vodu, u dublju niku ukazuju vidljiva karakteristi~na ispup~enja. Kadionica posudu, kako bi se do kraja odstranile sve ne~isto}e. Bilo je je bogata ornamentikom izvedenom u tehnici filigrana. Ona

74 CONSERVATION DIANA #13

resin burnt with wax. It was not possible to remove the water and universal polish, a product that belongs to the burnt layers of dirt mechanically, so further treatment had group of green cleaning technologies. It contains biodegra- to be chemical. dable active substances, extracts of medicinal herbs, parti- cularly basil, without alkalis and phosphates. The polish is Chemical Treatment green in colour. It is used for cleaning and removing all types

Antirust – an agent for removing rust (comprising H3PO4 – of dirt from metal and it also polishes the object giving it a 4 phosphorous acid, zinc- phosphate ZnHPO4 and propanal glittering sheen. Three tablespoons of polish were dissol-

CH3CH2CHO) – was poured into a plastic container, and ved in two litres of distilled water and then the censer was diluted with distilled water in the proportions one liter of submerged into the solution. It remained there for 10 mi- antirust to 2 liters of warm water. The censer was dipped nutes. It was then taken out, left to dry, and polished with into this solution. The container was then hermetically a soft cotton cloth. The censer again obtained its original sealed and covered with aluminum foil in order to maintain colour and sheen, while both the interior and exterior were the correct temperature. Slowly, the grease, burned soot, restored to their original appearance. The treatment of the and wax were dissolved and detached. After two hours, the censer was finally finished. During consultations with the aluminum foil was removed, and the container was opened. technologist, Todor Popovi}, it was concluded that the censer The layers of dirt had become softener and had started to was made of silver and lead alloy. part from the censer wall. Dirt was largely removed. By warming up the solution, grease and soot became softener Casting Techniques: the censer was made by hollow and remained in solution until the censer was completely casting. This is confirmed by several obvious facts: the holes cleaned. The censer was then thoroughly washed in distil- that exist on the censer; it could be assembled and dissembled led water. After it had been dried, remaining dirt and soot in three parts – foot, lower part, and a cover with rings. stains were cleaned very gently with a scalpel. The spots of Large chains would have passed through the rings fastened remaining soot, inaccessible to the scalpel were cleaned to the censer holder, as the support part. with a dentist’s drill needle. After that, the censer was again immersed into 2 liters of warm distilled water in order to Ornamentation: the censer was made by hammering, wash off the remaining dirt and was left there for 15 minu- a technique used for silver by applying skillful hammering. tes. After that, it was taken out of the water and left to dry. The characteristic bumps on the surface of the censer indica- When it was properly dried, clearly visible numbers appeared te that this technique was used. The censer is lavishly orna- on its ornaments: the year 1822 was inscribed on the base, mented using the filigree technique, often used for silver. and along the rim, between the base and the lower part of the censer; there was also an inscription in old Slavonic: Protection Donate, Supreme Serbian Prince Milo{ Obrenovi} 1822. The censer was protected using fershnit – nitrocellulose The complete surface of the censer was covered with dissolved in ethyl acetate in the proportion 1:1. This is a ornamental decorations. After it had been properly studied colorless matt lacquer, used for metal. The inside and out- and all details registered, the censer was again submerged side surface of the censer was painted with this substance, into distilled water in a deeper container in order to comple- using an ordinary paint brush. This created an invisible tely remove the remaining dirt. It was necessary to repeat film over the surface of the object, isolating it from the the procedure several times, since the layer of dirt was very atmosphere. After drying, the appearance and colour were thick. The censer was left in distilled water for half an hour, very satisfactory. then taken out and left to dry. This third treatment was actually the last one, since all layers of remaining dirt had been removed, and there was no need for further treat- ment. The conservation procedure continued with distilled 4] This can be purchased from D.O.O. Elisa pro – Pan~evo.

75 DIANA #13 KONZERVACIJA se ~esto primenjuje na srebru, upravo na onaj na~in na koji da se moglo pristupiti primeni postupka poliranja jelenskom je kadionica ukra{ena. krpom. Sve}njak je dobio prvobitni sjaj i boju i bio je spre- man za za{titu. Za{tita Za{tita je obavljena fer{nitom – nitro-celulozom rastvorenom Za{tita u etil-acetatu u odnosu 50% prema 50%. To je bezbojni lak Za{tita je izvedena slikarskom ~etkicom, uz pomo} koje je bez sjaja koji se koristi za metal. Tim preparatom su pomo- cela povr{ina eksponata premazana fer{nitom, pomenutim }u slikarske ~etke premazane unutra{nja i spolja{nja povr- bezbojnim lakom bez sjaja. Formiran je bezbojni omota~, {ina kadionice. Tako je na povr{ini eksponata stvoren nevi- nevidljivi film koji {titi predmet od spolja{njih uticaja. dljivi film koji ga izoluje od spoljnih uticaja. Nakon su{enja on ima zadovoljavaju}i izgled i boju. Rezime Crkveni inventar iz crkve Svetog Save na Savincu izra|en je Eksponat SVE]NJAK od metala i od legura metala. Eksponati poti~u iz XIX veka Eksponat je od srebra, {to dokazuje karakteristi~na patina i, prema stanju i izgledu metala, konzervatorski su tretira- koja napada srebro, zelenkastocrnosive boje. Ta patina se ni mehani~kim i hemijskim putem. Ono {to je bilo va`no za jasno vidi na eksponatu i poznata je pod nazivom malahit. ovaj konzervatorski posao jeste ~injenica da je on neposred- Pojavljuje se vrlo ~esto i brzo zbog vlage i neadekvatnih no otkrio va`ne istorijske ~injenice i podatke, ali i bogatu uslova ~uvanja srebra. ornamentiku i tehniku izrade kolekcije metalnih crkvenih predmeta. Tokom tretmana otkriveni su natpisi koji potvr- Tretiranje |uju da je kadionica iz 1822. godine i da je originalni po- Sve}njak je prekriven patinom, a kru`na osnova – postolje klon knjaza Milo{a Obrenovi}a njegovoj prvoj zadu`bini – – vidno je o{te}ena. O{te}enja su prouzrokovana vlagom i crkvi Svetog Save na Savincu. Crkva je gra|ena od 1819. do neodgovaraju}im na~inom ~uvanja eksponata u crkvi na 1821. godine, a zavr{ena je 1822. godine. I ova ~injenica Savincu. Kod sve}njaka je primenjeno hemijsko tretiranje ukazuje na to da je eksponat originalni knjazov poklon, po{to blagim sredstvima. se godina zavr{etka gradnje, 1822, podudara s godinom na- Sve}njak je potopljen u litar tople destilisane vode i u vedenom u darodavnom natpisu na kadionici. njemu ostavljen trideset minuta. Nakon toga je izva|en iz po- I ostali crkveni eksponati iz novijih vremena pro{li su sude, pa je ~etkicom za zube, blagim potezima, skinut prvi tretman ~i{}enja i za{tite. Svi eksponati su visokog kvaliteta, sloj ne~isto}e sa onih mesta na kojima se zadr`ala. Postupak ali, na`alost, dosta o{te}eni zbog neodgovaraju}eg na~ina je ponovljen sa univerzalnom pastom na bazi bilja. U jedan ~uvanja tokom proteklih dvesta godina. Zbog toga je i kon- litar destilisane vode stavljena je jedna ka{ika paste, rastvor zervatorski tretman bio ote`an i postepen. Treba napome- je izme{an da bi se pasta istopila, pa je sve}njak potopljen nuti da su se kod hemijskog tretmana koristili neagresivni u rastvor da bi se odstranila preostala ne~isto}a. Posle de- preparati biolo{kog porekla. Svi eksponati ove crkvene ko- set minuta sve}njak je izva|en i odmah potom potopljen u lekcije tretirani su i za{ti}eni. Zasad se nalaze u Muzeju ~istu destilisanu vodu, u kojoj je ostao jo{ petnaest minuta. rudni~ko-takovskog kraja, po{to je jerej Ljubi{a Mili} saop- Kada je izva|en iz destilisane vode, ostavljen je da se osu{i. {tio da u crkvi nema mesta na kojem se mogu ~uvati. Kadi- Tada je konstatovano da su sve ne~isto}e odstranjene, tako onica iz 1822. godine nalazi se u sefu muzeja. „

Sla|ana NOVKOVI], konzervator tehni~ar saradnik Odeljenja za preventivnu za{titu Dijana

RESTAURACIJA PORCELANSKE [OLJE

U RESTAURACIJI finih i delikatnih kerami~kih materijala, kao {to je porcelan, potrebno je izabrati ~itav niz operacija posude nema nikakvih oznaka i posebnih obele`ja. [olja je koje su u pristupu eti~ne i u prakti~nom smislu najprofesi- cilindri~nog oblika i {iri se ka obodu. Njena visina iznosi 7 cm, onalnije. Pristup zavisi i od toga da li je predmet muzejskog pre~nik oboda je 4,5 cm, a pre~nik dna 3 cm. porekla ili je u privatnom vlasni{tvu. Poznato je da se u toku procesa konzervacije najvi{e Predmet o kojem je re~ – porcelanska {olja – iz privat- o{te}enja napravi prilikom mehani~kog ~i{}enja, vi{e nego ne je kolekcije, veoma dobrog kvaliteta i dobro odr`avan. u bilo kom drugom delu procesa. Po{to je {olja ve} bila re- [olja je ru~no oslikana motivima grada, a njena osnovna staurirana, morali smo da budemo veoma obazrivi, naro~i- boja je bela, dok je po obodu i oko oslikanog dela dekorisa- to zbog toga {to ne postoje nikakvi podaci o konzervatorskim na linearnom pozlatom. Poreklo i proizvo|a~ ovog porce- materijalima koji su prethodno kori{}eni. Svako uklanjanje lanskog predmeta ne mogu se pouzdano odrediti jer na dnu prethodne restauracije u po~etku se obavlja manje agresivnim

76 CONSERVATION DIANA #13

Object: CANDLESTICK Résumé This candlestick is made of silver, proved by its characteristic The church treasures from the St. Sava Church at Savinac patina, the greenish-black-silver color that forms on neglec- are made of metal and metal alloys. The objects date from ted silver. This patina is clearly visible on the object and is the 19th century. They were treated by mechanical and che- familiar as malachite. It very often occurs because of hu- mical conservation procedures, according to their condition midity and improper storage conditions. and the appearance of the metal. The significant outcome of this conservation procedure was that it directly established Treatment important historical facts and data related to the objects, The candlestick was covered with patina, and its round base and also revealed rich ornamentation and the production was considerably damaged. This was caused by humidity techniques used in this collection of metal church objects. and improper storage conditions in the Savinac Church. During treatment, inscriptions confirmed that the censer The candlestick was treated using mild chemicals. was made in 1822 and that it was an original gift from Prince It was immersed into one liter of warm distilled water Milo{ Obrenovi} to his first memorial church, the St. Sava and left there for 30 minutes. After that, it was taken out and Church at Savinac. The church was built in 1819–1821 and the first layer of dirt was cleaned, applying the gentle move- was finally completed in 1822. This fact indicates that this ment of a toothbrush. This procedure was repeated with object is original Prince’s gift, since the year of the comple- the universal polish, mentioned above. One spoon of polish tion of the works, 1822 coincides with the year inscribed was dissolved in one liter of distilled water. After that, the on the gifted censer. candlestick was immersed into the solution. After ten mi- Other church objects, belonging to more recent times, nutes, it was taken out, immediately immersed in distilled have also undergone cleaning and conservation procedu- water and left there for 15 minutes. When it was removed res. All exhibits are of a high quality, but unfortunately are from the distilled water, the candlestick was left to dry. Fi- considerably damaged, because of improper protection in nally, it was concluded that all dirt had been removed, so it the course of the last 200 years. That is why the conserva- could be polished with a chamois. The candlestick obtained tion procedure was hindered and gradual. In the course of its original colour and sheen and was ready for conservation. the chemical treatment, non-aggressive substances of bio- logical origin were used. All items in this church collection Conservation were treated and protected. For the time being they are in Conservation was done by painting the entire surface with the Museum of Rudnik–Takovo Region, since priest Ljubi- fershnit (nitrocellulose dissolved in ethyl acetate), the color- {a Mili} has informed the Museum that, for the time being, less lacquer without shine, mentioned above. An invisible there is no suitable storage room for them in the church. film was formed to protect the object from outside atmosphe- The censer from 1822 is permanently locked in the muse- ric influences. um safe. „

Sladjana NOVKOVI], conservator-technician Associate of the Departmant for preventive conservation Diana

RESTORATION OF A PORCELAIN CUP

IN THE RESTORATION of fine, delicate ceramic materials such as porcelain it is necessary to choose an approach and had already been restored, so we had to be particularly method that are both ethical and professional. This largely careful, not knowing what materials had been used in the depends on whether the objects are from a private or mu- previous restoration. seum collection. The removal of previous restoration starts with the appli- This porcelain cup is from a private collection, made of cation of less aggressive materials, such as distilled water, high quality porcelain, well maintained and solid in struc- followed by acetone or alcohol. Where possible the process ture, attractively hand-painted with city motifs against a continues mechanically, using a scalpel. This was the method white background. It is gilded on the rim and around the we used to clean the porcelain cup in question. painted areas. The origin and manufacturer are unknown It was clear that the old retouching had been done with since there is no mark on the bottom of the cup. It is cylin- acrylic colours, since they easily dissolved on the applicati- drical in shape but wider around the rim. The height of the on of acetone swabs. It was noticeable that in the old resto- cup is 7 cm, the diameter of the rim and base are 4.5 cm ration, gaps had been filled with some sort of plaster, which and 3 cm respectively. we were able to remove easily with the application of a scal- More damage is done to ceramics during the cleaning pel. Light brown stains were visible on the rim, under the process than in any other stage of conservation. This cup previous conservation layer, which could not be removed

77 DIANA #13 KONZERVACIJA

u koju su dodati Fumed silica i pigmenti u odgovaraju}em odnosu, prema uputstvu proizvo|a~a. Obrada restauriranih povr{ina, to jest {mirglanje punjenih delova, najbitniji je deo restauracije. Ako povr{ina nije precizno obra|ena i glatka, ne mo`e se uspe{no prekriti, bez obzira na koli~inu boje ko- ja se nanese. Za {mirglanje su kori{}eni papir Micro-Mesh (Micro- Surface Finishing Products, Inc., USA) i platno s razli~itim granulacijama. Bilo je veoma va`no da se originalni deo {olje za{titi i prekrije kako se pri {mirglanju ne bi o{tetila glazu- ra na njenoj povr{ini. Za to je kori{}ena sko~-traka (Scotch- -tape, 3M, France). Jedan od konzervatorskih pristupa restauraciji porce- materijalima, kao {to je destilovana voda, a potom aceto- lana zavr{ava se upravo tim poliranjem, ali smo mi prime- nom ili alkoholom. Kada je to mogu}e, koristi se i mehani~ki nili druga~iji princip. Kada su {mirglanje i poliranje resta- na~in ~i{~enja. Kod ~i{}enja porcelanske {olje od ostataka uriranih povr{ina zavr{eni i kada je postignut `eljeni oblik, stare restauracije primenjivane su sve ove metode. zapo~eto je s retu{iranjem restauriranog dela, to jest bele Lako je otkriveno da je stari retu{ ra|en akrilnim boja- osnove porcelana pri obodu. Za taj proces kori{}en je Resto- ma; pod komadi}em vate natopljene acetonom slojevi boje ration glaze; Matte (Golden-artist Colors, Inc., USA) i er-bra{ brzo su se razlagali. Bilo je primetno da je kod stare resta- akrilik boje istog proizvo|a~a. Posle nano{enja nekoliko uracije popunjavanje mesta na kojima su nedostajali delovi slojeva boje preko restauriranih delova povr{inu smo ispo- izvedeno nekom vrstom gipsa, koji smo odstranili skalpe- lirali papirom Micro-Mesh do potpunog sjaja. Nakon toga je lom. Na obodu je ispod stare restauracije bila vidljiva ne~i- preko ispoliranog dela nano{en Restoration glaze; Gloss sto}a braon boje, koja nije odstranjena tokom ~i{}enja ace- (Golden-artist Colors, Inc., USA), sve dok nije ostvaren od- tonom i alkoholom. Zbog toga smo za tu ne~isto}u koristili govaraju}i sjaj, kao kod originalne glazure. slede}i tretman: natopili smo vatu hidrogen-peroksidom Kako je na obodu {olje izvedena linearna dekoracija (15%) i njom prekrili povr{ine s flekama. Komadi vate na- zlatom, trebalo je ponovo islikati dekoraciju na restaurira- topljene hidrogen-peroksidom postavljani su vi{e puta na nim delovima. Prvo smo okolne originalne povr{ine porce- porcelansku povr{inu s flekama. Postupak je ponavljan sve lana za{titili sko~-trakom. Za restauraciju dekoracije kori- dok mrlje nisu nestale, a {olja je nakon toga oprana desti- stili smo Rustins Clear metal lak (Rustins Limited, London) lovanom vodom. i bronzani prah; na povr{inu vla`nu od laka duvanjem smo Punjenje dela koji je nedostajao izveli smo epoksi smo- naneli bronzani prah. Nakon su{enja sko~-traka je skinuta i lom Araldit 2O2O (Huntsman Advanced Materials, Everberg), ostatak {olje o~i{}en je od vi{ka bronzanog praha. „

Zvezdana POPOVI], konzervator tehni~ar saradnik Odeljenja za preventivnu za{titu Dijana, Narodni muzej u Beogradu

PROBLEMI U KONZERVACIJI KERAMIKE S VI[ESLOJNIH LOKALITETA

U ZEMLJAMA koje su lideri u oblasti konzervacije kultur- nih dobara postoji te`nja da prilikom odre|ivanja predmeta meno i tokom tretmana, a najmanje jo{ jednom. Ukoliko za konzervaciju budu prisutni i arheolog, i kustos, i konzer- tokom konzervacije do|e do nekih izmena u odnosu na do- vator (ili konzervatori), kako bi se dogovorili oko redosleda govoreni tok tretmana, trebalo bi da dodatne konsultacije konzervacije, to jest oko prioriteta, u zavisnosti od stanja budu obavezne. predmeta, priprema za publikovanje, izlaganje predmeta i Jedan od problema s kojima se na{i konzervatori ~esto drugog. Kod nas se taj pristup deklarativno podr`ava, ali se, susre}u jeste to {to arheolog tra`i kompletnu restauraciju na`alost, naj~e{}e ne primenjuje. Trebalo bi da i na{a prak- predmeta i kada na|eni fragmenti ~ine manje od 50% sa bude da pre otpo~injanja bilo kakvog rada na konzervaci- predmeta, i to pre nego {to konzervatori mogu da pregleda- ji predmeta arheolog, kustos i konzervator zajedno procene ju sav materijal po zavr{etku arheolo{kih iskopavanja na pristigli materijal namenjen za konzervaciju i da se konsul- datom lokalitetu (primer 1). tuju oko predlo`enog tretmana. Konsultacije na relaciji ar- Doga|a se i da na konzervaciju stigne dva puta po oko heolog–kustos–konzervator potrebno je odr`avati povre- 50% istog predmeta, pod dva razli~ita terenska broja, oba

78 CONSERVATION DIANA #13

areas is a vital part of the restoration process. If the surface is insufficiently treated and smoothed, it cannot be covered successfully, regardless of the quantity of paint used. Various grades of Micro-Mesh (Micro-Surface Finishing Products, Inc. USA) were used for sandpapering. It was very important to protect the original surface of the cup with Scotch-tape (3M, France), so that the glaze stayed unscratched. One approach in porcelain restoration is to end with this type of polishing, but we applied another process. When the sandpapering and polishing of restored surfaces had been completed and the desired shape reached, we started colour retouching of the white porcelain around the rim. We used Restoration glaze: Matte and airbrush acrylic paints (Golden-artist colors, Inc.USA). After applying the glaze se- veral times, the surface was polished with Micro-Mesh until it was completely smooth and shiny. Restoration glaze; Gloss with acetone or alcohol. We decided to soak the swabs in a (Golden artist colors, Inc.USA) was applied to the polished 15% solution of hydrogen peroxide, which we changed se- surface until the cup’s original shine was obtained. veral times, until the stains disappeared completely. After There is some gilded linear decoration on the rim. We this the cup was washed with distilled water. protected this area around the gilded part with Scotch- Missing parts were filled with Araldite 2O2O epoxy resin tape. For restoration of the gilding, we used Rustins clear (Huntsman Advanced Materials, Everberg), mixed with metal lacquer (Rustins Limited, London) and bronze powder, Fumed silica and pigments in adequate proportion, following which was blown onto the wet lacquered surface. After dry- the manufacturers instructions. Treatment of restored sur- ing, we removed the tape and cleaned excess bronze pow- faces, that is, sandpapering the adhesive layer and filled der from the cup. „

Zvezdana POPOVI], conservator-technician Collaborator in the Departmant for preventive conservation Diana

PROBLEMS IN THE CONSERVATION OF CERAMICS IN MULTI-LAYERED ARCHEOLOGICAL SITES

IN COUNTRIES leading the field in the conservation of cultural assets, it is usual for the archeologist, curator and the same object are handed in for restoration twice under conservator (or conservators) to be present during the se- two different field numbers, each time with a request for lection of objects for conservation so they can evaluate them, complete conservation (Example 2). consult with one another, and agree on the order of conser- In addition, when fragments thought to require only vation procedures and priorities, depending on the condition mechanical cleaning (since they do not form a complete of the object in question, and its preparation for exhibition object) are photographed, conservators frequently find ten or publication. Furthermore the archeologist, curator and or more fragments that together not only form an object, the conservator should remain in touch during treatment, but comprise as much as 90% of an object (Example 3). and hold at least one more round of consultations. If the When new material arrives for conservation, conserva- agreed course of treatment changes during conservation, tors often recognize fragments belonging to objects that additional consultations should be mandatory. This approach have already been conserved. In such cases, the conserva- enjoys declared support in Serbia, and should be our prac- tion treatment has to be partially repeated: plaster must be tice, but, unfortunately, is not usually followed. removed and newly-discovered original fragments mounted One of the problems often faced by our conservators is onto the object in its place, which means torturing the object, that archeologists request complete restoration of an object to say nothing of the additional conservation work required even when the fragments found comprise less than 50% of (Example 4). This is especially true of material coming from the whole object, and before conservators are able to exa- large multi-layered sites, rich in archeological material, mine all excavated material once work at the site finishes where excavations have been performed for several years. (Example 1). What’s more, sometimes 50% of fragments of In such localities, tens of thousands of ceramic fragments

79 DIANA #13 KONZERVACIJA

Primer 1 Example 1

Primer 2 Example 2 puta sa zahtevom da se uradi kompletna konzervacija (pri- liteta, svakako bi trebalo organizovati da svi oni pregledaju mer 2). sve dopremljene fragmente, a trebalo bi i da svi konzervato- Tako|e se doga|a da tokom fotografisanja fragmenata ri mogu redovno ponovo da pregledaju materijal, prema po- koji su stigli kao materijal predvi|en samo za mehani~ko trebi. Kada bi konzervatori mogli detaljno i redovno da pre- ~i{}enje, jer ne formiraju predmete, konzervatori prona|u gledaju sav pristigli materijal, izbegli bi se mnogi navedeni po desetak i vi{e fragmenata koji ne samo {to formiraju problemi: verovatno bi se pojavilo jo{ predmeta kandidata predmet ve} ~ine i do 90% predmeta (primer 3). za konzervaciju ili bi se bar mnogi od predmeta kompletira- Mnogo puta su konzervatori po prispe}u materijala za li blagovremeno, a ne nakon zavr{ene konzervacije. konzervaciju prepoznali fragmente koji pripadaju ve} kon- zerviranim predmetima. Nakon toga konzervatorski postu- Primer 1 pak mora se delimi~no ponoviti: uklanja se gips i umesto nje- Predmet: kantaros (KK 24/06); lokalitet: Kale Kr{evica ga u predmet se ugra|uju ti originalni, naknadno pristigli Na konzervaciju je donet jedan fragment (iskopan oktobra fragmenti – {to je svakako mu~enje predmeta i zahteva dodat- 2005), a zahtev arheologa bio je da se uradi kompletna resta- ni rad konzervatora (primer 4). To naro~ito va`i za materijal uracija na osnovu tog fragmenta (jer je imao sve elemente), koji sti`e s velikih vi{eslojnih lokaliteta, veoma bogatih ar- mada je fragment ~inio samo oko 30% predmeta. heolo{kim materijalom, na kojima se iskopavanja obavljaju Stav konzervatora bio je da ne treba `uriti s restauracijom godinama. Na takvim lokalitetima tokom jedne sezone pro- jer }e se mo`da pojaviti jo{ fragmenata, s obzirom na veli- na|e se i po nekoliko desetina hiljada fragmenata kerami- ki obim materijala s datog lokaliteta. To mi{ljenje bilo je is- ke, {to predstavlja problem i u pogledu obrade, i u pogledu pravno jer je u dva navrata, prilikom pregleda materijala s klasifikovanja i dopremanja. Takav je materijal, na primer, tog lokaliteta, prona|eno jo{ 10 fragmenata (iskopanih u onaj s lokaliteta Kale Kr{evica.1 istom periodu, na istom mestu, u istom otkopnom sloju), a U bogatijim zemljama ti problemi ~esto se re{avaju obez- koji su, s prvim fragmentom, ~inili ukupno oko 80% pred- be|ivanjem posebnog tima arheologa i konzervatora koji se meta. jo{ na terenu bavi samo klasiranjem i obradom materijala. Konzervator: Zvezdana Popovi}. Tako formirani predmeti klasiraju se prema potrebama pu- blikovanja, da bi se tek nakon dogovora arheologa, kustosa Primer 2 i konzervatora odredio ritam konzervacije predmeta. Predmet: tanjir (KK 08/06); lokalitet: Kale Kr{evica S obzirom na to da kod nas, zbog dobro poznate finan- Na konzervaciju je stigao jedan fragment (KK 08/06), koji sijske situacije, takvo re{enje mora da sa~eka bolja vreme- je ~inio oko 50% predmeta. na, mo`da bi efikasno re{enje moglo da bude to da se pre Zahtev arheologa: uraditi kompletnu restauraciju. po~etka rada na predmetima predvi|enim za konzervaciju konzervatorima dâ na pregled sav materijal s lokaliteta, do- net nakon zavr{ene sezone arheolo{kih iskopavanja. Ukoliko 1] P. Popovi}, Kr{evica et les contacts entre l’Egée et les centres vi{e grupa konzervatora radi na predmetima sa istog loka- des Balkans, Histria Antiqua 15/2007, Pula, 125–136.

80 CONSERVATION DIANA #13 may be found in just one season, presenting problems not minations of material from the site yielded 10 more frag- only for treatment, but also for classification and transport. ments (excavated in the same period, at the same spot, in This is the case with material from the Kale Kr{evica site.1 the same excavated stratum). These, together with the first Wealthier countries often resolve those problems by fragment, comprised 80% of the object. forming special teams of archeologists and conservators who Conservator: Zvezdana Popovi}. classify and treat material on-site. Objects treated in this way are classified according to publication requirements; the Example 2 time-scale of conservation is established only after archeolo- Artifact: plate (KK 08/06); Kale Kr{evica site gists, curators and conservators have all reached agreement. One fragment (KK 08/06), comprising 50% of the object, As this solution is not currently economically feasible was brought in for conservation. in Serbia, a more efficient solution may be to provide con- Archeologist’s request: complete restoration. servators with all material from sites requiring examination Immediately before plaster was poured into the prepared after the excavation season is over, but before treatment wax mould, several objects from the same site were brought begins. If several groups of conservators are working on in. Among these were four pieces of the same object (exca- artifacts from the same site, it is necessary to ensure that vated in the same period, at the same spot, and in the same they all examine all fragments delivered. They should also excavated stratum – registered as KK 12/06). The new be able to re-examine material regularly if required. Many fragments comprised the remaining 50% of the object – problems could then be avoided: many more artifacts restoration was not necessary. suitable for conservation might appear, or made whole Conservator: Danijela Jovanovi}. before the time limit for conservation procedure expires. Example 3 Example 1 Artifact: bowl (KK 13/06); Kale Kr{evica site Artifact: kantharos (KK 24/06); Kale Kr{evica site Two fragments were thought to require mechanical clean- One fragment (excavated in October 2005) was brought in ing only, as they did not form an object. After additional for conservation; archeologists requested complete restora- examination of the material, two more fragments were

Primer 3 Example 3

Primer 4 Example 4 tion on the basis of the single fragment (as it had all the re- found. Boxes that arrived from the same site some time quired elements), although the fragment comprised a mere later yielded another eleven fragments (excavated in the 30% of the object. same period, in the same excavated stratum). In the conservator’s opinion, it was not necessary to hurry restoration, as more fragments were likely to be found, tak- ing into consideration the large quantity of material from 1] P. Popovi}, Kr{evica et les contacts entre l’Egée et les centres the site. This view proved correct, since two subsequent exa- des Balkans, Histria Antiqua 15/2007, Pula, pp. 125–136.

81 DIANA #13 KONZERVACIJA

Neposredno pre izlivanja gipsa u pripremljeni vo{tani kalup Primer 4 doneto jo{ predmeta sa istog lokaliteta. Me|u donetim pred- Predmet: fijala (KK 66/05); lokalitet: Kale Kr{evica metima prona|ena su jo{ ~etiri fragmenta istog predmeta Ve}ina fragmenata ovog predmeta stigla je s materijalom (iskopana u istom periodu, na istom mestu, u istom otkop- predvi|enim samo za mehani~ko ~i{}enje, jer nije formirao nom sloju – upisani kao KK 12/06). Ti fragmenti ~inili su predmete. Pregledom materijala prona|ena su 23 fragmen- preostalih 50% predmeta – restauracija nije bila potrebna. ta koja formiraju fijalu. U naknadno prispelom materijalu Konzervator: Danijela Jovanovi}. sa istog iskopavanja prona|ena su jo{ dva fragmenta, {to je ukupno ~inilo oko 80% predmeta. Ura|ena je kompletna Primer 3 konzervacija predmeta. Predmet: zdela (KK 13/06); lokalitet: Kale Kr{evica Nekoliko meseci nakon zavr{ene konzervacije u naknadno Dva fragmenta predmeta stigla su s materijalom predvi|e- pristiglim kutijama s materijalom sa istog lokaliteta i iz nim samo za mehani~ko ~i{}enje, jer nije formirao predme- istog perioda iskopavanja prona|en je jo{ jedan fragment. te. Naknadnim pregledom materijala prona|ena su jo{ dva Pristupilo se uklanjanju gipsa i ugra|ivanju originalnog fragmenta. U kasnije pristiglim kutijama sa istog lokaliteta fragmenta. prona|eno je jo{ 11 fragmenata (iskopanih u istom perio- To se dogodilo jo{ jednom, s jo{ jednim fragmentom, na- du, u istom otkopnom sloju). knadno prona|enim na isti na~in. Ukupno je, dakle, bilo 15 fragmenata, koji su zajedno ~ini- Ukupno dva puta je nakon zavr{ene konzervacije uklanjan li oko 80% predmeta. gips i ugra|ivan originalni fragment. Konzervator: Aleksandra Markovi}. Konzervator: Marija Pe{anovi}. „

Slobodan BOGOJEVI], konzervator Narodni muzej u ^a~ku

NOV PRISTUP KONZERVACIJI I UNAPRE\IVANJE USLOVA ^UVANJA METALNIH ARHEOLO[KIH PREDMETA U NARODNOM MUZEJU U ^A^KU

^UVANJE ARHEOLO[KIH PREDMETA podrazumeva sa- radnju arheologa, kustosa i konzervatora, koji iznose razli~i- Nakon analize stanja metalnih predmeta, faktora koji te stru~ne nalaze i razli~ite perspektive za re{avanje pojedinih uti~u na njih i izrade odgovaraju}e dokumentacije mogu}e problema. Njihov zadatak odnosi se na o~uvanje istorijskog, je planirati aktivnosti i projekte za pobolj{anje tog stanja. kulturnog, estetskog i fizi~kog integriteta predmeta za bu- du}a pokolenja. To podrazumeva pravnu, stru~nu i tehni~- Faktori koji uti~u na stanje metalnih predmeta u depou ku (fizi~ku) za{titu. Arheolo{ki predmeti predstavljaju rezultat aktivnosti iz Sa ~uvanjem arheolo{kih predmeta otpo~inje se ve} na pro{losti i poti~u sa odgovaraju}ih arheolo{kih lokaliteta. samom lokalitetu, od trenutka prihvata predmeta, nastav- Stoga je njihov prenos u budu}nost vrlo slo`en i zahtevan. lja se postupcima koji se primenjuju do sme{tanja u depo, Smatra se da starenje predmeta zapo~inje od trenutka nje- a zatim i nizom mera koje slede. Svaka aktivnost koja se ne govog nastanka. Metali su najnestabilniji neorganski mate- sprovodi u skladu s pravilima – od ~uvanja (sme{taja, odr`a- rijali, koji te`e da se vrate u stanje minerala. vanja), preko obrade, kori{}enja, izlaganja, do transporta – Korozija metala deli se na hemijsku i elektrohemijsku. predstavlja opasnost po predmete. Osnovna karakteristika korozije metala jeste to {to ona po- Ukoliko se metalni predmeti o{tete usled dejstva nega- ~inje na njegovoj povr{ini, odakle se br`e ili sporije {iri u tivnih faktora, mogu}e je sprovesti konzervatorsko-restau- dubinu, pri ~emu se menjaju sastav metala i njegova svoj- ratorski tretman i time produ`iti `ivot predmeta, premda stva. U procesu korozije metal se potpuno ili nepotpuno ra- se u obzir moraju uzeti i vreme trajanja tretmana i njegova stvara ili se pak na njegovoj povr{ini obrazuje opna od pro- finansijska opravdanost. Stoga bi posebnu pa`nju trebalo dukata korozije. Ponekad se usled korozije legura razla`e na posvetiti preventivnoj za{titi. svoje komponente ili se menjaju fizi~ko-mehani~ka svojstva Trebalo bi da institucionalne mere za{tite budu u skla- metala i legura.1 du s muzejskim aktivnostima koje se odnose na primenu tehnika upravljanja, a kojima se ostvaruje organizovaniji na~in razmi{ljanja, predvi|anje budu}ih situacija, kao i na 1] Mladenovi}, S., Korozija materijala, Tehnolo{ko-metalur{ki pove}anu efikasnost svih segmenata muzejske delatnosti. fakultet, Beograd 1990, 3.

82 CONSERVATION DIANA #13

This brought the total number of fragments to 15, altogether object. The object was restored completely. comprising 80% of the object. Several months later, after conservation was finished, further Conservator: Aleksandra Markovi}. boxes were delivered, containing material from the same site and from the same period of excavation, yielding one Example 4 more fragment. Plaster was removed and replaced by the Artifact: phiale (KK 66/05); Kale Kr{evica site original fragment. Most of the fragments of this object were delivered with ma- The same happened with one more fragment, discovered terial thought to require mechanical cleaning only. After later in the same way. examination, 23 fragments forming a vessel were found. In In all, the plaster had been removed and the original frag- subsequently delivered material from the same excavation, ment mounted twice by the end of conservation. two more fragments were found, comprising 80% of the Conservator: Marija Pe{anovi}. „

Slobodan BOGOJEVI], conservator National museum of ^a~ak

A NEW APPROACH TO CONSERVATION AND A FURTHER IMPROVEMENT OF CONDITIONS FOR TAKING CARE OF METAL ARCHEOLOGICAL OBJECTS IN THE NATIONAL MUSEUM OF ^A^AK

TAKING CARE of archaeological objects implies cooperation between the archaeologist, curator and the people perfor- Factors influencing the condition of metal objects ming the conservation, all of whom present different pro- placed in the storage fessional findings and different approaches for resolving Archaeological objects are the fruit of some past activities certain difficulties. Their task includes maintaining the and come from various archaeological sites. For that reason historical, cultural, aesthetic and physical object integrity the objects’ transfer into the future is very complicated and for future generations. This includes legal, professional and highly demanding. The aging of an object starts from the technical (physical) protection. moment of its origin. Metals are amongst the most un- Taking care of an archaeological object starts at the stable inorganic materials and tend to return to their mine- archaeological site from the moment of excavation, ral state. through a series of procedures until it is placed in storage, Metal corrosion is divided into chemical and electro- and further through the series of processing steps that chemical corrosion. The basic characteristic of metal corro- follow. Every activity that is not performed according to sion is initiated on its surface, from where, sooner or later, appropriate rules at every stage presents a danger to the corrosion penetrates more deeply, and as a result of which object. the metal’s consistence and characteristics change. In the If metal objects are damaged through the influence of process of metal corrosion, the metal is being dissolved fully some negative factors it is still possible to perform the or partially, or possibly a skin is created on its surface, made appropriate conservation-restoration treatment and in this of corrosion products. In some cases an alloy is dissolved into way to extend the objects existence, but nevertheless we its component metals as a result of corrosion or the physical- have to consider the length of the treatment and its finan- mechanical metal/alloy characteristics may change.1 cial justification. For that reason special attention should The object’s condition mainly depends on its reaction be paid to preventive conservation. to the outer environment and after some time some kind of Institutional protection measures ought to be in balance is formed between them (fig. 3). From the moment agreement with museum activities that apply management when the object is excavated the conditions of the outer techniques to a better organized conceptual approach, thee environment change radically and the object passes a phase prediction of future situations, as well as increased effi- of adaptation shock. The reaction includes physical and ciency in all segments of the museum activity. chemical changes, and from that moment the object is After analysis of a metal object’s condition, the factors that influence it, and appropriate documentation, it is possible to plan some actions and projects for its improve- 1] Mladenovi} Sreten, Corrosion of material, Technology-metal- ment. lurgy faculty, Belgrade, 1990, 3.

83 DIANA #13 KONZERVACIJA

Sl. 1 i 2. Srebrna fibula pre i posle konzervacije, Narodni muzej u ^a~ku Fig. 1 i 2. Silver fibula before and after conservation treatment, National museum of ^a~ak

Stanje predmeta najve}im delom zavisi od reakcije postoje zahtevi u pogledu ostvarivanja odre|ene estetike na predmeta na spolja{nju sredinu, jer izme|u njih tokom predmetu, kao i zahtevi za hipoteti~kom rekonstrukcijom, vremena nastaje neka vrsta ravnote`e (slika 3). Kada se ali i `elja da se tretman obavi u {to kra}em roku. Sve to mo- predmet iskopa, u potpunosti se menjaju spolja{nji uslovi i `e imati dalekose`ne {tetne posledice po predmet. predmet prolazi kroz fazu adaptacionog {oka. Reakcija Konzervatorsko-restauratorski tretmani gube smisao podrazumeva fizi~ke i hemijske promene, pa je od tog tre- ukoliko se predmeti ~uvaju u neodgovaraju}im uslovima. nutka predmet u fazi izuzetno brzog propadanja. Dok su Stoga treba obezbediti optimalne uslove za ~uvanje pred- objekti neiskopani, imaju podr{ku u vidu zemlje koja ih meta, ~ime bi se broj intervencija sveo na najmanju meru, okru`uje, ali tu podr{ku gube kada se otkopaju, tako da vi- to jest one bi se sprovodile samo kada preventivne mere za- {e nisu u stanju da iznesu svoju te`inu. Posebnu pa`nju tre- ka`u. Time bi muzej ostvario u{tedu u pogledu tro{kova balo bi obratiti na prihvat arheolo{kih predmeta s lokalite- konzervacije, a zbirke bi bile adekvatno i stru~no ~uvane. ta, kao i na na~in njihovog ~i{}enja, jer su upravo tada Kada se analiziraju faktori koji uti~u na stanje predme- o{te}enja najverovatnija. Za te postupke neophodna je iz- ta, zaklju~uje se da gotovo iza svih njih – i onih pomenutih i rada odgovaraju}ih procedura. onih koji nisu tema rada – stoji ~ovek sa svojim delovanjem Vrlo je bitno da se pre iskopavanja razradi sistem pri- i odnosom prema predmetima: onaj kome kulturna dobra hvata i kondicioniranja metalnih eksponata do po~etka nji- slu`e i kome su poverena na ~uvanje.2 hovog konzervatorsko-restauratorskog tretmana. To je ve- Na stanje metalnih predmeta u depou uti~u i slede}i liki problem budu}i da se u arheolo{kim depoima na{ih faktori: muzeja, pored konzerviranih, nalazi i veliki broj predmeta – klima (relativna vla`nost, temperatura) koji nisu tretirani. Pored toga {to ugro`avaju tretirane – osvetljenje predmete (zaga|enje atmosfere u depou, iniciranje korozi- – zaga|enje je na tretiranim predmetima usled neposrednog kontakta – {teto~ine. itd.), oni prolaze i kroz fazu naglog propadanja, tako da su Gotovo svi faktori uti~u na metalne predmete u me|u- posle nekoliko godina potpuno devastirani, potrebna kon- sobnoj sprezi. Kada je re~ o pojavi korozije, neophodno je zervacija je znatno slo`enija, a sami predmeti gotovo su iz- uzeti u obzir vreme tokom kojeg je predmet bio izlo`en po- gubljeni. jedinim faktorima, kao i njihove kriti~ne vrednosti pri ko- Taj problem ve}i muzeji u svetu re{avaju tako {to jima se korozija pojavljuje. Stepen delovanja svih faktora predmete sme{taju u posebne prostorije, u kojima su me- na stanje predmeta i brzinu procesa korozije zavisi od sa- talni eksponati do po~etka konzervacije potopljeni u opti- stava i na~ina izrade metalnog predmeta, od toga da li na malne rastvore. Ti rastvori su neka vrsta inhibitora za ko- njemu postoji dekoracija, od prisustva hlorida u strukturi, rozione procese; njihova pH vrednost strogo se kontroli{e. ali i od na~ina konzervacije i restauracije itd. Celokupan proces obavlja se u saradnji sa stru~njacima iz Posebnu pa`nju trebalo bi obratiti i na na~in pakova- odgovaraju}e oblasti. nja metalnih predmeta, to jest na ambala`u, zatim na ure- Neadekvatni konzervatorsko-restauratorski tretmani ta- |enje prostora za njihov sme{taj, izbor opreme, kao i na ko|e mogu imati {tetne posledice po stanje metalnih pred- mere za{tite od vanrednih prilika. meta. To se odnosi na primenu neodgovaraju}ih materijala i metoda u procesu konzervacije i restauracije. Stoga je neophodno da sve intervencije budu u skladu sa ICOM-ovim eti~kim kodeksom. Trebalo bi da konzervatori sve vreme 2] Radosavljevi}, V., Petrovi}, R., Konzervacija i restauracija u~estvuju u programima stru~nog usavr{avanja, dok bi labo- arhivske i bibliote~ke gra|e i muzejskih predmeta od tekstila i ko`e, ratorije trebalo snabdeti odgovaraju}om opremom. ^esto Arhiv Srbije, Beograd 2000, 114.

84 CONSERVATION DIANA #13 subject to fast deterioration. Prior to excavation, objects the object’s aesthetics as a target, as well as the requests for have the support of the soil that surrounds them, but they hypothetical reconstruction, as well as the wish for the lose this support from the moment of excavation and are treatment to be done in the shortest possible time. All these not in a position to „refer to“ its weight. Special attention demands could have influence the object’s condition. should therefore be given to the reception of archaeological The conservation and restoration treatments lose their objects from their site of origin, as well as their cleaning sense if the objects are kept in inappropriate conditions. So method, since this is a phase when deterioration is most optimum storage conditions ought to be provided; as a result possible. For these procedures appropriate procedures should the number of interventions would be reduced to the mini- be established. mum and only when preventive measures fail. In this way Before excavation it is very important to establish a the museum would save the costs of conservation, and col- system of reception and treatment of metal objects until lections would be appropriately and professionally stored. the moment when their conservation-restoration starts. After analysing the factors influencing the object’s con- This is very difficult having in mind that in our museums’ dition, it could be concluded that behind everything stands storage facilities there are numerous objects that are not tre- human attitude and actions i.e. the one whom the cultural ated. Not only do they influence the treated objects (through properties serve and to whose care they are entrusted to.2 storage environmental pollution, and the initiation of cor- The following factors influence the condition of metal rosion on treated objects by direct contact) they rapidly objects kept in storage: deteriorate. After several years we have a fully devastated – climate (relative moisture content, temperature) object and, as a result, its conservation is now more – illumination complicated and the object itself almost lost. – pollution Some foreign museums resolve this issue by placing – pests metal objects in separate rooms, where they are dipped into Almost all these factors influence metal objects in their solutions of optimum characteristics, until the moment of interpersonal connection. For corrosion to start it is neces- their conservation. These solutions are some kind of inhi- sary to consider the time limit i.e. the time that the object bitor of the corrosion process. The pH value of these solutions has been exposed to certain factors as well as the critical is controlled and the whole process performed in collabora- values that facilitate the corrosion. All factors have an in- tion with professionals in this field. creased influence on the object’s condition and accelerate the corrosion process, depending on composition and the metal object’s manufacturing process, the presence of deco- ration, chlorides in the structure, as well as the conserva- tion and restoration method. Special attention should be paid to packing (wrapping of metal objects), rationalization of the space, and the place

ravnote`a / of storage as well as protection measures against the extra- Equilibrium ordinary conditions.

History, importance, and function of metal objects

PROPADANJE / DETERIORATION PROPADANJE The collection of archaeological objects and other related scientific data was initiated by the foundation of the Nati- VREME / TIME onal museum in ^a~ak in 1952. Three years after founda- muzej / upotreba / Use life iskopavanje / Museum life Excavation tion, the first curator-archaeologist was engaged, represen- arheolo{ki kontekst / Archeological(underground) context ting the start of the professional operations of this bureau. The objects originate from surrounding excavations, but a few of objects have been purchased, donated, or have been Sl. 3. Propadanje metalnog predmeta tokom vremena found by chance. http://www.nps.gov/history/museum/publications/ Archaeological excavations comprise some of the most MHI/AppendI.pdf important activities of this department. They have been Fig. 3. Deterrioration of the metal object through time performed independently or in cooperation with other insti- tutions every year since 1956. Archaeological research has been conducted to form a full picture of past times in the Inappropriate conservation-restoration treatments district covered by the National museum in ^a~ak. The oldest could have consequences for the condition of metal objects. archaeological sites belong to the Neolithic period. Of greater This refers to the use of inappropriate materials and methods than local importance is the barrow at Atenica. Two tumuli in the process of conservation and restoration. For that re- ason it is necessary that intervention is in agreement with the ICOM ethical codex. Those performing the conservation ought frequently to participate in programs of professional 2] Radosavljevi} Vera, Petrovi} Radmila, Conservation and re- training and laboratories should be equipped with appro- storation of filed and library materials and museum objects made of priate equipment. Frequently there are requests to have textile and leather, Archive of Serbia, Belgrade, 2000, 114.

85 DIANA #13 KONZERVACIJA

Istorijat, zna~aj i funkcija metalnih predmeta se na vizuelna ispitivanja, merenja i pregled predmeta op- Prikupljanje arheolo{kih predmeta i podataka u vezi sa ar- ti~kim instrumentima (lupom i mikroskopom). Ispitivani heologijom kao naukom otpo~eto je na teritoriji ~a~anske su predmeti od srebra, bronze i gvo`|a, kao i kompozitni op{tine sa osnivanjem Narodnog muzeja u ^a~ku 1952. go- predmeti, koji se sastoje od najmanje dva metala. dine. Nakon tri godine u muzeju je zaposlen prvi kustos ar- heolog i tada je arheolo{ko odeljenje zapo~elo sa stru~nim radom. Metalni predmeti koji se nalaze u Narodnom muze- PREDLO@ENI TRETMAN BROJ PREDMETA ju u ^a~ku prona|eni su prilikom dosada{njih iskopavanja, Konzervacija 3 dok je manji broj predmeta nabavljen otkupom i dobijen Rekonzervacija 7 kao poklon ili je re~ o slu~ajnim nalazima. Restauracija 0 Arheolo{ka iskopavanja spadaju me|u najzna~ajnije Ispitivanje (mati~ni muzej) 1 aktivnosti ovog odeljenja. Ono ih obavlja samostalno ili u Ispitivanje (druga ustanova) 3 saradnji s drugim institucijama gotovo svake godine, po~ev Fotodokumentacija 8 od 1956. Arheolo{ka istra`ivanja vo|ena su radi stvaranja Preventivna za{tita 20 kompletne slike o prethodnim epohama na teritoriji koju svojim radom obuhvata Narodni muzej u ^a~ku. Najstari- Tabela 1. Predlo`eni tretmani za metalne predmete ja arheolo{ka nalazi{ta pripadaju vremenu neolita. Od izu- na dan analize stanja zetnog je zna~aja otkri}e nekropole u Atenici. Istra`ene su dve kne`evske humke datovane u VI–V vek p. n. e. Va`nost otkri}a humki u Atenici nadilazi lokalne okvire, a prona|e- Analizirani su slede}i predmeti: osam predmeta od ni materijal zauzima jedno od najbitnijih mesta u stalnoj gvo`|a, devet bronzanih, jedan srebrni i dva koja su kom- postavci muzeja. binacija razli~itih metala (gvo`|e, srebro, zlato, bronza). Arheolo{ki metal u depou poti~e iz preistorijskog, an- Petnaest predmeta ima A kartone, a pet C brojeve, odnosno ti~kog i srednjovekovnog perioda. Na osnovu stila i tehnike terensku dokumentaciju. [est predmeta je fragmentirano, izrade nosi istorijsku, kulturnu i estetsku vrednost, dok se a devet prati fotografska dokumentacija. Ni za jedan testi- na osnovu na~ina njegove muzejske upotrebe mo`e predvi- rani predmet ne postoji konzervatorsko-restauratorska do- deti istra`iva~ka, izlaga~ka i komunikacijska delatnost. kumentacija; ukoliko postoji, nedostupna je. Tri predmeta nisu pro{la konzervatorski tretman, dok su ostali konzervi- Vrste metalnih predmeta rani u Narodnom muzeju u ^a~ku i u Narodnom muzeju u Metalni predmeti koji se nalaze u Narodnom muzeju u Beogradu. Na povr{ini petnaest predmeta mo`e se uo~iti ^a~ku nastali su, kao {to je pomenuto, u preistorijskom, prisustvo oksida i soli, dok samo jedan pokazuje struktur- anti~kom i srednjovekovnom vremenu. U zbirkama su me- ne promene. Za sve predmete trebalo bi pobolj{ati mere talni predmeti od zlata, srebra, bronze, gvo`|a i olova, izra- preventivne za{tite, to jest obezbediti odgovaraju}u amba- |eni razli~itim tehnikama. Podataka o ta~nom broju metal- la`u, u skladu sa standardima, kao i ambijentalne uslove. nih predmeta nema, s obzirom na to da do sada nije ra|ena Za tri nekonzervirana predmeta neophodan je hitan revizija. Za jedan deo predmeta postoji arheolo{ka doku- konzervatorski tretman, a za sedam rekonzervacija, i to za mentacija (A kartoni), kao i inventarski brojevi, a za drugi pet predmeta dugoro~ni i za dva srednjoro~ni plan rekon- deo samo terenska dokumentacija (C brojevi). Predmeti se, zervacije. Jedan predmet zahteva detaljnije ispitivanje u prema osnovnoj nameni, mogu podeliti na: statuete bo`an- mati~noj ustanovi, dok je za tri predmeta neophodno ispiti- stava, sitnu figuralnu plastiku, nakit, posu|e, upotrebne vanje u drugim ustanovama. To se odnosi na rendgenska sni- predmete, merne, medicinske, kozmeti~ke i druge instru- manja. Za osam predmeta potrebno je vo|enje fotografske mente, vojnu opremu i novac. dokumentacije u odre|enim vremenskim intervalima radi pra}enja njihovog stanja. Stanje konzervacije metalnih predmeta Na jednom delu metalnih predmeta postoje inventarski U okviru projekta utvr|ivanja stanja metalnih predmeta, brojevi koji su odre|enim supstancama nano{eni neposred- kao i mogu}nosti njihovog pobolj{anja, napravljen je for- no na predmete i premazivani, dok su za drugi deo metal- mular, to jest anketni list. Taj formular nam, pored op{tih, nih predmeta terenski brojevi pisani na nalepnicama koje daje i podatke o generalnom stanju predmeta na dan anali- su lepljene na njih. ze, kao i podatke o preporu~enim tretmanima, koji su ran- girani prema hitnosti obavljanja (tabela 3). Na osnovu ovih Uslovi ~uvanja metalnih predmeta formulara mogu}e je praviti planove za pobolj{avanje po- Arheolo{ki depo u kojem se nalaze metalni predmeti sme- stoje}ih uslova ~uvanja, kao i programe konzervacije me- {ten je na prvi sprat zgrade, u prostor povr{ine 25 m², s jed- talnih predmeta. Testiranjem je utvr|eno da je formular nim spoljnim zidom i dva prozora. Depo nije izolovan. To je primenljiv u praksi i da se, dakle, mo`e koristiti kao anket- prolazna prostorija izme|u istorijskog, umetni~kog i etno- ni list u okviru programa redovne kontrole zbirke metalnih lo{kog depoa, a iznad njih je potkrovlje, koje nije u upotre- predmeta u arheolo{kom depou. Analiza je obavljena na re- bi. Kanalizacione i vodovodne cevi ne prolaze kroz zidove prezentativnom uzorku od dvadeset predmeta. depoa. Na podu je rasu{en parket, s mno{tvom rupica i Ispitivanje stanja predmeta obuhvatalo je pregled do- proreza, zbog kojih se te{ko odr`ava. Za zidove je kori{}en kumentacije i razgovor s kustosima. Prakti~ni deo odnosio kre~ni malter, sada veoma star; u zidovima stoga postoji

86 CONSERVATION DIANA #13 have been investigated belonging to the VIth to Vth century are a combination of different metals (iron, silver, gold, B.C. The objects found have one of the most important bronze). Fifteen objects have A cards, and five of have the C positions in the permanent exhibition of the Museum. numbers i.e. terrain documentation. Six objects are in frag- The archaeological metal in the storage belongs to the ments and nine have photo documentation. All tested objects pre-historic, antique and medieval periods. Based on the either do not have the conservation-restoration documen- objects’ style and manufacturing technique the metal is of tation or it is not accessible. Three objects did not pass the historic, cultural and aesthetic value, and based on the mu- conservation treatment, but all the others have been con- seum’s use, the research, exhibiting and communication served in the National museum in ^a~ak and the National activities could be predicted. museum in Belgrade. On the surface of fifteen objects the presence of oxides and salt could be seen, and only one has Kinds of metal objects structural changes. For all the objects measures of preventi- The collection has objects made of gold, silver, bronze, iron ve conservation ought to have been improved, i.e. appropri- and lead, applying different techniques. There is no infor- ate packing reference to standards, as well as environmen- mation about the precise number of metal objects since an tal conditions. audit has not been performed until now. Some of the objects For three objects that are not conserved it is necessary have archaeological documentation (A cards) and invento- to perform conservation treatment, while for seven of them ry numbers, while others have only terrain documentation it is necessary to repeat conservation (five in a long-term (C numbers). The objects could be classified as: statues of conservation plan and two in a medium-term conservation gods; tiny figural plastics; jewellery; kitchen ware; consump- plan). One object needs more detailed analysis in the mu- tion objects; measuring implements; medical; cosmetic; in- seum itself, but three objects need to be analysed in other struments; military equipment; coins; and others. institutions by x-ray scanning. For eight objects it is neces- sary to compile photo documentation at regular intervals Condition of metal objects’ conservation in order to follow up their condition. As part of the project to establish the condition of metal Some metal objects have a stock number placed directly objects, as well as the possibility of their improvement, a them by applying substances, but several metal objects have questionnaire has been compiles. This form provides gene- numbers written on stickers. ral information about the objects’ condition on the day of analysis as well as information about recommended treat- Storing conditions for metal objects ments, ranked according to urgency (contained in a sepa- Archaeological storage for metal objects is located on the rate table, table 3). From this form it is possible to make building’s first floor in a space of 25m², having one outer plans to improve the existing storage conditions as well as wall and two windows. The storage is not insulated. It is making a conservation program for the metal objects. actually the corridor between the historical, artistic and Testing has proved that the questionnaire is practically ethnology storage areas, and above them there is the roof applicable and as such could be used in the regular audit of space, which is not in use. Sewerage or water supply pipes collections of metal objects in the archaeological storage. do not pass through the storage walls. The floor is made of Analyses have been performed on a representative sample uneven wooden parquet tiles which make it difficult to of 20 (twenty) objects. clean and the walls are made of very old lime mortar. The Analysing the objects’ condition has been done through walls have series of cracks and holes that are the result of examining documentation and discussion with curators. vibrations and the most recent earthquake. Between the The practical part comprises a visual examination, measu- archaeological and historical storage there is no door, but rements, and testing with optical instruments (magnifying between the archaeological and artistic depots there is glass and microscope). Tested samples are made of silver, wooden door. The metal objects are placed in wooden cup- bronze and iron as well as composite objects consisting of at boards on chipboard shelves. The greatest part of these least two metals. metal objects is still in cardboard boxes, and only a few of The following objects have been analysed: 8 objects the objects are placed directly on the shelf. A limited num- made of iron, 9 made of bronze, 1 made of silver, and 2 that ber of objects are taken out of the storage from time to time for research and exhibitions. For these processes there are no packing, transportation, and handling procedures. SUGGESTED TREATMENTS NUMBER OF OBJECTS The space is not equipped with equipment for regulating Conservation 3 environment conditions and pollution. Re-conservation 7 Climatic factors have not been systematically monito- Restauration 0 red because of the lack of a thermo-hygrograph. Analyses Analysing (museum itself) 1 of the environmental conditions have been performed by Analysing (other institution) 3 instant measurements and observations. For this it is neces- Photo documentation 8 sary to acquire appropriate measuring instruments in order Preventive conservation 20 to perform wide analyses and to monitor all parameters, based on which activities and certain projects would be Table 1. The suggested treatments for metal objects suggested to improve characteristics, equipment, and also on the day of the condition check up the conditions for storing the objects in storage. Instant

87 DIANA #13 KONZERVACIJA niz pukotina i rupica, nastalih usled dejstva vibracija i ne- mogli bi se predlo`iti projekti i aktivnosti za pobolj{avanje davnog zemljotresa. Izme|u arheolo{kog i istorijskog de- karakteristika i opreme, a samim tim i uslova za ~uvanje poa nema vrata, dok se izme|u arheolo{kog i umetni~kog predmeta u depou. Trenutna merenja termohigrometrom, depoa nalaze drvena vrata. Metalni predmeti sme{teni su u u zavisnosti od godi{njeg doba, pokazivala su vrednosti re- drvene ormane s policama od univera. Najve}i deo nalazi se lativne vla`nosti od 30% do 75%, dok je temperatura varira- u kartonskim kutijama, dok je poneki predmet sme{ten ne- la od 10 do 35°C. Primetne su dnevne i sezonske fluktuaci- posredno na policu. Izvestan broj predmeta povremeno se je parametara, s vrednostima iznad dozvoljenih. Variranja iznosi iz depoa radi istra`ivanja i izlaganja. Za te postupke parametara umanjena su uvo|enjem centralnog grejanja s ne postoji procedura pakovanja, transporta i manipulacije. mogu}no{}u pode{avanja temperature. Primetne su visoke Prostor nije opremljen instrumentima za regulaciju ambi- temperature tokom letnjeg perioda. Povi{ena relativna vla- jentalnih uslova i zaga|enja. Klimatski parametri nisu siste- `nost mo`e biti inicijator aktivne korozije. matski pra}eni jer muzej ne poseduje termohigrograf. Na metalne predmete ne uti~u ni ja~ina osvetljenja ni Analiza ambijentalnih uslova obavljena je trenutnim ultraljubi~asto zra~enje, to jest dnevna svetlost, budu}i da se merenjima i posmatranjem. Za taj deo analize neophodna je gotovo svi predmeti nalaze u ormanima i kartonskim kutija- nabavka odgovaraju}ih mernih instrumenata, kako bi se oba- ma. Ve{ta~ko (neonsko) svetlo retko se uklju~uje jer je prosto- vili opse`na analiza i pra}enje parametara; na osnovu toga rija preko dana svetla. Pomenuti parametri ne ugro`avaju

NEODGOVARAJU]I ZAGA\IVA^I AMBIJENTALNI USLOVI

KARAKTERISTIKE KARAKTERISTIKE I LOKACIJA DEPOA I LOKACIJA DEPOA

OSCILACIJE USLED OPREMA U DEPOU SEZONSKOG GREJANJA

NA^IN PAKOVANJA

PROPADANJE NEDOSTATAK PROGRAMA METALNIH PREDMETA KONZERVACIJE

ZAHTEVI KOJI NISU NEADEKVATAN TRANSPORT U SKLADU S PO[TOVANJEM ADEKVATNIH KONZERVATORSKO- NE^ISTO]E USLED RUKOVANJA -RESTAURATORSKIH PROCEDURA NEDOSTATAK PROCEDURE

NEDOSTATAK KARAKTERISTIKE DOKUMENTACIJE I LOKACIJA DEPOA

KONZERVATORSKO- MANIPULACIJA -RESTAURATORSKI TRETMANI Sl. 4. Faktori koji uti~u na propadanje analiziranih metalnih predmeta

88 CONSERVATION DIANA #13

INAPPROPRIATE POLLUTANTS ENVIRONEMENT CONDITIONS

CHARACTERISTICS AND CHARACTERISTICS AND THE STORAGE LOCATION THE STORAGE LOCATION

HEATING SYSTEM STORAGE OSCILLATIONS

WRAPPING

DETERRIORATION LACK OF OF CONSERVATION METAL OBJECTS PROGRAM

INAPPROPRIATE TRANSPORTATION REQUESTS THAT DO NOT REFFER TO RESPECTING THE APPROPRIATE CONSERVATION- AFTER HANDLING DIRT RESTAURATION PROCEDURES

LACK OF PROCEDURE

LACK OF CHARACTERISTICS DOCUMENTATION AND STORAGE LOCATION

CONSERVATION- HANDLING RESTAURATION TREATMENTS Fig. 4. The factors influencing the deterrioration of the analysed metal objects measurements with a thermo-hygrometer have shown the The storage windows overlook a street with busy traffic values of relative humidity from 30 to 75%, depending on and the highest pollution levels (just one kilometre from an the season, and the temperature fluctuates from 10 to 35°C. industrial area). Having in mind that the windows have been Daily and seasonal parameter fluctuations are noticeable changed this year, but do not seal perfectly, and that there and they are above the approved limits. These fluctuations is no special procedure for storage ventilation, there is the have been reduced somewhat by the installation of central increased danger of harmful gasses being present in the heating with the possibility of temperature adjustment. High storage area, which influence the appearance of corrosion. temperatures are noticeable during summer time. The in- Disinfection, deinsectation and deratization (since last creased relative humidity could initiate active corrosion. year) is carried out by a company that uses reduced quanti- The light intensity and ultra violet rays (i.e. the action ties of chemical means, which is safe for the museum objects of daylight) do not influence metal objects since almost all and the employees. The same company takes necessary are stored in cupboards and cardboard boxes. Artificial precautionary measures for pest and biological control. (neon) light is almost not introduced at all because of Although the windows and doors are not sealed and the having sufficient natural light. These parameters do not in- floor and walls are not in a satisfactory condition, we have fluence metal objects, apart from the fact that during sum- not noticed the presence of pests and insects that would mer months the storage temperatures become rather high. endanger the metal objects.

89 DIANA #13 KONZERVACIJA

ZBIRKE METALNIH PREDMETA ZADATAK AKtivnost Revizija Utvrditi brojno stanje predmeta, pregledati postoje}u dokumentaciju i dopuniti je Ustanoviti stanje predmeta Detaljno analizirati stanje prema utvr|enim formularima Napraviti plan i sastaviti spisak predmeta kojima je Detaljno ispitati predmete u postoje}im laboratorijskim neophodna detaljna analiza prema rezultatima pregleda uslovima; ukoliko je neophodno, obaviti analizu u drugim ustanovama; trebalo bi voditi fotodokumentaciju radi utvr|ivanja stanja predmeta

Napraviti plan po kojem }e se obaviti neophodni Obaviti odgovaraju}i konzervatorsko-restauratorski tretman konzervatorsko-restauratorski tretmani za predmete koji zahtevaju intervenciju prema planu prema rezultatima pregleda i rezultatima pregleda AMBIJENTALNI USLOVI I SME[TAJ Nabavka termohigrografa – obaviti analizu Neprekidno pratiti parametre u depou postoje}ih ambijentalnih uslova tokom godinu dana Kondicionirati predmete u depou Premestiti predmete u adekvatnu ambala`u Pobolj{ati ambijentalne uslove na osnovu analize Adaptirati postoje}i depo (adekvatne karakteristike i njihovog sistematskog merenja i oprema) i u taj depo smestiti predmete ili pripremiti depo na novoj, odgovaraju}oj lokaciji Ostvariti funkcionalni raspored u depou Pripremiti plan sme{taja predmeta Predvideti prostor za {irenje zbirke Proceniti veli~inu prostora za sme{taj novih predmeta (na osnovu procene kustosa) INSTITUCIONALNE MERE ZA[TITE Smanjiti rizik u vanrednim situacijama Pripremiti plan za vanredne situacije Pobolj{ati na~in rukovanja zbirkom Izraditi procedure za rukovanje predmetima, nabaviti odgovaraju}u opremu Ustanoviti re`im kontrole zbirke Pripremiti pravilnik za sprovo|enje kontrolnih pregleda Unaprediti rad konzervatorsko-restauratorske slu`be Nabaviti opremu; stru~no usavr{avanje Ustanoviti re`im pristupa zbirci Izraditi pravilnik pristupa zbirci

Tabela 2. Zadaci i aktivnosti za pobolj{anje stanja i smanjenje faktora rizika po metalne predmete metalne predmete, osim {to u letnjim mesecima tempera- deo njih sme{ten je neposredno u kartonske kutije ili na ture u depou dosti`u visoke vrednosti usled zra~enja. police. Taj vid pakovanja ne mo`e umanjiti spoljne uticaje. Prozori depoa okrenuti su ka jednoj od najprometnijih Promene na predmetima usled kontakta s materijalom za i najzaga|enijih ulica u gradu (koja je udaljena samo jedan pakovanje nisu prime}ene. Na osnovu analize ambala`e, to kilometar od industrijske zone). Prozori su ove godine za- jest na~ina pakovanja metalnih predmeta, zaklju~eno je da menjeni, ali nisu i posebno zaptiveni, a posebna procedura je ona delom adekvatna, ali i nepotpuna i nedovoljna u od- o provetravanju depoa ne postoji, pa se pojavljuje opasnost nosu na odgovaraju}e standarde, i da, kao takva, ne mo`e od pove}anog prisustva {tetnih gasova, onih koji izazivaju umanjiti negativne spoljne uticaje. Za obezbe|ivanje po- pojavu korozije. voljne mikroklime potrebna su manja finansijska ulaganja, Dezinfekciju, dezinsekciju i deratizaciju od pro{le go- a mere bi se mogle sprovesti tokom kra}eg perioda, pa bi ta dine obavlja preduze}e koje tretman sprovodi uz redukciju aktivnost bila prvi korak kojim bi se mogli povoljno izme- hemijskih sredstava; koriste se sredstva ne{kodljiva za mu- niti postoje}i uslovi. zejske predmete i radnike. U saradnji s tom firmom preduzi- Za{tita od vanrednih prilika odnosi se na za{titu od po- maju se i preventivne mere za kontrolu {teto~ina i biolo{ku `ara i utvr|ena je pravilima vatrogasne slu`be, bez poseb- kontrolu. Iako prozori i vrata nisu zaptiveni, a pod i zidovi ne procedure o za{titi predmeta u takvom slu~aju. U sused- se nalaze u lo{em stanju, do sada nije prime}eno prisustvo nom depou nalazi se aparat za ga{enje po`ara na bazi praha {teto~ina i insekata koji bi ugro`avali metalne predmete. pod pritiskom. Aparate na bazi suvog praha pod pritiskom, Najve}i deo predmeta upakovan je u polietilenske kesi- koji su najvi{e u upotrebi u na{im muzejima, trebalo bi iz- ce, a zatim u kartonske kutije. U kutijama se naj~e{}e nala- begavati, s obzirom na to da je u slu~aju ekscesa gotovo ne- zi veliki broj predmeta, za koje, osim polietilenskih kesica, ne mogu}e ukloniti prah s predmeta. Posebnu pa`nju trebalo postoji posebno obezbe|enje u pogledu podr{ke i stabilnosti, bi obratiti na postoje}e elektri~ne instalacije. Ne postoji po- {to naro~ito mo`e izazvati strukturne promene. Neki pred- sebna procedura ili obezbe|enje u slu~aju drugih ekscesnih meti dodatno su uvijeni u pamu~nu ili papirnu vatu. Manji situacija.

90 CONSERVATION DIANA #13

Most objects are packed in polyethylene bags and then procedures for the protection of objects in this case. In the in cardboard boxes. In most boxes there are a large number next storage there is a dry powder fire extinguisher opera- of objects, and except for the polyethylene bags they have ting under pressure. Such apparatuses ought to be avoided no other protection to support the stability and significantly because in the event of an accident it is almost impossible to reduce structural changes. Some objects are additionally remove the powder from the objects. Special attention ought wrapped into cotton or paper wadding. A small number of to be paid to the existing electrical installations. There is no these are directly placed in cardboard boxes or on shelves. special procedure or security in case of other accidents. This kind of packing cannot prevent external influences. The object may change as a result of direct contact with the SUGGESTIONS AND DISCUSSION wrapping material. By analysing the wrapping material (i.e. The tasks and activities for improving the condition and the way in which metal objects have been packed), it has reduction of risk factors to metal objects cannot be consi- been concluded that it is partially appropriate but incom- dered as an isolated system, since they present a whole with plete and inadequate to fulfil necessary standards, and as other materials found in the storage. Besides metal objects, such cannot absorb negative external influences. In order to here are also objects made of ceramics, but objects of orga- provide a satisfactory microclimate some minor financial nic origin and stone are stored elsewhere. investment is necessary as well a small period of time to In further consideration, a series of actions and tasks implement the changes. This action would present the first are suggested in order to improve the condition of metal step to satisfactorily modify existing conditions. objects and their protection and also to improve their sto- Protection from extraordinary circumstances refers to rage conditions. Some measures could be applied at the le- protection against fire, and it has been established according vel of the whole storage, but for some actions the presence to the rules of the fire protection service, without separate of other material, for which considerable analysis has to be

Table 2. Tasks and activities for improving the condition and reduction of risk factors to metal objects

METAL OBJECT COLLECTIONS TASK ACTIVITY Revision Confirm the number of objects, consider and make additions to the existing documentation Confirm the object condition Detailed condition analyses as per established forms Make the plan and list of objects that need the detailed It is necessary to make the detailed analyses of objects in the analyses considering the analyses results existing laboratory conditions; and if necessary to make the check up in other institutions; the photo documentation ought to be led in order to establish the facts of the object condition

Make the plan for performance Perform the appropriate conservation of the necessary conservation – – restauration treatment for objects requiring the intervention restauration treatments considering the check up results as per plan and check up results

ENVIRONMENT CONDITIONS AND STORAGE Purchase of thermohygrograph Continiously monitor the parameters – analyses of the existing environment conditions in the storage in the time limit of one year Conditioning the objects in the storage Transfer to appropriate wrapping material Impove the environment conditions Transfering the objects into the existing storage, adjusted based on the analyses and their systematic measurements refference to appropriate characteristics and equipment or organize the storage on the new appropriate location Accomplish the functional schedule in the storage Preparing the plan for placing the objects Forsee the space for expanding the collection Make an estimation of space size for storing the new objects (curator estimation)

INSTITUTIONAL PROTECTION MEASURES

Reduce the risk in extraordinary situations Prepare the plan for extraordinary situations Improve the handling of the collection Make the procedure for handling the objects as well as purchase of appropriate equipment for this need Establish the system of the collection control Prepare the book of rules how to carry out the controlled check ups Improving the operation of the conservation-restauration service Purchasing the equipment and professional training Determine the conditions for approaching the collection Prepare the book of rules of how to approach the collection

91 DIANA #13 KONZERVACIJA

PREDLOZI I DISKUSIJA predmeta, tu su jo{ i predmeti od keramike, dok se predmeti Aktivnosti kojima bi se pobolj{alo stanje metalnih predme- organskog porekla i oni od kamena nalaze u drugom depou. ta i smanjili faktori rizika po njih ne mogu se posmatrati kao U tabeli 2 dat je niz aktivnosti i zadataka ~iji je cilj po- izolovan sistem, jer ti predmeti ~ine neraskidivu celinu sa bolj{avanje stanja metalnih predmeta i njihove za{tite, kao i ostalim materijalom u arheolo{kom depou. Pored metalnih uslova u kojima se predmeti nalaze. Pojedine mo`emo pri- meniti na nivou celog depoa, dok se prilikom sprovo|enja nekih aktivnosti mora uzeti u obzir i postojanje drugog ma- terijala, za koji se mora obaviti opse`na analiza. Ovde su na- vedeni zadaci i aktivnosti bez oznake prioriteta i bez sme- {tanja u vremenski okvir, budu}i da je za to potrebna analiza celokupnog arheolo{kog materijala u depou, kao i procena rizika po predmete i odre|ivanje prioriteta. Tabela 2 organi- zovana je prema nivoima za{tite; u njoj nisu navedena po- trebna finansijska sredstva, kao ni stru~njaci i ostali zaposle- ni koji bi sproveli navedene aktivnosti ({to bi se odnosilo na kustose, konzervatore, tehni~ku slu`bu, upravu muzeja i pravnu slu`bu). Za neke od predlo`enih zadataka neophod- no je anga`ovati i stru~njake iz drugih oblasti i institucija. Analiza stanja metalnih predmeta i izrada primenje- nog formulara mogu poslu`iti kao uzor za analizu stanja celokupne arheolo{ke zbirke. Po istom principu, uz izvesna prilago|avanja, mogu se obavljati i analize drugih zbirki u muzeju, a zatim i redovni kontrolni pregledi. Na taj na~in postigla bi se znatna efikasnost u radu muzeja, ostvarili bi se uslovi za sprovo|enje odgovaraju}ih projekata, ali i ekonom- ska u{teda, dok bi predmeti istovremeno dobili stru~nu i ade- kvatnu za{titu, {to je jedna od osnovnih funkcija muzeja. „

Autor se zahvaljuje na stru~noj pomo}i Aleksandri D`iki}-Nikoli}, konzervatoru Odeljenja za preventivnu za{titu „Dijana“, Narodnog muzeja u Beogradu

Skala Predlo`eni tretman Stepen 0 Stepen 1 Stepen 2 Stepen 3

Tretman nepotreban Tretman po`eljan Tretman potreban Tretman urgentan Konzervacija na dan analize stanja – dugoro~ni plan – srednjoro~ni plan – kratkoro~ni plan

Tretman nepotreban Tretman po`eljan Tretman potreban Tretman urgentan Rekonzervacija na dan analize stanja – dugoro~ni plan – srednjoro~ni plan – kratkoro~ni plan

Tretman nepotreban Tretman po`eljan Tretman potreban Tretman urgentan Restauracija na dan analize stanja – dugoro~ni plan – srednjoro~ni plan – kratkoro~ni plan

Ispitivanje neophodno Ispitivanje neophodno Ispitivanje Nema potrebe za Ispitivanje za potrebe restauracije, za potrebe konzervacije, (mati~ni muzej) specifi~nim ispitivanjima – dugoro~ni plan urgentno urgentno Ispitivanje neophodno Ispitivanje neophodno Ispitivanje Nema potrebe za Ispitivanje za potrebe restauracije, za potrebe konzervacije, (druga ustanova) specifi~nim ispitivanjima – dugoro~ni plan urgentno urgentno Izrada Izrada Izrada Nema potrebe za fotodokumentacije fotodokumentacije fotodokumentacije Fotodokumentacija dodatnom predmeta neophodna predmeta neophodna predmeta neophodna foto-dokumentacijom na svakih pet godina na tri godine svake godine Neophodno adekvatno Nema potrebe za Neophodno adekvatno Neophodno pobolj{anje pakovanje Preventivna za{tita dodatnim zahtevima pakovanje ambijentalnih uslova i pobolj{anje ambijentalnih uslova

Tabela 3. Rangiranje predlo`enih tretmana prema hitnosti izvr{enja, odnosno prema stanju metalnog predmeta

92 CONSERVATION DIANA #13

Scale Suggested treatment Stepen 0 Stepen 1 Stepen 2 Stepen 3 Treatment not necessary Treatment desired Treatment necessary Treatment urgent Conservation on the day of condition – long term plan – medium term plan – short term plan analyses

Treatment not necessary Treatment desired Treatment necessary Treatment urgent Repeated conservation on the day of condition – long term plan – medium term plan – short term plan analyses

Treatment not necessary Treatment desired Treatment necessary Treatment urgent Restauration on the day of condition – long term plan – medium term plan – short term plan analyses

Analyses No need for specific Analyses Analyses necessary Analyses necessary for (museum itself) analyses – long term plan for restauration, urgent conservation, urgent

Analyses No need for specific Analyses Analyses necessary Analyses necessary for (another institution) analyses – long term plan for restauration, urgent conservation, urgent

Photo documentating Photo documentating Photo documentating No need for additional Photo documentation of the object necessary of the object necessary of the object necessary photo documentation every five years every three years every one year

Appropriate packing Necessary improvement No need for additional Appropriate packing necessary as well as Preventive conservation of environement requirements necessary improvement of conditions environement conditions

Table 3. Ranking the suggested treatments as per its urgency i.e. metal object condition

made, must be considered. Here are given tasks and actions without priority designation and time limits, having in mind that for this the analysis of all stored archaeological material is necessary. Table 2 is organized according to levels of protection, and the necessary financial parameters and necessary human resources (i.e. curators, conser- vators, technical staff, museum management and legal department) are not presented. For some tasks suggested it is necessary to engage professionals from other fields and institutions. The analysis of metal object conditions as well the ne- cessary forms for this need, could be implemented into the analysis of the whole archaeological collection condition. By the same principle, the analyses of other collections in this museum could be made with some modifications, fol- lowed by regular check ups. In this way a higher operational efficiency of the museum could be reached as well as pro- viding conditions to fulfil appropriate projects. There would also be economic savings, while at the same time the objects would receive appropriate professional protection, which is one of the basic museum functions. „

The author wishes to express his gratitude to Aleksandra D`iki}-Nikoli}, conservator of Department for Preventive Conservation „Diana“, National Museum in Belgrade.

93 DIANA #13 EDUKACIJA I STRU^NI SKUPOVI

Marija RADIN, konzervator saradnik Odeljenja za preventivnu za{titu Dijana, Narodni muzej u Beogradu

PREVO\ENJE TEZAURUSA BAZE PODATAKA EROS NA SRPSKI JEZIK

ODELJENJE ZA PREVENTIVNU ZA[TITU Dijana Narod- nog muzeja u Beogradu i Francuski kulturni centar u Beo- -restauratorskih podataka izme|u institucija kulture (Open gradu ve} nekoliko godina sprovode projekte stru~nih usa- Source Multilingual Research System for Image Content Re- vr{avanja muzealaca iz Srbije u kulturnim institucijama u trieval dedicated to Conservation-Restoration exchange bet- Francuskoj. Saradnja izme|u ovih institucija stvorila je mo- ween Cultural Institutions). gu}nost za zaposlene i saradnike Odeljenja Dijana da reali- Evropska zajednica je 1990. godine finansirala projekat zuju vi{emese~ne sta`eve u muzejima i konzervatorskim pod nazivom NARCISSE (Network of Art Research Computer centrima i laboratorijama. U jesen 2007. provela sam dva me- Image Systems in Europe). On je bio osmi{ljen kao vi{ejezi~- seca u Centru za istra`ivanje i konzervaciju muzeja Fran- na baza podataka (osam evropskih jezika) za dokumentaciju cuske C2RMF (Centre de Recherche et de Restaurations des muzejskih konzervatorskih radionica (laboratorija) koje se Musées de France) u Parizu, gde mi je zadatak bio da prevo- bave konzervacijom i restauracijom slika na platnu. Nastao dim termine tezaurusa baze podataka EROS na srpski jezik. je kao rezultat potreba konzervatora da istra`uju, klasifiku- Centar je osnovan 1998. godine spajanjem Istra`iva~- ju i razmenjuju podatke. Cilj je bio da se u bazu NARCISSE ke laboratorije Direkcije muzeja Francuske i Konzervator- smeste svi izve{taji, ~lanci i komentari o kulturnim dobri- ske slu`be Direkcije muzeja Francuske. Centar ~ine ~etiri ma koja su pro{la kroz laboratorije konzervatorsko-restau- odeljenja – Laboratorija, Konzervacija, Preventivna za{tita i ratorskog odeljenja muzeja Luvr od nastanka odeljenja Dokumentacija. Tokom sta`a u Odeljenju za dokumentaciju 1931. godine, kao i svaka digitalizovana fotografija ili radi- ostvarila sam dobru saradnju sa @enevjev Etken (Geneviève ografski snimak, dosije svake konzervatorske intervencije i Aitken), {efom Odeljenja za dokumentaciju, i Ruvenom Pi- obavljene fizi~ko-hemijske analize. lejem (Ruven Pillay), programerom i glavnim administra- C2RMF je 2001. godine konstruisao EROS,1 bazu po- torom sistema EROS. dataka s mnogo ve}im kapacitetom. EROS je dizajniran za EROS (European Research Open System) jeste otvorena potrebe muzejskih i istra`iva~kih konzervatorskih radioni- baza podataka, odnosno otvoren vi{ejezi~ni sistem za pretra- ca (laboratorija), kako bi se efikasno koristila velika koli~ina `ivanje sadr`aja slika, posve}en razmeni konzervatorsko- podataka, pre svega vi{ejezi~kih metapodataka (uklju~uju}i i one na ruskom, japanskom, arapskom, {panskom, italijan- skom, gruzijskom, estonskom jeziku), kao i kolorimetrijski i multispektralni snimci veoma visoke rezolucije. Zasad je 300.000 fotografskih i radiografskih snimaka, 10.000 tehni~kih izve{taja, 500 trodimenzionalnih objeka- ta i 200.000 analiza 56.000 umetni~kih dela2 dostupno u digitalnoj formi, putem Interneta, svim institucijama u siste- mu muzeja Francuske, kao i svim onim stranim dr`avama iz ~ijih su institucija muzejski profesionalci preveli na mater- nji jezik bazi~ni tezaurus, to jest re~nik osnovnih pojmova. EROS je sistem kompletno otvorenog koda i dostupan pod GNU-ovom op{tom javnom licencom3 (engl. GNU Ge- neral Public License; skra}eno GNU GPL ili samo GPL). Ba- zira se na vode}em industrijskom softveru – Linux, Apache, MySQL, PHP. Baza EROS svojim domenom obuhvata keramiku, fo- tografiju, {tampu, crte`, organske materijale, metal, slike

1] U saradnji sa Hewlett-Packardom, koji je pru`io logisti~ku podr{ku. 2] 14th Triennial Meeting The Hague, 12–16 September 2005, ICOM Committee for Conservation, Vol. I, 16. 3] GNU-ova op{ta javna licenca {iroko je kori{}ena licenca za slobodni softver; prvobitno ju je napisao Ri~ard Stolman za potre- be projekta GNU. To je licenca koja se koristi za Linuks.

94 EDUCATION AND PROFESSIONAL MEETINGS DIANA #13

Marija RADIN, conservator Associate of the Departmant for preventive conservation Diana, National Museum in Belgrade

TRANSLATING THE THESAURUS OF THE EROS DATABASE INTO SERBIAN

THE DEPARTMENT for Preventive Conservation Diana, National Museum in Belgrade, together with the French works of art2 are thus far available in digital form, on the Cultural Centre in Belgrade have been conducting for several Internet, to all institutions within the system of museums years projects for professional training of Serbian museum in France. They are also available to all foreign countries from experts in cultural institutions of France. The cooperation whose institutions museum professionals have translated between the two institutions has given the employees and into their mother tongues the basic thesaurus i.e. the dic- associates of Diana an opportunity for receiving months- tionary of basic terminology. long internships in centres for conservation and laborato- EROS is a system of a completely open code, available ries. In the autumn of 2007, I spent two months at the Re- within the GNU general public licence3 (abbreviated either search and Conservation Centre of French Museums C2RMF as GNU GPL or simply GPL). It is based on the leading in- (Centre de Recherche et de Restaurations des Musees de France), dustrial software – Linux, Apache, MySQL, PHP. in Paris, where I was given a task to translate terms from EROS database encompasses ceramics, photography, the thesaurus of the EROS database into Serbian. prints, drawings, organic materials, metal, canvas paintings, The Centre was established in 1998 by the merge of stone, minerals, i.e. sculptures, textile, and glass. However, the Research Laboratory of the French Museums’ Manage- upon the first glance, it is apparent that most of the data is ment and the Conservation Office of the French Museums’ currently dedicated to canvas paintings. Management. The Centre consists of departments – the In the EROS database, data are primarily divided into Laboratory, Conservation, Preventive Protection, and Docu- three main groups – data on the very work of art, data on mentation. During the course of my internship at the recordings, and documents about cultural heritage. Each of Department for Documentation I have established a close the general categories is divided into several more exact cooperation with Genevieve Aitken, Head of the Department, and elaborate subcategories, the details about all as well as with Ruven Pillay, programmer and chief admi- subcategories being available to database users. The main nistrator of the EROS system. groups are: EROS (European Research Open System) is an open data- – Museum and historical data, as well data on materials base, i.e. an open multilingual research system for image of which works of art are made – the title, the author’s name, content retrieval, dedicated to conservation-restoration ex- school, where it was made, dimensions, dating, materials, change between cultural institutions. techniques, commentaries on the support material or the In 1990 the European Community funded a project by used technique, locations, marks, signatures and seals, the the name of NARCISSE (Network of Art Research Computer place where the conservational treatment was conducted, Image Systems in Europe). It was designed as a multilingual the owner, the place where the object was discovered, the database (in eight European languages) for documenting information about the acquisition, the internal C2RMF museum conservation workshops (i.e. laboratories) whose number, the C2RMF dossier number, the state in which activity is conservation and restoration of canvas paintings. the object is, bibliography, the date of the entry, the data The objective was to archive within NARCISSE all reports, on the author of the entry; articles and commentary on cultural heritage treated in the – Technical data on photodocumentation, i.e. the data laboratories of the Conservation-Restoration Department regarding every type of recording (photographic, digital, or at Louvre ever since its opening in 1193, as well as all digi- radiographic) of a work of art – the technique of examina- talised photographs, radiographic recordings, dossiers on tion, the type of a recording, technical data on a recording, all conservation interventions and performed physicoche- the dating of a recording or video, the photographer’s name, mical analyses. the purpose of a recording, the place where a recording was In 2001 C2RMF constructed EROS1, a database with a archived, the owner and his place of domicile, whether it is an considerably larger capacity. EROS was designed for the needs of museum and research conservation workshops (i.e. laboratories) in order to handle efficiently a substantial 1] In cooperation with Hewlett-Packard, which provided amount of data, mainly multilingual methadata (including logistical support data in Russian, Japanese, Arabic, Spanish, Italian, Georgian, 2] 14th Triennial Meeting The Hague, 12–16 September 2005, Esthonian languages) as well as the ultrahigh resolution co- Icom Committee for Conservation, Vol. I, 16 lorimetric and multispectral imaging. 300.000 photographic 3] The GNU general public licence is a widely used licence and radiographic images, 10.000 technical reports, 500 for free software. It was originally written by Richard Stallman for three-dimensional objects, and 200.000 analyses of 56.000 the needs of GNU Project. This licence is used for Linux.

95 DIANA #13 EDUKACIJA I STRU^NI SKUPOVI na platnu, kamen i minerale, to jest skulpture, tekstil i sta- EROS je konstruisan kao vi{ejezi~na baza podataka ra- klo. Ipak, na prvi pogled jasno je da je trenutno najvi{e po- di uspe{ne komunikacije izme|u profesionalaca. Termini dataka posve}eno upravo slikama na platnu. za prevo|enje grupisani su u tri pomenute kategorije: mu- U bazi EROS podaci su podeljeni, pre svega, u tri osnov- zeolo{ki i istorijski podaci i podaci o materijalima, tehni~ki ne grupe: na podatke o samom umetni~kom delu, podatke o podaci o fotodokumentaciji i tehni~ki podaci o dokumenti- snimcima i izve{taje i dokumente o kulturnim dobrima. Sva- ma. Svaka od tih kategorija podeljena je u vi{e potkategori- ka od tih uop{tenih kategorija podeljena je na vi{e preciznijih ja, a termini koji pripadaju svakoj potkategoriji prevodiocu i detaljnijih potkategorija, a pojedinosti o svakoj od potkate- su ponu|eni u formi tabele. Svi termini koji se odnose na gorija lako su dostupne korisniku baze. Osnovne grupe su: jednu kategoriju, na primer na kategoriju podloge (od poj- – muzeolo{ki i istorijski podaci i podaci o materijalima ma lan do pojma {raf ili lepak za drvo), slo`eni su u poseb- od kojih su izra|ena kulturna dobra – naslov, ime umetni- nu tabelu i svaki termin ima svoj kod ili {ifru. Klikom na taj ka, {kola, mesto nastanka, dimenzije, datiranje, materijali, kod pojavljuje se padaju}i meni koji sadr`i listu prevoda tog tehnike, komentari o podlozi ili tehnici izrade, lokacija, oz- termina na nekoliko jezika koji postoje u bazi. Upravo taj nake, potpisi i pe~ati, mesto obavljanja konzervatorskog tret- vi{ejezi~ki tezaurus poma`e prevodiocu ukoliko postoji ne- mana, vlasnik, mesto na kojem je otkriveno, podaci o akvi- doumica u vezi s nekim zna~enjem, jer se mo`e proveriti ziciji, C2RMF interni (radni) broj, broj dosijea C2RMF-a, kako je termin preveden na neki drugi jezik. Meni je od stanje u kojem se nalazi, bibliografija, datum unosa poda- najve}e koristi bila engleska terminologija. Tako|e, baza taka, podaci o autoru unosa; podataka EROS omogu}uje i spoznaju {ireg konteksta u ko- – tehni~ki podaci o fotodokumentaciji, to jest o sva- jem se koristi neki termin. Pomo}u funkcija za pretra`i- kom snimku nekog dela (fotografskom, digitalnom ili radi- vanje svih tekstova u bazi na osnovu kori{}ene terminolo- ografskom) – tehnika ispitivanja, tip snimka, tehni~ki po- gije prevodilac mo`e da dobije na uvid svaki dokument, daci o snimku, datiranje snimka ili filma, ime fotografa, konzervatorski dosije, ~lanak ili opis umetni~kog dela u ko- svrha snimka, mesto arhiviranja snimka, vlasnik i njegova jem se dati termin koristi. Uvidom u {iri kontekst u kojem lokacija, da li je re~ o originalu ili kopiji, kanali boja, poda- se koristi neka re~ sti~e se i bolje razumevanje zna~enja tog ci o unosu u bazu, to jest vreme i ime osobe; termina. Dakle, prevo|enje tezaurusa EROS-a olak{ano je – tehni~ki podaci o dokumentima – identifikacioni broj samom strukturom i funkcijama baze. dokumenta, tip dokumenta, vreme nastanka i ime autora iz- Pored francuskog, najzastupljeniji jezik u bazi jeste ve{taja, eventualne napomene, naslov, sastavni elementi pod- engleski. Iako su neki termini prevedeni i na vi{e od deset loge, izmene na bojenom sloju, intervencije na podlozi, inter- jezika, ni za jedan jezik nije ura|en kompletan prevod svih vencije na bojenom sloju, tehni~ka bibliografija, ISSIN/ISBN, termina. institucija, to jest vlasnik dokumenta, mesto arhiviranja Moj boravak je bio previ{e kratak ~ak i za prevo|enje dokumenta, podaci o datumu i autoru unosa. polovine tezaurusa baze. Zato smo @. Etken, R. Pilej i ja na- Pored tih osnovnih kategorija, koje se nalaze u prvom pravili izbor osnovnih kategorija koje je trebalo da preve- planu, postoji jo{ nekoliko va`nih grupa podataka: dem. Prevode sam unosila na }iliri~kom pismu. Prvo sam – kategorija o preme{tanju kulturnog dobra – razlozi za prevela termine interfejsa cele baze podataka. Iz svake od preme{tanje, administracija, to jest zahtev, navo|enje tri glavne kategorije izdvojili smo grupu najop{tijih termi- odgovornih osoba, izve{taji i sli~no; na – u vezi s podlogom, bojenim slojem, izmenama nasta- – kategorija o preventivnoj za{titi predmeta; lim na podlozi i bojenom sloju, tehnikama i metodama kon- – kategorija o analizama i uzorcima; zervacije, tehnikama i aparatima za snimanje i tipovima – zahtev za obavljanje konzervacije; filma, vrstama i tipovima dokumenata i izve{taja. Pri kraju – logisti~ka potpora, odnosno kori{}eni softver. sta`a po~ela sam da prevodim na srpski jezik listu od 300 Kori{}enje i pretraga baze izuzetno su laki. Na po~et- najzastupljenijih naslova u bazi EROS. Sve je to ura|eno da noj strani nalaze se tri izdvojene celine. U prve dve nalaze bi se dalje prevo|enje u najve}oj meri olak{alo i ubrzalo, s se polja za odabir jezika na kojem }e se podaci ~itati, za obzirom na to da }e ono biti izvedeno putem Interneta. Tek odabir domena ili kategorije objekta (na primer: slika na prevo|enje kompletne terminologije tezaurusa baze EROS platnu, skulptura, metal itd.), `eljenog tipa i formata doku- omogu}i}e automatsku zamenu svih originalnih termina menta (tabela, samo slika, HTML format, hronolo{ki redo- srpskim terminima u svim postoje}im dokumentima koji sled itd.); broj rezultata pretrage mo`e se ograni~iti. Zatim su uneti u bazu. slede tri tabele osnovnih kategorija po kojima se obavlja Svrha tog prevo|enja jeste da stru~njaci u Srbiji mogu pretraga – podaci o kulturnom dobru, o snimcima i podaci da pristupe bazi podataka EROS i da je koriste, {to, pre sve- o dokumentima. Pored svake od tih kategorija nalazi se iko- ga, podrazumeva: na za padaju}i meni, na kojem su ponu|ene opcije ograni- – mogu}nost pristupa informacijama na srpskom jezi- ~ene izborom domena, to jest kategorije objekta. Da bi pro- ku iz ustanove sa savremenim istra`iva~kim i kon- ces pretrage baze otpo~eo, dovoljno je da se unese podatak zervatorskim laboratorijama; o tra`enom delu u bilo koje od tih polja i da se klikne ko- – olak{avanje i podsticanje potencijalne profesionalne manda za pretragu (ili tipka enter). Dobijeni rezultati opet saradnje; su podeljeni u tri glavne kategorije i korisnik bira ono {to – mogu}nost kori{}enja baze EROS kao velikog upo- mu je potrebno, na primer izve{taj o konzervatorskoj inter- rednog profesionalnog re~nika stru~ne terminologije venciji ili tehni~ke podatke o tipu snimka. na nekoliko svetskih jezika.

96 EDUCATION AND PROFESSIONAL MEETINGS DIANA #13 original or a copy, the colour channels, the data regarding tabase texts, the translator can get an insight into every the base entry, i.e. who made the entry and when; document, conservation dossier, article, or the description – Technical data regarding documents – identification of a work of art in which the given term was used. By this number of a document (document ID), document type, the insight into the broader contexts of its use, we gain a better time of creation and name of the report’s author, possible understanding of the term’s meaning. Therefore the tran- comments, the title, original elements of the support, pain- slation of the EROS thesaurus is facilitated by the data- ted layer alteration, support restorations, interventions on base’s very structure and functions. the coloured layer, technical bibliography, ISSIN/ISBN, in- With the exception of French, the English language is stitution, i.e. the document’s owner, where it was archived, the most present within the base. Although some termino- the data regarding the date of the entry and its author. logy has been translated into more than ten languages, the Apart from the basic categories, included in the first complete translation of all terms has not yet been performed plan, there are several more data groups: for any of the languages. – The category of the transfer of objects – the reasons for My stay in Paris was of such brevity that I was not able the transfer, administration, i.e. the motion, naming to translate even half of the database thesaurus. Therefore the persons in charge, reports, and similar; J. Eiken and I made a selection of the basic categories that – The category of preventive conservation of objects; I was supposed to translate. I entered the translations in – The category of analyses and specimens; Cyrillic. First I translated the interface terminology of the – The request to perform conservation; entire database. From all of the three main categories we – The logistical support, i.e. the utilised software. selected a group of the most general terms – regarding sup- Using and searching the database is rather simple. port materials, painted layer, the changes made on the sup- There are three separate wholes on the opening page. In the port an the painted layer, conservation techniques and first two there are fields for choosing the language in which methods, recording techniques and devices, types of film, the data will read, for choosing the object domain and types of documents and reports. At the end of my intern- category (for instance: canvas painting, sculpture, metal, ship I started translating into Serbian a list of 300 most nu- etc.), the desired type and format of a document (i.e. tables, merous titles in the EROS database. This was all performed the painting only, HTML format, chronological order, etc). to maximally facilitate and expedite further translations, The number or search results can be limited. Then follow for it will be conducted through the Internet. The transla- three tables with main categories on the basis of which the tion of the entire terminology of the EROS thesaurus data- search is conducted – the data about the work of art and re- base will enable automatic replacement of all original terms cordings as well as the data about the documents. Next to with terms in Serbian in all existing documents, which are every of the three categories there is a dropping menu icon, entered into the database. which offers options limited by choice of the domain, i.e. The aim of this translation is to enable the access of Ser- the object’s category. To initiate the search process it is suf- bian experts to the EROS database, which chiefly includes: ficient to enter the information about the needed piece in – The possibility to access the data from an institution any of the three fields and click the search control (or the with contemporary research and conservation labo- enter key). The obtained results are again divided into three ratories, in Serbian language; main categories and the user chooses the ones he or she – The facilitation and stimulation of potential profes- needs – for instance the report on the conservation inter- sional cooperation; vention or technical information on the type of recording. – The possibility to use the EROS database as a com- EROS is constructed as a multilingual database for prehensive professional dictionary of technical ter- successful communication amongst professionals. The ter- minology in several world languages. minology due to be translated is divided into three abo- What is needed for the use of EROS in Serbia? To access vementioned groups: museological, historical, and the data via the Internet that level of the database that allows ente- on materials; technical data on photo documentation; and ring changes into the thesaurus, the administrator’s per- technical data on the documents. Each of the categories is mission and some technical requirements, such as a fixed divided into several subcategories, whilst the terms IP address, are needed.4 A cultural Institution from Serbia belonging to every subcategory are offered to the translator establishes cooperation with C2RMF and is assigned a user as tables. All terminology relating to one category – the name and password for Internet access to the database. And support category (from the word linen, to the words bolt or ultimately, to ensure that the translation of the terms is wood glue) – is sorted in a separate table and every term has correct, a close cooperation is established among the tran- its own name and code. By clicking the code a dropping slator and the database administrators and conservers spe- menu appears which contains a list of its translations into cialised for all materials, as well as with other experts in the several languages existing within the database. This parti- field of physico-chemical analyses, techniques of photo- cular multilingual thesaurus aids the translator if certain graphing, etc. The internship has offered me an insight senses are unclear, because he can check how the term translates into another language. For me English terminolo- gy was of the utmost importance. Furthermore, the EROS 4] The IP address is a unique number that registers the Inter- database enables cognition of a broader context in which a net presence of a particular device at a given moment, by using the given term is used. By using functions for searching all da- Internet protocol.

97 DIANA #13 EDUKACIJA I STRU^NI SKUPOVI

[ta je potrebno da bi se EROS koristio i u Srbiji? Da bi Princip po kojem je EROS napravljen sveobuhvatan je, se putem Interneta pristupilo onom nivou baze na kojem je funkcionalan i lak za kori{}enje, pa zato mo`e da poslu`i dozvoljeno uno{enje izmena u tezaurus, potrebna je dozvo- kao model za konstruisanje nekih drugih baza u budu}no- la administratora, uz neke tehni~ke pretpostavke, kao {to je sti. Smatram da su zaposleni u C2RMF veoma zaintereso- fiksna IP adresa.4 Kulturna institucija iz Srbije uspostavlja vani za stru~nu saradnju i razmenu iskustava. Konstrui- saradnju sa C2RMF i dobija korisni~ko ime i lozinku za pri- sanje tako obimne baze podataka i njeno funkcionisanje stup bazi putem Interneta. I, na kraju, da bi prevod termi- najbolja su preporuka za ulogu savetodavca. „ na bio ta~an, neophodna je bliska saradnja prevodioca i ad- ministratora baze s konzervatorima specijalizovanim za sve materijale, kao i s drugim stru~njacima iz oblasti fizi~ko- 4] IP adresa je jedinstven broj kojim se registruje prisustvo hemijskih analiza, tehnika fotografisanja itd. Sta` mi je pru- odre|enog ure|aja na Internetu u datom trenutku, uz kori{}enje `io uvid u na~in funkcionisanja obimne baze podataka. Internet protokola.

Danijela STOJILJKOVI], konzervator Nata{a KRSTI], konzervator saradnici Odeljenja za preventivnu za{titu Dijana, Narodni muzej u Beogradu

POSETE DEPOIMA ARHEOLO[KOG MATERIJALA U FRANCUSKOJ

ODELJENJE ZA PREVENTIVNU ZA[TITU Dijana Narod- nog muzeja u Beogradu ve} nekoliko godina aktivno sara- na na~in funkcionisanja u tom depou.1 Obra|ivan je mate- |uje s Francuskim kulturnim centrom u Beogradu u spro- rijal sa ovogodi{njih sistematskih iskopavanja2 U depou su vo|enju edukativnih programa u oblasti preventivne obavljani trija`a, klasifikacija, inventarisanje, kondicioni- za{tite, konzervacije i restauracije kulturnih dobara. Kao ranje i odlaganje pokretnog arheolo{kog materijala pristi- dugogodi{njim saradnicima Dijane i stipendistima francu- glog s terena.3 ske vlade, bilo nam je omogu}eno stru~no usavr{avanje iz Nakon zavr{ene trija`e i sortiranja po vrsti sav materi- oblasti preventivne i arheolo{ke konzervacije. jal pakuje se u polietilenske4 kesice s nazna~enim jedin- Sta` Nata{e Krsti} u Laboratoriji za konzervaciju, re- stvenim brojem US,5 koji se unosi u bazu podataka. Tako stauraciju i istra`ivanja Arheolo{kog centra u Varu (Labo- obra|en materijal dalje se raspore|uje u odgovaraju}u am- ratoire de Conservation Restauration et de Recherches du bala`u, u zavisnosti od vrste i sektora kojem pripada. Staklo Centre Archéologique du Var) trajao je tri meseca, od okto- i metal odla`u se u hermeti~ki zatvorene polipropilenske bra do decembra 2007. godine. transparentne kutije, a keramika se, s obzirom na koli~inu, Danijela Stojiljkovi} je od 3. do 21. septembra 2007. godine sta`irala na arheolo{kom lokalitetu Marijana na Korzici, u okviru projekta Laboratorije za srednjovekovnu 1] Depo je privremenog karaktera i nalazi se u prizemlju pri- vatne ku}e, a zgrada u koju }e predmeti biti trajno sme{teni jo{ uvek arheologiju na podru~ju Mediterana, Mediteranski centar nije renovirana i opremljena na odgovaraju}i na~in. dru{tvenih nauka (C.N.R.S. – Laboratoire d’Archéologie 2] Re~ je o vi{egodi{njim sistematskim iskopavanjima rimske Médiévale Méditerranéenne, Maison Méditerranéenne des kolonije koja je osnovana u I veku p. n. e. i u diskontinuitetu na- Sciences de l’Homme). Drugi deo obuke odvijao se u depou seljavana do XIII veka n. e. Ove godine obavljena su istra`ivanja u Le Miju (Le Muy), region Var, od 2. do 18. oktobra 2007. ju`nog dela anti~kog grada, paleohri{}anskog episkopskog kom- godine i podrazumevao je u~e{}e u programu kondicioni- pleksa i jo{ nekoliko manjih konstrukcija. ranja materijala s razli~itih arheolo{kih lokaliteta. 3] Po preporuci @aka Ribijera, od pro{le godine i na terenu se Na{a stru~na usavr{avanja organizovao je @ak Ribijer koriste polipropilenske kutije modularnog tipa, {to umanjuje uti- (Jacques Ribière), mentor, direktor Laboratorije za konzer- caj klimatskih faktora na arheolo{ke predmete (nagle promene re- vaciju, restauraciju i istra`ivanja u Draginjanu Arheolo- lativne vla`nosti i temperature, prisustvo svetla i aerozaga|enja itd.) od njihovog va|enja iz zemlje do trenutka kada se trajno kon- {kog centra regiona Var. U toku sta`iranja imale smo prili- dicioniraju. Kutije se tako|e mogu koristiti u kombinaciji s polieti- ku da posetimo nekoliko depoa arheolo{kog materijala. lenskim zip kesicama, {to je neophodno kada je re~ o fragilnom materijalu, poput stakla i metala. Depo na arheolo{kom lokalitetu Marijana, Korzika 4] PE – skra}enica koja se dalje koristi u tekstu. Obuka Danijele Stojiljkovi} podrazumevala je upoznavanje 5] US – unite stratigrafie, stratigrafska jedinica – ta skra}enica sa osnovnim principima preventivne za{tite i dokumenta- koristi se u nastavku teksta. Broj US-a sadr`i broj sektora i otkop- cije, kao i sa svim drugim aktivnostima koje su se odnosile nog sloja.

98 EDUCATION AND PROFESSIONAL MEETINGS DIANA #13 into how large databases function. The underlying principle at C2RMF are rather interested in cooperation among of EROS is all encompassing, functional and user-friendly. experts and in sharing experience. The construction of such Thus it can be used as a model for constructing some other a broad database and its successful functioning are the best databases in the future. My opinion is that the employees recommendation for their role of adviser. „

Danijela STOJILJKOVI], conservator Nata{a KRSTI], conservator The associates of Department for Preventive Conservation Diana, National Museum, Belgrade

VISITS TO DEPOTS OF ARCHAEOLOGICAL MATERIAL IN FRANCE

DEPARTMENT FOR PREVENTIVE CONSERVATION Diana, National Museum, Belgrade has been actively coop- and filing away of the movable archaeological material gathe- erating for several years with Belgrade’s French Cultural red from fieldwork3 were conducted in the depot. Centre. They cooperated on the organisation of educational After the conducted triage and the sorting of materials programmes in the field of preventive protection, conser- according to their type, all the material is packed into poly- vation, and restoration of cultural treasures. Being both ethylene bags4 marked with the unique US 5 number, which associates of Diana and scholarship holders of French is entered into the database. Thus processed material is then government for many years, we were given the opportunity placed into suitable containers, depending on its type and of a professional specialisation in the field of preventive sector. Glass and metal are stored into hermetically sealed po- and archaeological conservation. lypropylene transparent boxes, whereas ceramics is, due to its Natas Krsti}’s internship at the Laboratory for Conser- quantity, put into large polypropylene boxes. Into the boxes vation, Restoration, and Research of the Archaeological filled with metal a relative humidity indicator and a desiccant Center in Var (Laboratoire de Conservation Restauration et are placed, as well as silica gel and clay6, which is being in- de Recherches du Centre Archéologique du Var) lasted three creasingly utilised due to the fact that it can reach a wanted months – from October to December 2007. degree of relative humidity and that it is more pliable. Danijela Stojiljkovi} held from 3rd October to 21st September 2007 an internship at the archaeological site of Mariana, Corsica, as part of a project called the Laboratory 1] The depot was temporary. It was on the ground floor of a for Medieval Archaeology in the Mediterranean, of the Me- private house, whereas the building in which all the items were diterranean Center for Social Sciences (C.N.R.S. – Labora- supposed to be placed had not yet been renovated and adequately toire d’Archéologie Médiévale Méditerranéenne, Maison furnished. Méditerranéenne des Sciences de l’Homme). The second part 2] These excavations are systematic excavations of a Roman of training took place at Le Muy Depot, Var region, from colony founded in 1st century BC, discontinuously populated since th 2nd August to 18th October 2007. It involved participation 13 century AD. Explorations of the south part of this ancient city, the Paleochristian episcopal complex and several smaller in a programme of conditioning materials from different constructions were conducted this year. archaeological sites. 3] On Jacques Rabier’s recommendation, polypropylene boxes Our professional specialisations were organised by a of a modulatory type are also utilised in fieldwork, starting from mentor, Jacques Rebier (Jacques Ribière), the manager of last year. This reduced the influence of climatic factors (sudden the Draguignan’s Laboratory for Conservation, Restoration changes of relative humidity and temperature, the presence of light and Research, of the Archaeological Center at Var. During and aero pollution, etc) on archaeological items-from their exca- our internship we were given an opportunity to visit seve- vation until the moment they are permanently conditioned. The ral depots of archaeological material. boxes may also be utilised in combination with polyethylene zipper bags- necessary for fragile materials, such as glass and metal. The depot at the archaeological site of Mariana, 4] Further on in the text the abbreviation PE will be used. Corsica 5] The abbreviation US – unite stratigrafie, i.e. stratigraphic unit, will be used further on in the text. This number consists of Danijela Stojiljkovi}’s training involved getting acquainted the number of sector and the excavation layer. with the basic principles of preventive protection and do- 6] Monmorilonit (Montmorillonite Al O -4SiO -H O) is a type cumentation, as well as all other activities pertaining to the 2 3 2 2 of finely granulated clay, capable of absorbing great quantities of 1 manner in which the depot functioned. The material ob- water. It can be found on the market under different names, de- tained during this year’s systematic excavations was proces- pending on the manufacturer. It comes in bags of various sizes. Its sed.2 Triage, classification, inventory making, conditioning, great advantage is that it is not toxic, unlike silica gel.

99 DIANA #13 EDUKACIJA I STRU^NI SKUPOVI odla`e u velike kutije od polipropilena. U kutije u koje je du koja je nekad pripadala `andarmeriji; obuhvata nekoli- sme{ten metal stavlja se indikator relativne vla`nosti i de- ko manjih prostorija u kojima su montirane drvene police. sikant, silika gel ili glina,6 s tim {to je glina sve vi{e u upo- Tokom sta`a Danijela Stojiljkovi} u~estvovala je u pro- trebi zbog br`eg postizanja `eljenog stepena relativne vla- gramu revizije i rekondicioniranja materijala, {to je podra- `nosti i lak{e manipulacije. zumevalo potpuno ili delimi~no zamenjivanje postoje}e Fauna se odla`e u polietilenske kese i ~uva u kartonskim ambala`e polietilenskim kesicama i polipropilenskim kuti- kutijama na kojima je nazna~en broj sektora. Nalazi kao {to jama (sl. 2). Predmeti su ranije bili odlagani u neadekvatnu su {koljke i karbonizovani ostaci tako|e se pakuju u polieti- ambala`u: kartonske kutije, metalne kutije za cigarete, drve- lenske kese ili manje polietilenske/polipropilenske kutije; za- ne fioke, koverte i PVC7 kese. Materijal je odvajan po vrsti tim se zajedno odla`u u ve}e polipropilenske kutije sa istim i odlagan u polietilenske kesice i manje polipropilenske kuti- brojem sektora (sl. 1). Nakon zavr{enog rekondicioniranja je, a zatim u kutije ve}ih dimenzija. Na kutije i u kese stav- kutije se odla`u u metalne ormane ili na drvene police. ljene su etikete na kojima su nazna~eni: naziv lokaliteta i U bazu podataka Microsoft Access unose se podaci koji kontekst, godina iskopavanja i vrste materijala u kutiji. U su neophodni za identifikaciju predmeta: inventarski broj, zavisnosti od lokaliteta kojem materijal pripada, kutije se stratigrafska jedinica i sektor u kojem je predmet prona- raspore|uju u nekoliko manjih prostorija i odla`u na drve- |en, tipologija i koli~ina. ne police. Ni u ovom depou ne postoji klimatizacija, a kontrola i Depo u Le Miju – Oblasna arheolo{ka slu`ba, regulacija vlage u kutijama obavlja se samo u slu~aju kon- region Var (Dépôt è Le Muy – Pôle Archéologique dicioniranja metala, i to pomo}u kesica s glinom i indikato- départemental, région Var) ra relativne vla`nosti. Sam depo je kompleksnog tipa jer se, za razliku od arheo- Po istom principu organizovani su sme{taj i rekondici- lo{kog depoa na Marijani, u njemu nalazi materijal s vi{e oniranje materijala i u depou u Fre`isu (Fréjus), koji tako- lokaliteta. Depo je privremenog karaktera i sme{ten je u zgra- |e pripada regionu Var. Depoe o kojima }e biti re~i obi{le smo u okviru kratkih jednodnevnih poseta i tom prilikom upoznale smo se sa os- Sl. 1. Polipropilenske kutije modularnog tipa novnim principima njihove organizacije i funkcionisanja. Fig. 1. Polypropylene boxes of a modulatory type Depo u Viltelu – Regionalna arheolo{ka slu`ba, region Langedok–Rusijon [Dépôt à Villetelle – Service Régional de l’Archéologie (SRA), région Languedoc–Roussillon] Depo je sme{ten u neodgovaraju}i prostor, u staru ku}u kamenih zidova i s drvenom krovnom konstrukcijom. S ob- zirom na to da se kontrola i regulacija vlage i temperature ne obavljaju, nivo vla`nosti je povi{en. Veliki deo materija- la samo je odlo`en na drvene police ili spakovan u neade- kvatnu ambala`u (kartonske kutije i PVC kese) (sl. 3). U is- toj prostoriji, pored polica, nalaze se i alatke, kao i razli~ita oprema koja se koristi na terenu. Re~eno nam je da se od pro{le godine materijal koji sti`e sa iskopavanja odmah pa- kuje na adekvatan na~in u polietilenske kesice i polipropi- lenske kutije. Odnedavno se obavlja i rekondicioniranje materijala s ranijih iskopavanja. Svi podaci se digitalizuju i unose u odgovaraju}u bazu podataka.

Depoi u Muzeju antike Arla i Provanse (Dépôts à Musée de l’Arles et de la Provence antiques) Prilikom ove posete imale smo priliku da prvi put vidimo na koji na~in funkcioni{e i kako je organizovan jedan mu- zejski depo u Francuskoj. Postoji zaseban prostor u koji se materijal doprema i u kojem se obavlja trija`a, zatim depo na

6] Monmorilonit (Montmorillonite Al2O3-4SiO2-H2O) jeste vrsta gline fine granulacije, koja ima sposobnost da apsorbuje veli- ke koli~ine vode. Mo`e se na}i na tr`i{tu pod razli~itim nazivima, u zavisnosti od proizvo|a~a. Pakuje se u vre}ice razli~itih veli~ina, a velika prednost je to {to nije toksi~na, za razliku od silika gela. 7] PVC – skra}enica za polivinil-hlorid.

100 EDUCATION AND PROFESSIONAL MEETINGS DIANA #13

Sl. 2. Rekondicioniranje u depou u Le Muju Sl. 3. Izgled depoa u Viltelu Fig. 2. Reconditioning in the depot in Le Muy Fig. 3. The depot in Villetelle

Fauna is placed into polyethylene bags and kept in card- The position and recondition of materials are conduc- board boxes, marked with the sector number. Findings ted in the same principle as in the depot at Frejus, which such as shells and carbonised remains are also packed into also belongs to the Var Region. polyethylene boxes or smaller polyethylene/polypropylene We visited the depots that will be discussed during brief boxes, upon which they are placed into bigger polypropylene daily rounds. That is when we got acquainted with the basic boxes with the same sector number (Fig. 1). After reconditi- principles of their organisation and functioning. oning is completed, the boxes are stored into metal cabinets or onto wooden shelves. Into Microsoft Access database the The depot in Villetelle – the Regional Archaeological data necessary for identification of items is entered: the in- Service, the Langduedoc-Roussillon Region ventory number, stratigraphic unit, the sector where the [Dépôt à Villetelle – Service Régional de l’Archéologie item was found, typology, and quantity. (SRA), région Languedoc–Roussillon] The depot is situated in an inadequate space – in an old The depot in Le Muy – the District house with stone walls and a wood roof construction. Due Archaeological Service, in the Var Region to the fact that the control and regulaion of humidity and (Dépôt è Le Muy – Pole Archéologique départemental, temperature are not conducted, the level of humidity is région Var) increased. A big portion of the material is simply set aside This depot is a complex of buildings. Unlike the archaeolo- on woodem shelves or placed into inadequate containers gical depot in Mariana, it contains materials from numerous (cardboard boxes or PVC bags) (Fig. 3). In the same room, archaeological sites. This depot is of a temporary character. apart from the shelves, there are tools, as well as divesre It is situated in a building that formerly belonged to the equipment used in the fieldwork. We were told that ever gendarmerie. It consists of several not particularly spacious since last year, the material gathered in excavations is rooms, with wooden shelves installed inside. During her immediately packed adequately into polyeylene bags and internship, Danijela Stojiljkovi} participated in a program- polypropylene boxes. And of lately the reconditioning of me of material revision and reconditioning, which involved materials from previous excavations is also conducted. All complete and partial substitution of existent containers with data is digitalised and entered into an appropriate polyethylene bags and polypropylene boxes (Fig. 2). Those database. items were previously placed into inadequate containers: cardboard boxes, metal cigar boxes, wooden drawers, enve- The depots in the Arles lopes, and PVC7 bags. The material was sorted according to and Provence Museum of Antiquities its type and placed into polyetelyne bags and smaller poly- (Dépôts à Musée de l’Arles et de la Provence antiques) propylene boxes, and subsequently into boxes of greater di- We were given the opportunity to see for the very first time mensions. Onto the boxes and bags labels were placed with how a museum depot in France functions and how it is the name of the site and its context, the year of excavation organised. There is a separate room into which material is and the type of the material in the box. Depending on the delivered and triage conducted. There is also a depot up- site to which the material pertains, the boxes are divided into stairs for storing and preserving movable archaeological several smaller rooms, and placed onto the wooden shelves. material, and one depot on the ground level for storing There is no climatisation in this depot as well, thus the stone sculptures, mosaics, and other movable materials of control and regulation of humidity in the boxes is conduc- ted solely in the case of metal conditioning – with the use of clay bags and the relative humidity indicator. 7] PVC – the abbreviation for polyviniychlorid

101 DIANA #13 EDUKACIJA I STRU^NI SKUPOVI spratu – za sme{taj i ~uvanje pokretnog arheolo{kog mate- problemima koji se susre}u u pojedinim depoima. Mogle rijala – i depo u prizemlju – za odlaganje kamene plastike, smo da zaklju~imo da su organizacija i vo|enje arheolo{kog skulpture, mozaika i drugog pokretnog materijala ve}ih di- depoa vrlo slo`en proces, koji podrazumeva saradnju veli- menzija. Dobra organizacija prostora ostvarena je postav- ljanjem kliznih polica (sl. 4) za odlaganje pokretnog mate- rijala, kao i kliznih panoa za fragmente mozaika. U muzeju postoji centralni sistem za klimatizaciju – njime se reguli{u vrednosti Rh i T tako da zadovoljavaju uslove za odlaganje i ~uvanje arheolo{kih predmeta sme{tenih u depo.8 Proces rekondicioniranja nije zavr{en, ali je ve}i deo materijala ade- kvatno spakovan i odlo`en u nove kutije, PE kesice, a u ne- kim slu~ajevima kori{}ena je PE pena za izradu podloga i podupira~a, kako bi se ostvarila fizi~ka stabilnost predme- ta. Osmi{ljen je sistem za obele`avanje kutija koji omogu- }uje lak pristup i pronala`enje relevantnih podataka unetih u bazu podataka FileMaker Pro®.

Regionalni arheolo{ki depo u Le Milu, podru~je Provansa – Alpi – Azurna obala (Dépôt Archéologique Regionale – Les Milles, région Provence – Alpes – Cote d’Azur) Depo se nalazi u nenaseljenoj oblasti u blizini Eks an Pro- vansa i predvi|en je za sme{taj velike koli~ine materijala iz ~itavog regiona. Zgrada depoa namenski je projektovana, a zavr{ena je 2006. godine; funkcionalno je podeljena na vi- {e celina. Ispred zgrade nalazi se prostor za parkiranje, a sa strane su slu`bene prostorije. Postoji stalno fizi~ko obezbe- |enje, kao i sigurnosna kapija na ulazu u dvori{te. U blizi- ni se nalaze ve}i broj skladi{ta i benzinska pumpa. Sam depo zapravo je velika hala, podeljena na dva ni- voa koja su povezana stepenicama i liftom. Postoji samo Sl. 4. Klizne police u jednom od depoa muzeja u Arlu ve{ta~ko osvetljenje, a klima je regulisana centralnim siste- Fig. 4. The sliding shelves in one of the depot in Arles mom. Ulaz u depo projektovan je tako da omogu}uje pri- stup ve}im vozilima kojima se doprema materijal, a on se potom dalje razvozi transportnim kolicima. Na donjem ni- kog broja stru~njaka, po~ev od arhitekte, kustosa, konzer- vou materijal se odla`e na drvene palete, koje se postavlja- vatora itd. Ta saradnja je neophodna kako bi namena i ju u odgovaraju}a le`i{ta na metalnoj konstrukciji. Po tom funkcija samog depoa bile u potpunosti ostvarene, a sme- principu lako i brzo dobijaju se monta`ne police pogodne {taj i ~uvanje materijala propisno i adekvatno sprovedeni. za sme{taj materijala razli~itih dimenzija. Materijal se od- U praksi se, me|utim, pokazalo da neki depoi u Francuskoj la`e u PE i PP kutije razli~itih veli~ina ili u PE kese, koje se ne zadovoljavaju sve standarde, kao i to da postoje brojni ne- sme{taju u drvene monta`ne kutije ve}ih dimenzija. Deo dostaci prouzrokovani lo{im planiranjem i organizovanjem materijala spakovan je i u kartonske kutije. Ve}i predmeti, depoa. Postupak rekondicioniranja koji se intenzivno spro- kao amfore, postavljaju se neposredno na drvene palete i vodi u tim depoima ipak zna~ajno doprinosi pobolj{avanju fiksiraju komadima PE pene, mada je to samo privremeno uslova odlaganja i ~uvanja predmeta – njihovoj za{titi od re{enje (sl. 5). Na gornjem nivou nalaze se klizne i monta- dejstva neadekvatnih mikroklimatskih uslova i svo|enju ri- `ne metalne police za sme{taj predmeta manjih dimenzija, zika od mehani~kih o{te}enja na minimum. prethodno spakovanih u PP ili kartonske kutije. Budu}i da Zahvaljuju}i posetama pomenutim institucijama, bolje je visina monta`nih polica neadekvatna, kutije koje su od- smo se upoznale s razli~itim segmentima sprovo|enja ade- lo`ene na najvi{e police dose`u do instalacija i lampi. Na kvatne za{tite pokretnog arheolo{kog materijala, koja je ve- ovom nivou predvi|ena je i radionica za konzervaciju. Tri- oma va`an aspekt o~uvanja kulturnog nasle|a. „ ja`a, pranje i su{enje fragmenata keramike obavljaju se u zasebnom prostoru u prizemlju zgrade. Svi podaci o pred- metima i mestu njihovog odlaganja unose se u bazu poda- taka FileMaker Pro®. 8] U depou u koji su sme{teni keramika, staklo i metal Rh je Zahvaljuju}i obilasku pomenutih depoa i obavljenoj 37%, a temperatura 29°C; u vezi s drugim depoom, u koji su sme- praksi u nekima od njih, upoznale smo se s razli~itim siste- {teni kamena plastika, mozaici, sarkofazi i skulpture, nemamo ni- mima odlaganja i ~uvanja arheolo{kog materijala, kao i s kakvih podataka.

102 EDUCATION AND PROFESSIONAL MEETINGS DIANA #13 bigger dimensions. The room was well organised due to the these depots. We were able to realise that the organisation set sliding shelves (Fig. 4) for storing movable materials and management of archaeological depots is a rather com- and to sliding boards for mosaic fragments. There is a plex process that involves cooperation among a substantial central air-conditioning system in the museum, which re- number of experts, from architects to custodians, conser- gulates the Rh and T values so as to meet the requirements vators, etc. This cooperation is crucial so that the purpose for storing and preserving the archaeological items stored and function of the depot are fully realised, and the storing at the depot8. The process of reconditioning is not completed, but the majority of the material is adequately packed and set aside into new boxes and PE bags. In certain cases PE foam was used for the making of bases and pillars in order to achieve physical stability of the objects. A sys- tem was designed for the labelling of boxes, which enabled easy access and the finding of relevant data entered into the FileMaker Pro® database.

The Regional Archaeological Depot in Les Milles, the Provence-Alps-Cote d’Azur district (Dépôt Archéologique Regionale – Les Milles, région Provence – Alpes – Cote d’Azur) The depot is situated in an unpopulated area near Aix-an- Provence and it is supposed to store large quantities of materials from the entire region. The depot building was projected for this designated purpose, being completed and functionally divided into several units in 2006. There is a parking lot in front of the building, with offices surroun- ding it. There are security guards at all times and a security gate at the yard entrance. A considerable number of ware- houses and a gas station are nearby. The depot itself is in fact a hall of considerable dimen- sions, divided into two levels linked by stares and a lift. There is only artificial lighting and the air conditioning is regulated by a central system. The entrance into the depot is projected in such a manner that it enables access to big- ger vehicles, used for shipping the material that is later on hauled off by transport carts. On the ground level, the ma- Sl. 5. Izgled depoa u Le Miju terial is placed onto wooden palettes, set into suitable bear- Fig. 5. The depot in Les Milles ings on a metal construction. Thus prefabricated shelves suitable for storing materials of various dimensions are easily and quickly created. The material is also stored into and preservation of material duly and adequately perfor- PE and PP boxes of different size or into PE bags, placed med. However, practice proved that some depots in France into wooden boxes of larger dimensions. One part of the do not meet all the standards, and that there are numerous material is packed into cardboard boxes. Bigger items, such shortcomings caused by inadequate planning and organisa- as amphorae, are placed directly onto wooden palettes and tion of the depots. The procedure of reconditioning, inten- fixed with the use of PE foam, though this is just a provi- sively performed in the depots, significantly contributes to sional solution (Fig. 5). On the upper floor there are sliding the creation of better conditions for storing and preservati- and prefabricated metal shelves used for storing materials on of the items, and also to their protection from the influ- of smaller dimensions, previously packed into PP or ence of inadequate microclimatic conditions and minimali- cardboard boxes. Because the height of the prefabricated sation of the risks of mechanical damage. shelves is inadequate, those boxes placed onto the highest We became more familiar with the diverse segments of shelves reach up to the installations and lamps. A workshop the execution of adequate protection of the movable archae- for conservation is planned to be located on this floor. The ological material, which is an important aspect of the cul- triage, washing and drying of ceramic fragments are con- tural heritage preservation. „ ducted into a separate room on the building’s ground floor. All the data on the items and their storing place are entered into the FileMaker Pro® database. Owing to the visits to the abovementioned depots and 8] In the depot where ceramics, glass and metal are stored Rh the internship in some of them, we got acquainted with is 37%, whereas the temperature is 29°C. We have no data on the various systems of storing and preserving archaeological other depot in which stone sculptures, mosaics, sarcophaguses, and material, as well as with the problems existing in each of sculptures are stored.

103 DIANA #13 EDUKACIJA I STRU^NI SKUPOVI

Ana @IVKOVI], konzervator saradnik Odeljenja za preventivnu za{titu Dijana, Narodni muzej u Beogradu

IZVE[TAJ O STA@IRANJU U REGIONALNOJ LABORATORIJI ZA KONZERVACIJU I RESTAURACIJU A.R.R.E.P. U FRANCUSKOJ

STA@ KOJI SAM OBAVLJALA u Regionalnoj laboratoriji za konzervaciju i restauraciju A.R.R.E.P. (Atelier régional de parcijalno se ~iste me{avinom vode i etanola (u jednakim raz- restauration des éléments du patrimoine) u Seru (Seurre), u merama), a potom se odmah bri{u papirnom vatom. Konso- Francuskoj, trajao je dva meseca, od 1. oktobra do 30. no- lidacija stakla u ARREP-u radi se pomo}u rastvora paralo- vembra 2007. godine, i obuhvatao je obuku iz konzervacije ida B721 i B44 (20%) u etil-acetatu.2 Na deo predmeta koji i restauracije stakla, porcelana i fajansa. se konsoliduje stavlja se par~e japanskog papira, a zatim se Laboratorija za konzervaciju i restauraciju ARREP formi- ~etkicom nanosi tanak sloj konsolidanta. Za popunjavanje rana je 1985. godine u okviru dr`avnog plana iz 1984–1988. sam upotrebljavala poliestersku smolu, koja se ne koristi u godine, radi unapre|ivanja, ~uvanja i prezentacije kultur- Srbiji, a veoma je jednostavna za rad i laka za obradu.3 nog nasle|a. U njoj se obavlja konzervatorski i restaurator- ski tretman predmeta iz muzeja u regionu i iz privatnih ko- lekcija. U laboratoriji, kojom rukovodi direktorka Ivona @iboto (Yvonne Giboteau), konzervator arheolo{ke kerami- ke, stalno je zaposlen i konzervator za porcelan i fajans. U okviru ARREP-a nalaze se biblioteka, kancelarija, sala za sastanke, manji depo za sme{taj konzerviranih predmeta i foto-studio. Moja obuka sastojala se od svakodnevnog prakti~nog rada na konzervaciji i restauraciji predmeta od stakla, por- celana i fajansa. Tokom dvomese~nog sta`a stekla sam teo- rijska i prakti~na znanja koja se ti~u upotrebe razli~itih materijala i tehnika u konzervaciji, zatim za{tite predmeta, za{tite na radu i dokumentacije. Deo sta`a ~inila je i poseta Laboratoriji za konzervaci- ju, restauraciju i istra`ivanje u Draginjanu (Laboratoire de conservation, restauration et recherches de Draguignan, centre Konzervacija perle od staklene paste, koja je ranije bila archéologique du Var). Laboratorija je sastavni deo Arheolo- tretirana, zahtevala je druga~iji konzervatorski pristup. Na {kog centra u Varu. Prilikom posete upoznala sam se s me- povr{ini su bili vidljivi tragovi smole4 koja je kori{}ena u todama rada koje se primenjuju u toj laboratoriji, a ti~u se prethodnoj konzervaciji. Perla je prekrivena japanskim pa- konzervacije i restauracije keramike i metala, preventivne pirom i premazana gelom5 koji, zahvaljuju}i svom apsorp- za{tite i za{tite na radu. cionom svojstvu, upija ne~isto}u. ^i{}enje je zatim nastav- ljeno acetonom. Ostali predmeti od staklene paste samo su Konzervacija stakla o~i{}eni etanolom i konsolidovani preko japanskog papira. U toku sta`a konzervirala sam {est predmeta od stakla i staklene paste. Re~ je o nekoliko fragmenata anti~kog stakla, medaljonu i perli od staklene paste koji pripadaju Arheolo- 1] Paraloid B72 je kopolimer metil-akrilata i etil-metakrilata. {kom muzeju @ire u Lon le Sonijeu (Le Musée d’Archéologie Rastvorljiv je u acetonu, ksilolu, toluenu, diaceton-alkoholu, meti- du Jura à Lons-le-Saunier). Tretman tih predmeta podrazu- len-hloridu, etilen-dihloridu, trihloretilenu, etil-acetatu i dimetil- mevao je ~i{}enje, konsolidaciju, monta`u, lepljenje i resta- formamidu, v. S. Buys, V. Oakley, Conservation and Restauration of Ceramics, Oxford 1990, 191. uraciju. Svaki predmet zahtevao je poseban konzervatorski 2] Granule ovog paraloida me{aju se u odnosu 70% paraloi- pristup, a radila sam na na~in koji je druga~iji od onog prak- da B72 prema 30% B44, a zatim se 20 g te me{avine rastvara u etil- tikovanog u Odeljenju za preventivnu za{titu Dijana; pri le- -acetatu. pljenju sam koristila metalne spojnice, dok se u Dijani upo- 3] Poliesterska smola, fabri~ki naziv: résine pour inclusion trebljava sko~-traka. type GTS Pro préaccélérée super transparente. ^i{}enje stakla obavlja se pod mikroskopom, a ivice pre- 4] Nema podataka o prethodnoj konzervaciji. loma ~iste se etanolom, uz upotrebu meke ~etkice, kojom 5] Gel se pravi u laboratoriji po odre|enom receptu: alkohol se otklanja prljav{tina iz pukotina. Ostali delovi predmeta 20 ml, aceton 80 ml, enomen C25, gorbopol 2 g, voda 6 ml (Benzy/ od stakla, u zavisnosti od dekoracije, pozlate i stabilnosti, Alcool 20 ml, Acetone 80 ml, Enhomen C25, Gorbopol 2 g, Eau 6 ml).

104 EDUCATION AND PROFESSIONAL MEETINGS DIANA #13

Ana @IVKOVI], conservator Associate of the Department for Preventive Conservation Diana, National Museum in Belgrade

REPORT ON TRAINING IN THE ATELIER REGIONAL DE RESTAURATION DES ELEMENTS DU PATRIMOINE (Laboratory for Conservation and Restoration), A.R.R.E.P. in France

THE TRAINING THAT I RECEIVED in the regional labo- ratory for conservation and restoration ARREP in Seurre, gique du Jurq situé à Lons-le-Saulnier). Treatment of those France, lasted for two months, from October 1st to Novem- objects implied cleaning, consolidation, assembling and re- ber 30th 2007. It included training in the conservation and storation. Each item required a different conservation appro- restoration of glass, porcelain and faience. This laboratory ach and I worked in a manner different from the one in was formed in 1985, within the 1984–1988 state plan, in practice in the Diana Department for Preventive Conserva- order to improve, protect and present cultural heritage. tion. In joining fragments, Since then, the conservation and restoration of objects from I used metal clamps instead of the scotch tape that is museums in the region and from private collections have used in Diana. Cleaning of glass is done under a microsco- been carried out there. The director of the laboratory is pe, and the edges of fragments are cleaned with ethanol, Yvonne Giboteau, conservator of archeological ceramics, and using a soft brush to remove dirt from the cracks. The re- there is one full-time conservator for porcelain and faience. maining parts of the glass object, depending on their deco- The additional facilities of ARREP include a library, meeting ration, gilding and stability, are partially cleaned with a room, a small storage room to store conserved objects, a mixture of water and ethanol (proportion 50:50) and dried photo studio and offices. immediately with absorbent paper. Consolidation of glass in ARREP is done with a 20% solution of Paraloid B721 and B44 in ethyl acetate.2 A piece of Japanese paper is placed over the part of the object to be consolidated, then covered with a thin layer of consolidant which is applied with a brush. Missing parts were filled in with polyester resin. This is not used in Serbia, but it is very easy to work and model with.3 Conservation of the glass bead, which had been treated before, required a different conservation approach. Traces of resin4 used in its previous conservation were visible on the surface. The bead was covered with Japanese paper and an absorption gel5 was applied, which removed dirt. Cleaning proceeded with acetone. The other glass objects were cleaned with ethanol and consolidated with Japanese paper.

Conservation of Porcelain and Faience Parallel with the work on glass, I worked on the conserva- My training comprised everyday practical instruction on tion of a porcelain plate and two faience objects. The faien- the conservation, protection and restoration of glass objects, ce objects belonged to a private collection; data regarding porcelain and faience, using different materials and techni- ques, as well as documentation dealing with safety at work. The training included a visit to the Laboratory of con- 1] Paraloid B72 is copolymer methyl-acrylate and ethyl metha- servation, restoration and research in Draguignan (Laborato- crilate. This is soluble in acetone, xylene, toluene, diaceton alco- ire de conservation, restauration et recherches de Draguignan, hol, methylene chloride, ethylene dichloride, trichloroethylene, centre archeologique du Var). This laboratory forms an inte- ethyl acetate and dimethylformamide, v. S. Buys, V. Oakley, Con- seration and Restoration of Ceramics, Oxford 1990, 191 gral part of the Archeological Institute in Var. During the 2] Granules of Paraloid are mixed in proportion 70% of Para- visit, I became acquainted with additional work methods lodi B72, 30% of B44 and afterwards, 20 g is dissolved in a solution relating to the conservation and restoration of ceramics of ethyl acetate. and metal, preventive conservation, and safety at work. 3] Polyester resin’s factory name is: résine pour inclusion type GTS Pro préaccélérée super transparente Conservation of Glass 4] There is no data regarding previous conservation Within my training, I conserved six glass objects, comprising 5] Gel is made in the laboratory using the following recipe: fragments of antique glass, and one glass bead, belonging to Benzy/Alcool – 20 ml. Acetone – 80 ml, Enhomen – C25, Gorbopol the Museum of Archeology in Lons-le Saulnier (Archéolo- 2g, Eau – 6ml.

105 DIANA #13 EDUKACIJA I STRU^NI SKUPOVI

Konzervacija porcelana i fajansa meta da se ne bi o{tetila pozlata na licu. Nakon razleplji- Osim na predmetima od stakla, radila sam i na konzervaci- vanja ostaci lepka sa ivica uklonjeni su mehani~ki, pomo}u ji porcelanskog tanjira i dva predmeta od fajansa. Predmeti skalpela i gela.. od fajansa su u privatnom vlasni{tvu, a podaci o manufak- Lepljenje je obavljeno uz pomo} metalnih spojnica. turi, poreklu i drugom nisu dostavljeni. Monta`a (uklapanje fragmenata) predmeta trajala je jedan Porcelanski tanjir iz XIX veka poreklom je iz Japana; dan; upotrebljena je sko~-traka, preko koje su postavljane dekorisan je floralnim motivima crvene i plave boje i pozla- metalne spojnice. Za lepljenje je kori{}en dvokomponentni tom. Predmet je ranije bio konzerviran i tada su na pole|inu araldit 2020.6 Priprema tog lepka obavljena je uz pomo} pi- postavljene tri metalne {ipke kao stege, a one su s vreme- pete (20 kapi komponente A i 12 kapi komponente B). nom korodirale. Pole|ina je bele boje, s plavom floralnom Mesta na kojima su nedostajali delovi popunjena su dekoracijom. poliester smolom.7 Poliester je oker boje i ve} posle trideset Razlepljivanje fragmenata obavljeno je uz pomo} paro- minuta dovoljno je ~vrst da mo`e da se obra|uje. ~ista~a (Steam cleaner), s tim {to je ra|eno na pole|ini pred- U ovoj laboratoriji retu{ se obavlja isklju~ivo sa air brushom, a koriste se poliuretanske boje (polietiran autocryl plus MM i katalizator) i pigmenti da bi se dobila odgovara- ju}a nijansa, dok se tokom rada dodaje diluant sredstvo ko- je usporava su{enje boje. Pored toga {to sam sprovela konzervatorski tretman por- celanskog tanjira, radila sam i na konzervaciji dva predme- ta od fajansa: fragmentovanog tanjira s predstavom viteza i kerami~ke plo~ice s perforacijama. Postupak konzervacije fajansa u osnovi je isti kao kod porcelana, ali se kao lepak koristi paraloid B72 (70%) i B44 (30%) u etil-acetatu. Tokom obuke u Regionalnoj laboratoriji za konzervaci- ju i restauraciju ARREP upoznala sam se s metodama i ma- terijalima u konzervaciji koji se u toj laboratoriji primenju- ju, {to je veoma zna~ajno za moj dalji profesionalni rad. Sta` je bio dobra prilika za kontakte s kolegama iz Fran- cuske i za uspostavljanje saradnje radi razmene iskustva na polju konzervacije stakla, porcelana i fajansa. Zahvaljujem Francuskom kulturnom centru u Beogradu, francuskoj vla- di, stru~njacima u ARREP-u i svima onima koji su pomogli da se moj sta` uspe{no ostvari. „

6] Araldit 2020 je prozirna epoksi smola. 7] Poliester koji se koristi u za{titi brodova, fabri~ki naziv: Mastic polyester spécial sous ligne de flottaison; yachtcare.

Veljko D@IKI], volonter pripravnik Odeljenje za preventivnu za{titu Dijana, Narodni muzej u Beogradu

IZVE[TAJ O STA@U U INP-u (INSTITUT NATIONAL DU PATRIMOINE) od 15. novembra do 14. decembra 2007. godine

ODELJENJE ZA PREVENTIVNU ZA[TITU Dijana Narod- nog muzeja u Beogradu, kao {to je poznato, ve} dugi niz go- kacije. Sve to je tokom poslednjih godina imalo nemerljiv dina veoma dobro sara|uje s Francuskim kulturnim centrom uticaj na podizanje nivoa stru~nosti i kvaliteta rada sarad- u Beogradu. Plod ove saradnje jeste to {to su u Beograd do- nika i zaposlenih u Dijani, a samim tim i celog Odeljenja za lazili brojni stru~njaci iz oblasti konzervacije i restauracije preventivnu za{titu. kulturnog nasle|a. S druge strane, na{im sada{njim i budu- Ove godine pet saradnika Dijane imalo je tu izuzetnu }im stru~njacima omogu}eno je da kra}e ili du`e vreme pro- priliku da se usavr{i u raznim oblastima konzervacije i resta- vedu u presti`nim francuskim institucijama za{tite i edu- uracije. Dosada{nje aktivnosti Dijane bile su usredsre|ene

106 EDUCATION AND PROFESSIONAL MEETINGS DIANA #13

The fragments were unglued, using a steam cleaner on the back of the plate to prevent damage to the gilded deco- ration on the face. The glue remains were cleaned using a scalpel and gel. The fragments were rejoined with metal clamps. Reattachment of the fragments lasted for one day; scotch tape was used, with metal clamps over the tape. Two-component epoxy resin araldite 20206 was used as adhe- sive, prepared with a pipette (20 drops of component A and 12 drops of component B). Polyester resin7 in ochre colour was used to fill in the missing parts. The polyester resin is sufficiently cured after 30 minu- tes and can then be worked on. In this laboratory, retouching is done solely with an airbrush and polyurethane paint (polystyrene autocryl plus MM and catalyst). Pigments are used to obtain an adequate shade, while during the work a dilutant is added to slow down drying. Simultaneously to the conservation treatment on por- celain plate, I worked on the conservation of two faience objects: a fragmented plate with a picture of a knight, and a ceramic tile with perforations. The treatment procedure for faience is the same as for porcelain, but a solution of para- lod B72 (70%) and B44 (30%) in ethyl acetate is used as the adhering agent. As well as my training and introduction to other me- thods and materials used in conservation, which will be very important for my future professional work, my time at ARREP was a good opportunity to make contacts and coope- rate with French colleagues in order to exchange our experi- ence in the field of glass, porcelain and faience conservation. I would like to thank the French Cultural Center in Belgra- manufacturer and origin were not submitted. The porcelain de, the French government, experts from ARREP and all plate dated from the XIX century and originated from Japan; others that helped me complete my training successfully. „ it was decorated with floral red, blue motives and gilding. The object had previously been conserved with three metal rivets, used as clamps, fixed on its back. These had corroded 6] Araldite 2020 is a transparent epoxy rinse over time. The back of the plate was white, with blue floral 7] Polyester is used in the protection of ships; its manufactu- decoration. ring name is: Mastic polyester special sous ligne de flottaison; yachtcae.

Veljko D@IKI], trainee volunteer Diana Department for Preventive Conservation in Belgrade

REPORT ON TRAINING AT THE INSTITUT NATIONAL DU PATRIMOINE (INP) November 15 to December 14, 2007

IT IS WELL KNOWN that the Diana Department for Preven- tive Conservation of the National Museum in Belgrade has vation institutions. All this has immeasurably improved the cooperated successfully with the French Cultural Center in professional skills of co-workers and employees in Diana and Belgrade for a number of years. As a result, our experts and the Department of Preventive Conservation in recent years. trainees have been given the chance to spend some time, Five co-workers from Diana were given the opportunity shorter or longer, in prestigious French educational conser- to improve their skills in various fields of conservation and

107 DIANA #13 EDUKACIJA I STRU^NI SKUPOVI na najizra`enije probleme za{tite kulturnih dobara na{e karakteristika (fizi~kih i hemijskih) pojedinih procesa. Po- zemlje, pre svega preventivne za{tite, zatim arheolo{ke kon- nekad je to prili~no o~igledno, dok je ponekad veoma kom- zervacije i konzervacije keramike i stakla. I pored toga, cilj plikovano i ~ak nedoku~ivo. Tokom obuke upoznao sam se s Odeljenja za preventivnu za{titu Narodnog muzeja uvek je ve}inom alata i materijala koji se koriste u restauraciji foto- bilo obuhvatanje celokupnog kulturnog nasle|a u jedan si- grafija. Deo tih alata i materijala sam, shodno finansijskim stem za{tite. U tom smislu, pojavila se potreba za stru~nom mogu}nostima, uspeo da donesem u Beograd, gde }e mo}i da osobom koja bi se bavila problemima konzervacije fotograf- poslu`e kao odli~na referenca za budu}e snabdevanje potreb- skog materijala. Zbog mog dugogodi{njeg iskustva u Dijani nom opremom. Svakog utorka i srede mogao sam da kori- i anga`ovanja u domenu fotografije i fotodokumentacije – stim izuzetno bogatu biblioteku INP-a, pa i da fotokopiram izbor je pao na mene. sve relevantne ~lanke i ~ak cele knjige. Pored toga, moj bo- Kontakt je ostvaren s vode}om institucijom u obrazova- ravak u Parizu bio je idealna prilika za nabavku knjiga iz nju restauratora kulturnih dobara u Francuskoj – INP-om oblasti konzervacije fotografija. Nakon povoljnog odgovora (Institut National du Patrimoine), sme{tenim u Parizu (St. Egidea na moju molbu da dobijem dodatna sredstva za na- Denis). Iako je jedan mesec kratak period za bilo koju vrstu bavku knjiga, kupio sam nekoliko nezamenljivih naslova iz usavr{avanja, INP nam je iza{ao u susret i omogu}io sta` u te oblasti, kao {to su, na primer, nova knjiga B. Laverdena fotografskom ateljeu od 15. novembra do 14. decembra 2007. (B. Lavedrin) (Re)Connaître et conserver les photographies godine. S obzirom na to ograni~enje, sta` je zami{ljen kao anciennes i Nouvelle histoire de la photographie, koju je ure- osnovno upoznavanje s principima konzervacije i samim dio M. Frizo (Michel Frizot). Obe knjige sublimiraju sva te- procesom restauracije fotografskog materijala. U tom okvi- orijska znanja, pa i prakti~na, neophodna za upoznavanje s ru jedan od prvih koraka svakako je identifikacija procesa fotografskim procesima i za njihovo prepoznavanje. nastanka fotografija i negativa, to jest materijala od kojih Tokom celog mog sta`a u fotografskom ateljeu na konzer- se sastoje. Drugo polje mog interesovanja bili su preventiv- vaciji se nalazio album fotografija iz zbirke École des Beaux- na konzervacija zbirki i stanje depoa pojedinih institucija i -Arts. Pored troje studenata i profesora \ulije Ku}inele Brijan muzeja. I, na kraju, trudio sam se da {to vi{e saznam o pro- (Giulie Cucinelle Briant), i sam sam imao priliku da radim cesu digitalizacije fotografskih kolekcija, koji je veoma raz- na konzervaciji fotografija iz tog albuma. Tako sam mogao vijen u Parizu. da se upoznam sa svim etapama u restauraciji ovog tipa fo- Napominjem da je obuka za restauratora fotografija u tografija (albumen, phototypie, aristotypie), kao i sa osnov- INP-u organizovana na principu ~etvorogodi{njih studija. nim procedurama, zajedni~kim za veliki broj procesa. Suvo U vreme mog dolaska u ateljeu su radila dva studenta tre}e ~i{}enje, ~i{}enje vodenim rastvorima, retu{ i rekonstruk- i jedan student druge godine. Provizorni program mog sta`a cija, konsolidacija – samo su neki od procesa koji se pri- sastavila je An Kartije Breson (Anne Cartier Bresson), moj menjuju u restauraciji fotografija. Mesec dana svakako je mentor, a on je bio potpuno prilago|en upravo programu nedovoljno da bi se sve te tehnike uve`bale do zadovoljava- studija druge i tre}e godine odseka fotografije. ju}eg nivoa, ali je bilo veoma korisno oprobati se u svim na- Na po~etku obuke, kao, uostalom, i tokom celog sta`a, vedenim tehnikama restauracije. sticao sam osnovna znanja i iskustvo u identifikaciji foto- Kao {to sam pomenuo, utorak i sreda su bili dani koje grafskih procesa. Fotografski atelje poseduje veoma bogatu sam mogao da iskoristim za rad u biblioteci, ali i za posete didakti~ku kolekciju, koja je bila idealna za upoznavanje raznim muzejima i institucijama. Moram napomenuti da mi je gospo|a An Kartije Breson pru`ila svu potrebnu pomo} i da mi je omogu}ila sve posete koje sam mogao da zamislim. Sl. 1. Veljko D`iki} (prvi sa desne strane) Jedna od njih bila je poseta Muzeju fotografija Nijeps u [alo- sa studentima Odseka za konzervaciju fotografija INP-a i profesorom @eromom Monijeom Sl. 2. Obuka u ateljeu za restauraciju fotografija u INP-u Fig. 1. Veljko D`iki} (first from the right) with students of the Department for Conservation Fig. 2. Training in studio for the restoration of Photography at INP and professor Jérome Monnier of photographs of INP

108 EDUCATION AND PROFESSIONAL MEETINGS DIANA #13 restoration this year. The activities of Diana have concen- trated on tackling problems in the protection of cultural heritage, especially preventive conservation, archeological conservation, and the conservation of ceramics and glass. The Department of Preventive Conservation has always in- cluded all aspects of cultural heritage in its one system of protection. In this respect, a professional was needed to deal with the conservation of photographic material. Having in mind my long-standing experience in Diana and my engagement in the field of photography and photo docu- mentation, I was chosen to do this work and to undergo suitable additional training. We contacted the leading insti- tution for the education of restorers of cultural property in France – INP (Institut National du Patrimoine), situated in Paris (St. Denis). Although a one-month period is short for any speciali- zed training (at INP the training course for photography restoration takes four years) the INP was very cooperative and provided training in their photographic studio from November 15th to December 14th 2007. Since it was short, the training served as a basic introduction to the principles of conservation and restoration of photographic material. One of the first steps was to identify photographic processes from photography and negatives, and the materials used for these. Another field of interest was the preventive conservation of collections and the examination of storage Sl. 3. Pravilan na~in ~uvanja dagerotipije conditions in certain institutions and museums. Finally, I nakon konzervacije enthusiastically learned as much as I could about the process Fig. 3. Adequate safe keeping conditions of daguerreotype of digitizing photographic collections, which is developed after conservation to a high degree in Paris. Two third-year students and one second-year student were working in the studio at the time of my visit. My men- to know all stages of that type of restoration (albumen, pho- tor, Anne Cartier Bresson, had prepared a provisional pro- totype, aristotype) as well as basic procedures common for a gram for my training, adapted to the syllabus of the second great number of processes. Dry cleaning, cleaning with and third year of studies at the Department of Photography. water solution, retouch, reconstruction, and consolidation Throughout my training I was given basic tuition and are just some of the processes applied in the restoration of experience in identifying photographic processes. The photographs. One month was certainly not sufficient to Photographic studio has a very rich didactic collection, practice all these techniques to a satisfactory level, but it ideal for becoming familiar with the physical and chemical was very useful to try one’s skill at all of them. characteristics of certain processes, sometimes obvious, but On my free Tuesdays and Wednesdays, not only could sometimes very complicated or even inconceivable. During I use the library but I was also able to visit various museums my training, I was introduced to almost all tools and and institutions. Mrs. Anne Cartier Bresson helped me a materials used for the restoration of photographs, some of great deal in this and fitted in all the visits I could have ima- which I was able to purchase and bring to Belgrade. They gined. One such visit was to the Museum of Photography could be used as a reference for the purchase of necessary in Chalon-sur-Saône. This museum is unique in France re- equipment in the future. Every Tuesday and Wednesday I garding the richness of its collection. A visit to that museum was able to use the rich INP library, and to photocopy re- is a unique journey through the history of photography, levant articles and books. My stay in Paris was also an ideal from the first techniques and photographs to exhibitions of chance for me to buy further literature dealing with the work by modern photographers. My visit to the storerooms conservation of photography. Thanks to a grant from Egide, was an extremely useful experience, because of the nume- I bought some invaluable books: of B. Levedrin’s ReConnaÎtre rous and various materials stored there. The museum had et conserver les photographies anciennes; and Nouvelle histoire rooms with a controlled climate, but others demonstrated de la photographie, by Michel Frizot. The theoretical and the permanent compromise between ideal conservation practical knowledge provided by these volumes are priceless conditions and financial restraints, present all over France for recognizing and understanding photographic processes. (and all over the world, for that matter). During my stay in During my training I had the opportunity to work on Paris, I also visited the storage facilities of the Albert Kahn some photographs from a photo album from the collection Museum, the National Archive of France and Société Franca- of Ecole des beaux, which was undergoing conservation ise de Photographie (SFP). All those institutions have very treatment in the photo studio. In this way, I was able to get rich collections but face a number of problems, ranging from

109 DIANA #13 EDUKACIJA I STRU^NI SKUPOVI

jom fotografskih kolekcija grada Pariza. Krajnji cilj digitali- zacije tih kolekcija jeste, pored preventivne konzervacije, i distribucija fotografija putem Interneta. Dakle, obavljaju}i va`nu funkciju o~uvanja fotografskog nasle|a, ta agencija je napravila neverovatan korak ka dostupnosti tog materi- jala kako publici tako i profesionalcima kojima su ti fondo- vi klju~ni za istra`ivanja. To je veoma bitno jer smatram da digitalizacija mora da bude prvi korak u za{titi bilo koje fo- tografske zbirke. Prvi, ali svakako ne i jedini! U suprotnom, bogati fondovi takvih zbirki mogu ostati ve~ito za~aureni u svojim depoima i dostupni samo malom broju privilegovanih. Na kraju, mogu re}i da sam mnogo toga nau~io, ali i da je isto tako to samo mali deo onoga {to treba da se nau~i. Nadam se, tako|e, da }u imati jo{ prilika da pro{irim zna- Sl. 4. Suvo ~i{}enje korica albuma nja iz ove oblasti, te da }u to znanje u budu}nosti mo}i i da Fig. 4. Dry cleaning of bookbinding of albums primenim. Smatram i da na{e fotografsko nasle|e, iako ni- je veliko – a mo`da upravo zbog toga – zaslu`uje sistemat- nu (Chalon-sur-Saône). To je jedinstven muzej u Francuskoj sku brigu, s kojom se mora otpo~eti {to pre. Cilj mog sta`a, po bogatstvu kolekcija i samoj koncepciji stalne postavke. kao i svakog sli~nog njemu, jeste da ta briga bude savreme- Naime, poseta tom muzeju svojevrsno je putovanje kroz na, profesionalna i, {to je najva`nije, ve} isprobana. vreme i istoriju fotografije, po~ev od prvih tehnika i prvih Kada je re~ o fotografskom nasle|u u Srbiji, smatram fotoaparata, pa sve do izlo`bi savremenih autora. Poseta de- da bi bilo klju~no formirati a`uriranu evidenciju kolekcija poima bila je posebno korisno iskustvo upravo zbog brojno- u muzejima. Odmah nakon toga bilo bi neophodno napra- sti i raznovrsnosti materijala koji se u njima ~uva. U muze- viti i procenu stanja, koja bi poslu`ila kao po~etna referen- ju se nalaze i prostorije s kontrolisanom klimom, ali i one ca za budu}e pra}enje uslova ~uvanja fotografija i promena druge, {to ukazuje na ve~iti kompromis izme|u konzerva- koje se na njima pokazuju. Za ta prva dva koraka neizostav- torski idealnih re{enja i finansijske situacije koji postoji no je vezan i tre}i, a to je procena rizika, koja je veoma zna- svuda u Francuskoj (kao, uostalom, i svuda u svetu). Tokom ~ajna za preventivnu konzervaciju samih kolekcija. Zatim boravka u Parizu posetio sam jo{ i depoe Muzeja Alberta bi bilo po`eljno napraviti i valorizaciju fotografskih kolek- Kana, Muzeja Orsej, Nacionalnog arhiva Francuske, Dru- cija po njihovom kulturnoistorijskom zna~aju, {to nam mo- {tva francuskih fotografa (SFP). Iskreno govore}i, sve te `e mnogo pomo}i (uz procenu rizika) u izboru prioriteta za institucije imaju izuzetno bogate zbirke, ali, s druge strane, konzervaciju na op{tem nivou. Na kraju, ne smemo zabora- i brojne probleme, po~ev od neadekvatnog prostora, pa sve viti ni privatne kolekcionare, nad kojima nacionalne slu`be do starih ko{uljica u kojima se fotografije nalaze. Iako se za{tite nemaju ingerenciju, ali svakako mogu da pomognu sve one suo~avaju s mnogobrojnim prakti~nim problemi- kako savetima tako i prakti~no. Upravo se u tim kolekcija- ma, svuda postoji veoma visoka svest o merama ~ije je ma, sasvim sigurno, nalaze fotografije neprocenjive vred- sprovo|enje neophodno ili, bla`e re~eno, po`eljno radi {to nosti po svom sadr`aju, ali i po zna~aju za istoriju fotogra- boljeg o~uvanja fotografskog nasle|a u Francuskoj. fije u Srbiji. Zbog toga, ako `elimo {to kompletniju za{titu Osim muzeja, posetio sam i veoma zanimljivu agenciju fotografskog nasle|a u Srbiji, ti kolekcionari moraju biti koja u svojim depoima ima ~ak {est miliona fotografija i ne- uklju~eni u isti onaj sistem koji `elimo da primenimo u na- gativa. Agencija Ro`e-Viole (Roger-Violet) bavi se digitalizaci- {im muzejima. „

Ivan CVEJI], konzervator direktor Nove Vizantije, ~lan IIC Zvezdana POPOVI], konzervator tehni~ar saradnik Odeljenja za preventivnu za{titu Dijana, Narodni muzej u Beogradu

RADIONICA IZ OBLASTI KONZERVACIJE POZLATE NA DRVETU

U OKVIRU REDOVNE SARADNJE Odeljenja za preventiv- nu za{titu Dijana i Radnje za negovanje tradicionalnih umet- ji} iz Nove Vizantije, a polaznici su bili saradnici Dijane. Teh- ni~kih zanata Nova Vizantija od 5. februara do 27. marta nika konzervacije demonstrirana je na pozla}enom zidnom 2007. godine realizovana je radionica iz oblasti konzervacije ogledalu, vlasni{tvu Narodnog muzeja u Kru{evcu. Ogledalo pozla}enih predmeta od drveta. Radionicu je vodio Ivan Cve- poti~e s kraja XIX veka, a muzej ga je 1973. godine otkupio

110 EDUCATION AND PROFESSIONAL MEETINGS DIANA #13 inadequate storage to the old envelopes used for keeping photographs. Despite these numerous practical problems, these institutions are all completely aware of the measures which need to be taken to improve the preservation of the French photographic heritage. Apart from museums, I visited a very interesting agency, which has over six million photographs and negatives in its storage rooms. The Roger – Violet Agency deals with the di- gitization of photographic collections from the city of Paris. Besides preventive conservation, the final aim of digitization is the distribution of photographs by Internet. By performing such an important role in the protection of photographic heritage this Agency has made incredible progress towards the accessibility of that material to both professionals and the general public, all of whom use those collections as vital material for research. This is very important, for in my opinion digitizing should be the first step in the protection of any collection of photographs, last but not least! Other- wise rich collections might stay locked in their storage and remain accessible to only a small number of privileged individuals. Finally, I can say that I have learned a great deal, this being just a small portion of all that remains to be learnt in the future. I hope that I will have further opportunity to broaden my knowledge in this field, and to use this know- ledge in the future. In my opinion, since our photographic Sl. 5. Stari na~in ~uvanja fotografija u depoima heritage is not large, it deserves systematic care, which Fig. 5. The old way of storing photographs in storage rooms should start immediately. The objective of my training is that the care of any collection is up-to-date, professional, and what is most important, tried and tested. great help in deciding priorities for conservation at a gene- Regarding the photographic heritage in Serbia, I be- ral level, in the context of risk assessment. lieve it is most important to form updated documentation Finally, we shouldn’t forget private collections. Although of collections in museums. An assessment of conditions they are not responsible for the care of such collections, should be made immediately. This could be used as the national authorities could help by providing advice and starting reference for the future control of safe storage assistance in practical matters. Those collections have cer- conditions and the changes that occur in them. The third tainly had priceless photographs regarding both their con- step is inevitably connected to the previous two: the asses- tent and their value for the history of photography. There- sment of risk, which is very important for the preventive fore, if we want to have the most complete protection for conservation of collections themselves. Afterwards, it is the photographic heritage in Serbia, those collectors need desirable to valorize photographic collections according to to be included in the system that we want to implement their cultural and historical significance. That could be of into our museums. „

Ivan CVEJI], conservator Director of New Byzantium Studio, Member of IIC Zvezdana POPOVI], conservator – technician Associate of Diana Department for Preventive Conservation, National Museum in Belgrade

WORKSHOP DEDICATED TO THE CONSERVATION OF A GILDED OBJECT MADE OF WOOD

WITHIN THE SCOPE of regular cooperation between Diana and the New Byzantium studio for the care of traditional object made of wood, led by Ivan Cveji} of New Byzantium, arts and crafts, a workshop took place from February 5th to with participation by members of Diana. Techniques and March 27th 2007, dedicated to the conservation of a gilded processes were presented, including the conservation of a

111 DIANA #13 EDUKACIJA I STRU^NI SKUPOVI

Sl. 1 i 2. Zate~eno stanje i stanje nakon zavr{ene konzervacije Fig. 1 and 2. Condition and after conservation od Dobrile Petrovi} iz Kru{evca. Predmet se pre konzerva- Konzervatorski tretman torsko-restauratorskog tretmana nalazio u depou muzeja. ^i{}enje hemijskim sredstvima: sme{a metil-hlorida, meta- nola i tenzida u parafinskoj emulziji. Rastvoreni materijal Opis predmeta ispiran je etil-alkoholom (96%) pomo}u ~etke od tvrde ~e- Vrsta materijala: nosa~ – drvo ~etinara, floralna dekoracija kinjaste dlake. od {tukature; preparatura – kalcijum-karbonat i organsko Mehani~ko ~i{}enje: razlabavljeni delovi preparature i vezivo; finalna obrada – {lag metal i srebrni listi}i; tehnika drveta uklonjeni su mehani~ki. izrade: konstrukcija, struktura – ram, grubo linijski profi- Konsolidacija drvenog nosa~a: umetanjem tankih listo- lisan, izra|en vezama na ~ep i pro~ep, fiksiran organskim va drveta u otvore i pukotine i vezivom na bazi PVAC-a, vezivom, ukru}en dodatnim ramom fiksiranim na pole|inu rastvorljivim u metil-hloridu i metanolu. organskim vezivom. Sastavljanje fragmenata, izrada fragmenata koji su ne- Floralna dekoracija od {tukature fiksirana je na ram dostajali: fragmenti koji nedostaju izra|eni su u kalupu od organskim vezivom. Preparatura je naneta u sloju od oko silikona, od sme{e modelarskog gipsa i PVAC-a, i fiksirani tri milimetra na sve povr{ine, osim na floralnu dekoraciju. na povr{inu vezivom na bazi PVAC-a, rastvorljivim u me- Dekorativna tehnika – posrebrenje, segmentno, tehnikom til-hloridu i metanolu. vodene pozlate. Imitacija pozlate {lag metalom tehnikom Popuna o{te}enja, konsolidacija pukotina, retu{: dublja primene veziva. Finalna tehnika – patinizacija pigmentom. o{te}enja popunjena su masom na bazi poliestera, rastvor- Za{tita organskim lakom. ljivom u metil-hloridu i metanolu; povr{inska o{te}enja popu- njena su masom na bazi akrila, rastvorljivom u metil-hloridu Opis o{te}enja i metanolu. Povr{inska o{te}enja. Vidljiva je pojava korozije dekorativ- Sloj za odvajanje postoje}eg od novonanesenog (izola- nog sloja od oba metala, usled ~ega je do{lo do potpunog pro- cija): na segmentima koji su bili posrebreni sme{a kalci- bijanja sloja. Postoji sloj originalne patine, posebno na delo- jum-karbonata, kaolina i PVAC-a, rastvorljiva u metil-hlo- vima floralne dekoracije. Za{titni lak gotovo da ne postoji. ridu i metanolu. Preparatura: bolonjska kreda, kaolin i organsko vezivo Strukturna o{te}enja. Vidljiva su o{te}enja floralne dekoraci- (ze~je tutkalo) na segmentima koji su bili posrebreni. Final- je (pukotine i fragmenti koji nedostaju). Preparatura je ispu- na tehnika: posrebrenje listi}ima pravog srebra tehnikom cala i mestimi~no nedostaje. Postoje o{te}enja drvenog no- vodene pozlate, imitacija pozlate {lag metalom, tehnikom sa~a, kako mehani~ka, usled promena u drvetu, tako i ona podlepljivanja uljanim mikstionom, rastvorljivim u metil hlo- koja su posledica inokulacije insektima, trenutno neaktivne. ridu i metanolu. Vidljive naslage: masno}a. Patina: bitumenska patina.

112 EDUCATION AND PROFESSIONAL MEETINGS DIANA #13 gilded wooden mirror frame from the National Museum in Condition Krusevac. The mirror was made towards the end of the 19th Surface damage. The decorative covering layer made of century and was acquired by the museum in 1973 from a both metals was corroded, resulting in perforations of the local resident. This object had been stored in the museum foil. A layer of the original patina was present, especially on depot prior to conservation treatment. floral surfaces. The layer of protective lacqer was present in only a few places. Object survey Material type: the holder was made of coniferous wood, Structural damage. The floral decoration was roughly with stucco floral decoration, the gesso comprising calcium cracked, with some pieces missing. The gesso was cracked carbonate powder and organic adhesive, probably Fish-eye and partly missing. There was some damage to the wooden glue. Final coating: This comprised silvering and imitation holder, both mechanical and caused by insect inoculation, gilding using schlag metal foil. Manufacturing technique not active at the moment. and structural analysis: The wooden holder, roughly Deposit: Grease linearly profiled was connected by a traditional wooden binding and organic adhesive. It was additionally held in Conservation treatment: place by a smaller frame, adhered to the back surface of Chemical Cleaning: A mixture of methyl chloride, original frame with organic adhesive. methanol, cellulose powder, and paraffin oil was used to Decoration and decorative technique: Floral ornaments clean the object. The dissolved substances were rinsed with made of stucco were adhered to the surface with organic 96% ethyl alcohol, using a firm hairbrush. adhesive. All surfaces were covered with gesso, approxima- Mechanical Cleaning: Loose pieces of stucco and wood tely 3 mm thick, except for the floral decoration. The sur- were removed mechanically. face of the frame was silvered using water gilding technique Consolidation: veneer pieces were inlayed, adhered with and decorated with imitation gilding, applying schlag metal PVAC adhesive dissoluble in methyl chloride and methanol. foil. Finishing technique: patina with pigment and protec- Stucco treatment: Missing ornaments were copied, tive organic lacquer layer. using a silicon mould. Modelling plaster and PVAC were used

Sl. 3 i 4. ^i{}enje povr{ine predmeta i uno{enje elementa za konsolidaciju od drveta Fig. 3 and 4. Cleaning of the surface and consolidation with veneer pieces

Sl. 5. Popunjavanje o{te}enja u sloju preparature punilom na bazi akrila Fig. 5. Crack filing with acryl filler

113 DIANA #13 EDUKACIJA I STRU^NI SKUPOVI

Sl. 6. Ornament iz kalupa Sl. 7. Poliranje posrebrenog segmenta Fig. 6. Ornament from the mould Fig. 7. Polishing of silvered segment

Za{titni lak: lak na bazi Zappon laka, rastvorljiv u me- no uklju~eni u svaku fazu prakti~nog rada i imali su prili- til-hloridu i metanolu. ku da prikazanu tehniku sami primene na „svom“ delu ra- ma ogledala. * * * Nova Vizantija donirala je svoj rad, Narodni muzej u Radionica je realizovana tako {to je svaka faza konzer- Kru{evcu omogu}io je nabavku materijala, a saradnici Di- vatorskog tretmana propra}ena obja{njenjem i prakti~nom jane dobili su priliku da upotpune svoja znanja u jo{ jednoj demonstracijom postupka. Polaznici radionice bili su aktiv- oblasti konzervacije organskih materijala. „

Ana KOCJAN, konzervator Aleksandar JOKSIMOVI], istori~ar umetnosti saradnici Odeljenja za preventivnu za{titu Dijana, Narodni muzej u Beogradu

MALE RUKE I VELIKA DELA

MUZEJI KAO INSTITUCIJE kulture u slu`bi dru{tva, pored toga {to ~uvaju, {tite, istra`uju i prezentuju predmete mate- i usmeravanje na edukaciju mladih, pre svega dece pred{kol- rijalne i nematerijalne kulture, imaju jo{ jedan, podjedna- skog i {kolskog uzrasta. Do sada su razvijena tri segmenta ko va`an zadatak, a to je edukacija publike. Danas muzeji programa: Tajne konzervacije, Kopija i replika i Stanovanje u {irom sveta imaju razvijen sistem rada s publikom, koji obu- doba Rimljana, koji se ostvaruju u okviru radionica. Prve dve hvata niz raznolikih aktivnosti – izlo`be, radionice, stru~na radionice neposredno su usmerene na za{titu kulturnog na- vo|enja, okrugle stolove, koncerte, predstave itd. Tim pu- sle|a. Tre}a radionica bila je fokusirana na aspekte kulture tem prezentuju se mnogobrojne muzejske aktivnosti, ali i `ivota i stanovanja u rimskom periodu; rimski na~in stanova- raznovrsni aspekti kulturne ba{tine i njenog o~uvanja. nja predstavljao je polaznu ta~ku za upore|ivanje s razli~i- Tokom svog razvoja Odeljenje za preventivnu za{titu tim aspektima `ivota od preistorije do dana{njih dana. Dijana Narodnog muzeja u Beogradu izgradilo je sistem edu- Radionica Tajne konzervacije realizuje se od 2002. go- kacije koji podrazumeva aktivan pristup obrazovanju mladih dine i obuhvata primenu konzervatorskog tretmana na pri- stru~njaka i muzejskih profesionalaca u oblasti konzervaci- merima savremene etnografske keramike. Program se sa- je, muzeologije, preventivne za{tite itd. Taj sistem obuhvata stoji od teorijskih predavanja i prakti~nog rada. Predavanja i edukativne programe za publiku, koji su tokom poslednjih se odr`avaju istovremeno sa odvijanjem prakti~nog rada. nekoliko godina postali deo redovnih aktivnosti Dijane. Prve Na njima se obja{njavaju faze konzervatorskog tretmana i aktivnosti na tom polju ostvarene su 2002. godine u okviru razja{njava se nekoliko klju~nih pitanja: zbog ~ega se oba- Letnje {kole Dijana, radi formiranja muzejske publike sa vlja konzervacija arheolo{kih predmeta, kakvu ulogu imaju izgra|enom sve{}u o za{titi kulturnog nasle|a i izgra|enim muzeji u o~uvanju kulturnog nasle|a i za{to je va`no sa~u- razumevanjem delatnosti i uloge muzeja. Postignuti rezul- vati kulturnu ba{tinu. Prakti~ni deo sastoji se od slede}ih tati uslovili su dalji rad na osmi{ljavanju programa za upo- faza: spajanja fragmenata, restauracije i retu{a. U toku prve znavanje publike s na~inima za{tite kulturnih dobara, kao faze deca probno spajaju sve fragmente sko~-trakom kako

114 EDUCATION AND PROFESSIONAL MEETINGS DIANA #13 as stucco material. Newly made ornaments were adhered to and each had an opportunity to use the technique on „their“ the surface using PVAC adhesive dissoluble in methyl chlo- part of the mirror frame. ride and methanol. New Byzantium donated its work and time, the Nation- Crack filing: Polyester filer was used as a fill for deeper al museum in Krusevac financed the materials, and mem- cracks, and acryl filler for surface cracks. Both fillers are bers of Diana received an opportunity to broaden their soluble in methyl chloride and methanol. knowledge of the conservation of organic materials. „ Isolation layer: On gilded areas a mixture of calcium carbonate in fine powder form (Bologna chalk), kaolin Sl. 8. Patiniranje powder and PVAC dissoluble in methyl chloride and methanol was used. Fig. 8. Patina Gesso: A mixture of technical whiting, kaolin and rabbit skin glue was applied to gilded areas. Finishing technique: A water gilding technique was used, with genuine silver leaf, while gilding imitation was done using schlag metal leaf – size technique, soluble in methyl chloride and methanol. Retouching: tar patina. Protective layer: Zappon lacquer based coat soluble in methyl chloride and methanol.

* * * The workshop was conducted so that every phase of the conservation treatment was followed by explanations and a practical demonstration of the treatment. The participants actively participated in every phase of the practical work

Ana KOCJAN, conservator Aleksandar JOKSIMOVI], art historian Associates of the Department for Preventive Conservation Diana, National Museum in Belgrade

SMALL HANDS, GREAT WORK

BESIDE PRESERVING, safeguarding, exploring, and pre- senting items of material and intangible culture, museums, ther work on the creation of a programme to introduce as cultural institutions serving society, have an additional ways of cultural heritage protection, as well focusing on important task: the education of the public. Nowadays, educating the young, mainly pre-school and school-age museums worldwide have developed ways of working with children. Thus far, three segments of the programme have the public, encompassing a series of activities – exhibitions, been developed: The Secrets of Conservation, The Copy and workshops, guided tours, conferences, concerts, or plays. the Replica, and Living in the Roman Ages, presented as work- Such events not only promote the museum, but also shops. The first two are directly oriented towards cultural diverse aspects of cultural heritage and its preservation. heritage protection while the third focuses on aspects of In the course of its development, the Diana Department cultural life and living conditions in Roman times. The for Preventive Conservation, National Museum Belgrade, Roman way of life was the starting point for the compa- has established an education programme which involves an rison of various aspects of life, from prehistoric times to active approach to the education of young experts and the present. museum professionals in the field of conservation, muse- The Secrets of Conservation workshop has been organi- ology, preventive conservation an so on. This system also sed since 2002 and encompasses the application of conser- encompasses educational programmes for the public, which vation methods to examples of contemporary ethnographic have become part of regular Diana activities over recent ceramics. The programme comprises both theoretical lec- years. The initial activities in this field were accomplished tures and practice, held simultaneously. During these lec- in 2002 during the Diana Summer School, with a view to tures the phases of conservation treatment are explained creating a museum public, conscious of the protection of and several key issues addressed, such as: why the conser- cultural heritage and understanding the activities and roles vation of archaeological objects is performed, what the role of museums in this. The results achieved stimulated fur- of museums in the protection of the cultural heritage is,

115 DIANA #13 EDUKACIJA I STRU^NI SKUPOVI

Sl. 1. Konzervacija keramike Fig. 1. Conservation of ceramics bi dobila predstavu o izgledu predmeta. To im omogu}uje da zatim br`e i s manje gre{aka spajaju fragmente OHO lepkom. U toku lepljenja OHO lepkom pojedini fragmenti se uklanjaju (1–2) kako bi ti delovi bili restaurisani u dru- goj fazi, u fazi restauracije. Restauracija se obavlja uzima- njem otiska pomo}u vo{tanih plo~ica koje se stavljaju na postoje}e fragmente i prebacuju na deo koji nedostaje. Ti delovi popunjavaju se gipsom, koji se nakon su{enja obra- |uje abrazivnim papirom. Nakon obrade povr{ine deca ra- de retu{ akrilnim bojama. Postupci koji se primenjuju sli~ni su uobi~ajenom konzervatorskom tretmanu, s tom razlikom {to je postupak pojednostavljen i izbegnuto je kori{}enje Sl. 2 i 3. Tehnika modelovanja iz ruke i tehnika kve~ovanja hemijskih sredstava. Fig. 2 and 3. Hand-building and press-moulding technique Radionica Kopija i replika realizuje se od 2004. godine i obuhvata izradu kopija i replika preistorijske i rimske ke- ramike po uzoru na originalne muzejske eksponate koji se ~uvaju u Narodnom muzeju u Beogradu (`i{ci, {olje, fi{ pot, fotografijama, obja{njene sve metode rada primenjene u pehari itd.). I ova radionica podrazumeva teorijska predava- radionicama Tajne konzervacije i Kopija i replika. Svake go- nja i prakti~an rad. Teorijska predavanja odr`avaju se isto- dine svi izvedeni radovi prezentuju se na De~ijoj izlo`bi, a vremeno sa odvijanjem prakti~nog rada i na njima se obja- nakon nje deca radove nose ku}i, kao uspomenu na u~e- {njavaju metode izra|ivanja kopije i replike. Predavanja stvovanje u muzejskim aktivnostima. Jo{ jedan od klju~nih obuhvataju i odgovore na nekoliko klju~nih pitanja – o to- segmenata ovih radionica jeste to {to deca imaju priliku da me za{to se izra|uju kopije muzejskih predmeta, koliko su posete konzervatorske radionice u OPZ Dijana, ~ime dobi- kopije zna~ajne kada je original uni{ten i za{to su va`ne u jaju kompletnu sliku o za{titi predmeta u muzejima. I sam o~uvanju kulturne ba{tine. Prakti~ni deo sastoji se iz tri fa- ambijent Galerije fresaka, u kojoj se radionice odvijaju i ze: izrade posuda od gline na tradicionalan na~in, modelova- gde je sme{tena Dijana, omogu}uje deci da razumeju i pre- njem slobodnom rukom (tzv. tehnika iz ruke), izrade posu- poznaju zna~aj i vrednost na{eg kulturnog nasle|a u odno- da od gline tehnikom kve~ovanja i izrade kopija arheolo{kih su na svetsku kulturnu ba{tinu, kao i u odnosu na sve seg- predmeta tehnikom livenja. U prvoj fazi deca izra|uju ko- mente `ivota. pije predmeta od gline na osnovu posmatranja originalnih Pojedini segmenti radionice Kopija i replika realizovani muzejskih predmeta. Druga faza – kve~ovanje – obuhvata su povodom Evropskih dana kulturne ba{tine 2004. i 2005. utiskivanje gline u dvodelni gipsani kalup, pomo}u kojeg se godine, zatim 2005. i 2006. godine u okviru projekta Ode- dobija kopija predmeta, dok tre}a faza obuhvata ulivanje ljenja za edukaciju Narodnog muzeja u Beogradu Ishrana u mase za livenje u gipsane kalupe za dobijanje kopija origi- pro{losti, kao i u okviru programa Kopija ili original, koji je nalnih muzejskih predmeta. Izvedene kopije i replike u za- ovo odeljenje realizovalo u saradnji sa Udru`enjem slepih i vr{noj fazi dora|uju se razli~itim vrstama alatki, peku u slabovidih Srbije Beli {tap 2006. godine. kerami~kim pe}ima i dekori{u tehnikom tera sigilate i Jo{ jedan od programa namenjenih uklju~ivanju mla- akrilnim bojama po slobodnom izboru. dih u muzejske aktivnosti jeste Stanovanje u doba Rimljana, Na kraju programa u~esnici radionica dobijaju diplo- a on se tako|e ostvaruje u saradnji sa Odeljenjem za edu- me, kao i bro{ure, u kojima su, u tekstovima propra}enim kaciju Narodnog muzeja u Beogradu. Projekat Stanovanje

116 EDUCATION AND PROFESSIONAL MEETINGS DIANA #13 and why it is important to preserve cultural heritage. The press-moulding – involves pressing clay into a two-part practical part comprises the bonding of fragments, restora- plaster mould, which produces a copy of the object. Phase tion, and retouching. During phase one, children experi- three involves pouring casting mass into plaster moulds in mentally join all the fragments together with scotch-tape order to get copies of the original museum objects. In the last in order to get an idea what the object looks like. After- phase, the created copies and replicas are worked on using wards, this enables them to bond the fragments together various types of tools, baked in kilns, and ornamented by with glue more rapidly and with fewer mistakes. In the pro- using the tera sigilate technique and acrylic paints, by choice. cess of bonding, certain fragments (1–2) are removed so At the end of the programme, the workshop partici- that these parts can be restored in phase two, the restora- pants’ receive certificates and brochures in which all the tion phase. The restoration is performed by making moulds, work methods applied in The Secrets of Conservation and using small wax tiles, placing these on the existing frag- The Copy and the Replica workshops are explained, illustra- ments, and then transferring them to the missing parts. ted with photographs. All produced works are presented These are then filled in with plaster and treated with sand- every year at The Children’s Exhibition, after which children paper upon drying. After treating the surface, the children take them home to remind them of their participation in the perform retouching with acrylic paint. These procedures museum activities. Another key element of the workshops are similar to standard conservation treatment, except that is that the children have an opportunity to visit Diana’s con- this procedure is simplified and the use of chemical agents servation workshops, which gives them a complete picture avoided. of museum object conservation. The atmosphere of the Gal- The Copy and the Replica workshop has been organised lery of Frescoes, where the workshops are held and where since 2004 and encompasses making copies and replicas of Diana is situated, enables children to understand and both prehistoric and Roman ceramics, modelled on original recognise the importance and value of our own cultural museum exhibits kept at the National Museum in Belgrade heritage in the context of world cultural heritage and other (Roman lamps, cups, fish pots, and goblets). This workshop aspects of life. also involves theoretical lectures held alongside the prac- Certain segments of The Copy and Replica workshop tical work, explaining how copies and replicas are made. were conducted in 2004 and 20005 to mark the European These lectures also answer several key questions, such as Days of Cultural Heritage, and in 2005 and 2006 as parts of why copies of museum objects are made, how crucial these Nutrition in the Past, a project of the Education Department are when the original has been destroyed, and why they are of the National Museum in Belgrade, and the Copy or the important in cultural heritage protection. The practical work Original programme, organised in 2006 by this Depart- comprises three phases: making pottery in a traditional way; ment in cooperation with The White Cane, The Association modelling (the so-called hand-building technique); making of The Blind and Partially Sighted of Serbia. pottery using the press-moulding technique; and making Another programme aimed at involving young people copies of archaeological objects using the casting techni- in museum activities is Living in the Roman Ages, also orga- que. In phase one, children make copies of clay objects ba- nised in cooperation with the Education Department of the sed on observing original museum objects. Phase two – National Museum in Belgrade. This project is a continuation

Sl. 4. Tehnika livenja iz kalupa Sl. 5. Izvedene kopije i replike Fig. 4. The casting technique Fig. 5. The copies and replicas created

117 DIANA #13 EDUKACIJA I STRU^NI SKUPOVI u doba Rimljana jeste nastavak projekta Ishrana u pro{losti i predstavlja jedan od programa ~ija je svrha upoznavanje sa `ivotom u pro{losti na teritoriji Srbije, ali i razumevanje uloge i delatnosti jedne od institucija za{tite – Narodnog muzeja u Beogradu. Projekat se sastoji od teorijskog i prak- ti~nog dela. Teorijski deo ostvaruju edukatori u {kolama, na predavanjima koja predstavljaju pripremu za odvijanje prakti~nog dela. Na predavanjima se deci prikazuju repro- dukcije i ona se upoznaju s na~inom `ivota od preistorije do dana{njih dana, s naglaskom na rimskom periodu i mo- zaiku kao podnoj dekoraciji. Prakti~an rad obuhvata pra- vljenje mozaika po motivima rimskih mozaika s teritorije Srbije. Deca na podlozi od lesonita (15 × 15 cm) prvo crta- ju motiv na osnovu datih predlo`aka. Nakon izvo|enja cr- te`a deca lepkom lepe kockice. Treba naglasiti da je tehni- ka izrade mozaika prilago|ena deci. Za izradu se koriste Sl. 6. Kockice za izradu mozaika kockice pravljene od cementa i pigmenata pome{anih s vo- Fig. 6. The mosaic cubes dom, ~ime je izbegnuto kori{}enje kamena i deci je rad olak{an. Tu tehniku izrade kockica za mozaik osmislio je tim OPZ vedena evaluacija pomenutih aktivnosti. Planira se da se u Dijana, pri ~emu je pomoglo iskustvo kolega iz Odeljenja za toku 2008. godine sprovede anketa kojom }e se proceniti edukaciju Muzeja antike Arla i Provanse iz Arla (Francuska). zainteresovanost dece za ovakve programe, za osmi{ljava- Smesa se pravi na isti na~in kao {to je prave francuske ko- nje i razvijanje drugih programa za publiku mla|eg uzra- lege, s tim {to mi masu izlivamo u drvene ramove odre|e- sta, kao i to kakva su o~ekivanja od ovakvih programa u bu- nih dimenzija, a na osnovu njih seku se kockice veli~ine 1 du}nosti. × 1 cm. Nakon se~enja kockice se ostavljaju da se osu{e i Na{e dosada{nje iskustvo pokazalo je da muzejski pro- posle toga su spremne za upotrebu. Osim u {kolama, ovaj grami namenjeni edukaciji dece izazivaju veliko interesova- program ostvaruje se i u okviru redovnih aktivnosti De~i- nje i pa`nju, posebno kada je re~ o prakti~nom radu, jer su jeg kluba Narodnog muzeja u Beogradu. u~esnici na neposredan na~in uklju~eni u za{titu kulturne Tim OPZ Dijana nastavi}e da stvara, sprovodi i razvija ba{tine. To je jedan od primera animiranja publike i formi- programe za publiku, a posebno za decu. Za ovu godinu ta- ranja novih posetilaca muzeja, ali i dobar na~in obrazova- ko|e planiramo publikovanje stru~ne literature namenjene nja budu}ih generacija za{titara. Tako|e moramo da nagla- deci {kolskog uzrasta, a ona }e se odnositi na pomenute te- simo da sve ove radionice izazivaju veliku medijsku pa`nju me u vezi sa za{titom kulturnih dobara. Predvi|eno je da se i da ih televizija, radio i {tampa redovno prate. Na taj na~in za navedene teme uradi i animacija na CD-u, koja bi bila dodatno se populari{u na{e aktivnosti, a to nam istovreme- propratni materijal uz publikaciju. Tako|e, do sada nije iz- no potvr|uje da dobro obavljamo posao edukatora. „

Suzana POLI]-RADOVANOVI], in`enjer Me|unarodni kulturni centar YUBIN

MULTIDISCIPLINARNA ISTRA@IVANJA U ARHEOMETRIJI

PO^ETKOM APRILA 2007. GODINE u Istanbulu (Istanbul Kültür University) odr`an je Me|unarodni kongres o prime- njene multianaliti~ke tehnike XRF, XRD, opti~ka mikrosko- ni spektroskopskih metoda u konzervaciji kulturne ba{tine. pija SEM i TEM, magnetna rezonanca, X-ray radiometrija, Osnovna tema skupa odnosila se na multidisciplinarnu oblast neutronska analiza, ED XRF spektroskopija, laserski indu- arheometrije, koja dominantno obuhvata istra`ivanja u kovana Ramanova spektroskopija, m-Raman spektroskopi- oblastima arheologije i fizike, ali i u ~itavom spektru pri- ja i druge va`ne analiti~ke i dijagnosti~ke tehnike koje ima- rodnih i dru{tvenih nauka. Predstavljeni nau~ni radovi po- ju visoku selektivnost i visok nivo senzitivnosti. kazali su kako se primenom modernih eksperimentalnih Istra`ivanja su obuhvatila identifikaciju prirodnih i tehnika dolazi do zna~ajnih podataka o datiranosti pred- sinteti~kih pigmenata i njihovih varijacija u podlogama fre- meta izra|enih od raznovrsnih materijala, izvedenih u ra- saka, ikona i manuskripata, identifikaciju organskih veziva, znorodnim tehnikama, tokom razli~itih istorijskih perioda. boja, glazura, keramike i stakla, kao i ispitivanje tekstila, me- Predstavljeni su rezultati istra`ivanja u kojima su prime- tala i kamena.

118 EDUCATION AND PROFESSIONAL MEETINGS DIANA #13 of Nutrition in the Past, the purpose of which is to learn about life in the past in Serbia, as well as the role and acti- vities of institutions of protection i.e. the National Museum in Belgrade. The project consists of theoretical and practical parts. The first is conducted by museum educators, through lectures, serving to prepare participants for the practical part. At these lectures children are shown reproductions and get familiar with ways of life from prehistory to the present, with an emphasis on the Roman period, using the mosaic as floor-decoration. The practical work involves mosaic making, following Roman mosaics in Serbia, but adapted for children. First, the children draw a motif on a plywood surface (15 × 15 cm), copying the offered model. After that they glue together the mosaic cubes, made of cement and pigments mixed with water. The use of stone is avoided, thereby making the children’s work easier. This technique was worked out by the Diana team, aided by the experience of colleagues from the Education Department of the Musée de l’Arles et de la Provence antiques (France). Sl. 7. Izvedeni mozaici The mixture is made the way French colleagues do it, except Fig. 7. The mosaics created that we pour the mass into wooden frames of certain dimen- sions and then cut the cubes to a size of 1 × 1 cm. Afterwards they are left to dry, upon which they are ready to use. This at younger museum visitors would be feasible, and what programme is not only carried out in schools, but also as these might be. part of the regular activities of The Children’s Club of The Our experience so far has shown that museum pro- National Museum in Belgrade. grammes for the education of children attract interest and The Diana team will continue to create, implement, and attention, especially regarding practical work, because par- develop programmes for the public, and especially for chil- ticipants are involved indirectly in the protection of dren. This year we also plan to publish literature for school- cultural heritage. That is one way to animate the public and age children, which would deal with subjects pertaining to attract more museum visitors, providing a fine means of the protection of cultural heritage. We plan to make a CD educating future generations of conservators. Furthermore, animation for these themes to accompany the publication. we have to point out that all the workshops have attracted An evaluation of the said activities has not been carried out considerable media attention, with the television, radio, so far, so in 2008 we plan to conduct a survey that would and press reporting regularly on them. This makes our assess children’s interest for such programmes and show activities even more popular and assures us that we have whether the development of future programmes targeted been successful educators. „

Suzana POLI]-RADOVANOVI], engineer International Cultural Center YUBIN

MULTIDISCIPLINARY RESEARCH IN ARCHAEOMETRY

IN EARLY APRIL 2007, the International Congress on Applying Spectroscopic Methods in Cultural Heritage Con- techniques were applied, such as XRF, XRD, SEM and TEM servation was held in Istanbul (Istanbul Kültür University). optical microscopy, magnetic resonance, X-ray radiometry, The main topic of the congress was the interdisciplinary neutron analysis, ED XRF spectroscopy, laser induced Raman field of archaeometry, which mainly encompasses research spectroscopy, m-Raman spectroscopy and other important in archaeology and physics, but also in the wider spectrum analytic and diagnostic techniques that are highly selective of social and natural sciences. The research papers presen- and sensitive. ted at the congress showed how the application of contem- Research encompassed the identification of natural and porary experimental methods leads to significant data on synthetic pigments and their variations on the surfaces of the dating of objects made of various materials, created frescoes, icons and manuscripts, the identification of orga- using diverse techniques, in different historical periods. nic binders, colours, glazes, ceramics and glass, as well as Research results were presented in which multi-analytic the testing of textiles, metal and stone.

119 DIANA #13 EDUKACIJA I STRU^NI SKUPOVI

umetnika {to je cela postala stil, kako to opisuje Lui|i Parison govore}i o umetnosti kao figuraciji materije. S tog stanovi{ta, laser kao sredstvo koje ne naru{ava materijal predmeta kul- turne ba{tine, a time ne unosi promene ni u ideje opredme- }ene u unikatnom ili jedinstvenom artefaktu, jeste zna~aj- no tehnolo{ko dostignu}e koje samom procesu za{tite daje nov smisao. Pri tom, tehnolo{ki proces kao posledica tragala~kog napora, kao i sam totalni mit traganja, ima ~etiri stadijuma: problem ili osnovni sukob (agon), isparavanje ili neophodni otklon (patos), destrukciju ili potrebno razaranje (sparagmos) i obnavljanje kao prepoznavanje (anagnorisis). Tim asocijativnim kompariranjem univerzalnih stvara- la~kih stadijuma i stadijuma tehnolo{ke obrade umetni~kih materijala u stvari apostrofiramo to da proces restauracije Sl. 1. Radovi predstavljeni u okviru poster-sekcije umetni~kog dela, uprkos primarnoj tehnologi~nosti, ima u Fig. 1. Works presented within the poster-section sebi i druge neosporno va`ne identifikacije. Ovde se, pre svega, misli na postojanje deskriptivnog aspekta (sadr`ine), koji oslikava spolja{nje opti~ke fenomene, na jednoj strani, Veoma interesantni radovi odnosili su se na istra`iva- i konstruktivni aspekt, neku vrstu metafore ili formalizova- nje anti~kog srebrnog novca na tlu Albanije, istra`ivanja ne strukture koja sadr`i nekonvencionalno, primereno re- {tampe iz perioda Otomanskog carstva, zidnog slikarstva u {enje, s druge strane. Rumuniji, rane metalurgije u Bugarskoj. Radovi dva istra`iva~ka tima iz Srbije odnosili su se na ispitivanje rane srednjovekovne keramike u Srbiji (Lj. Da- mjanovi}, M. Stojanovi}, V. Andri}, I. Holclajtner-Antunovi}, U. B. Mio~) i istra`ivanje semanti~kog kapaciteta spektral- nih analiza u okviru studije o primeni lasera na objektima kulturne ba{tine (S. Poli}-Radovanovi}, Z. Nedi}, M. Sre}- kovi}). U prvom radu analizirani su uzorci posuda s lokaliteta Ras i Novo Brdo iz XIV i XV veka kombinovanjem multi- analiti~kih tehnika X-ray fluorescencije, FTIR spektrosko- pije, X-ray difrakcije i diferencijalne termalne analize. Predmet drugog rada iz Srbije bila je kamena figurina iz Gabona, ~iji je materijal komparativno analiziran s rezul- tatima iz studije sa Federalnog univerziteta Roraima (Bra- zil), u kojoj je ispitivan materijal pedra sabão. U opservaciji semanti~kog kapaciteta spektralnih ana- Sl. 2. U~esnici Me|unarodnog kongresa o primeni liza koje je potrebno sprovesti u okviru studija o primeni spektroskopskih metoda u konzervaciji kulturne ba{tine lasera na objektima kulturne ba{tine neki od najva`nijih Fig. 2. The participants of the International Congress pokazatelja odnose se na probleme prezentnosti reprezen- on Applying Spectroscopic Methods in Cultural Heritage tovanog materijala, probleme intencionalnih korelata, pro- Conservation bleme supstancijalnosti sadr`ine, supstitucionog kapacite- ta dijagnosti~kih metoda i probleme redukcije informacija. Zna~ajna su pitanja o primenljivosti metoda, o tehnolo{kim Zato u procesu primene lasera u konzervaciji predmeta granicama tuma~enja dela, stohasti~nosti procesa, o odno- kulturne ba{tine predmet istra`ivanja, objekat delovanja, su medija i procesa, kao i pitanja transparencije dobijenih sredstvo delovanja, prostor opservacije i dokazni instru- rezultata. Iako navedeni problemi tokom istra`ivanja bitno mentarijum moraju biti funkcionalno povezani. Njihova su`avaju prostore opservacije, egzaktni rezultati o prirodi veza ima potpuni kauzalitet, pa primenu lasera u re{avanju materije dobijeni spektralnim analizama, pokazalo se, imaju problema za{tite predmeta kulturne ba{tine nije mogu}e zna~ajan semanti~ki kapacitet u procesu tehnolo{kog pla- izvesti ukoliko bilo koji od tih ~inilaca nema odgovaraju}u niranja upotrebe lasera na objektima kulturne ba{tine. funkciju. Analiza problema sondiranja podataka originalnih eks- Razmatranjem mesta spektralne analize u okviru su- perimentalnih istra`ivanja, kao i studija laserske dijagnosti- bjektno-objektne slike odnosa izgra|enih u procesima de- ke, obrade i za{tite materijala kulturne ba{tine, pokazuje skripcije, analize, prospekcije, konstrukcije i rekonstrukcije da se delovanjem lasera na umetni~ki predmet ne deluje sa- komponenata koje ~ine konkretan zadatak laserske za{tite mo na materiju u smislu njene strukture ve} i na materiju predmeta kulturne ba{tine aktualizovano je pitanje seman- oblikovanu na neponovljiv na~in u oblik koji je sama duhovnost ti~kog kapaciteta te metode.

120 EDUCATION AND PROFESSIONAL MEETINGS DIANA #13

Some very interesting papers focused on researching antique silver coins on Albanian territory, printing from the period of the Ottoman Empire, wall painting in Romania, and early metallurgy in Bulgaria. The works of two research teams from Serbia focused on early medieval ceramics in Serbia (Lj. Damjanovi}, M. Stojanovi}, V. Andri}, I. Holclajtner-Antunovic, U. B. Mio~) and on researching the semantic capacity of spectral analy- ses within a study on applying the laser to cultural heritage objects (S. Poli}-Radovanovi}, Z. Nedi}, M. Sre}kovi}). The first paper analyzed vessel samples from Ras and Novo Brdo dating from the 14th and 15th centuries, combining the multi-analytic techniques of X-ray fluorescence, FTIR spectroscopy, X-ray diffraction and differential thermal analysis. The topic of the second Serbian paper was a stone figurine from Gabon, whose material was analyzed compa- Sl. 3. Figurina iz Gabona ratively with the results of a study from Roraima Federal University (Brazil), which focused on pedra sabão material. Fig. 3. The figurine from Gabon In the observation of the semantic capacity of spectral analyses that need to be carried out within studies of apply- ing the laser to cultural heritage objects, some of the most rial shaped in a unique way, into a form that represents the significant indicators refer to the problems of the presenta- very inspiration of the artist which has entirely grown into bility of representative material, international correlation, the style, as Luigi Parison describes it, speaking of art as the content substantiality, the substitutional capacity of diagno- figuration of imagination. From this viewpoint, the laser is stic methods, and the problems of information reduction. a means that does not jeopardize the material of the cultural The questions of method applicability, technological limits heritage object, and therefore does not cause changes to the of work interpretation, process stochasticity, and medium- idea created in the single or unique artifact. It represents a process relations are of great significance, as are questions significant technological achievement that gives a whole relating to the transparency of findings. Although the new meaning to the very process of conservation. above-mentioned problems in research to a great extent In addition, the technological process resulting from narrow the observation field, the exact results on the natu- researching endeavors, and the total myth of research itself, re of the material acquired through spectral analyses have contain four phases: the problem or the basic conflict (agon), been shown to have significant semantic capacity in the evaporation or necessary distancing (patos), destruction or process of technological planning the use of laser on necessary ruination (sparagmos), and restoration as recogni- cultural heritage objects. tion (anagnorisis). Through this associative comparison of Analysing the problem of sounding data from original the universal phases of creation and the phases of technolo- experimental research, as well as the study of laser diagnos- gical processing of artistic material, we emphasize the fact tics and processing and the conservation of cultural heritage that despite the primary technological aspect, the process material, demonstrate that the laser not only affects the of artifact restoration also contains other unquestionably structure of the material of an art object but also the mate- significant forms of identification. This primarily refers to

Sl. 4. IC rezultati ispitivanja brazilskog kamena pedra sabão Fig. 4. The IC results of the research on the Brazilian pedra sabão stone 121 DIANA #13 EDUKACIJA I STRU^NI SKUPOVI

Sl. 5. Transmisioni spektri ispitivanja kamena figurine iz Gabona Fig. 5. Transmission spectra of the research on the stone figurine from Gabon

Primenom komparativnih analiza materijala figurine i ba{tine svakako mora po}i od analize spektralnih podataka. materijala pedra sabão istra`iva~i su dokazali da spektralne Drugim re~ima, u ispitivanju fenomena primene lasera u za- analize imaju dovoljan semanti~ki kapacitet za utvr|ivanje {titi materijala predmeta kulturne ba{tine re~ je o putu ko- geografskog porekla umetni~kog predmeta, te da se u raz- ji zapo~inje ispitivanjem tehnologije umetnosti, a zavr{ava matranju primene lasera u restauraciji predmeta kulturne se u ispitivanju umetnosti tehnologije. „

Azra BE^EVI]-[ARENKAPA, konzervator Zemaljski muzej BiH

SIMPOZIJUM FOTOGRAFSKO NASLJE\E U CENTRALNOJ, JUGOISTO^NOJ I ISTO^NOJ EUROPI: PRO[LOST, SADA[NJOST I BUDU]NOST 4–9. 11. 2007, Bratislava, Slova~ka Republika

ME\UNARODNI SIMPOZIJUM Fotografsko naslje|e u cen- tralnoj, jugoisto~noj i isto~noj Europi: pro{lost, sada{njost i tografske kolekcije i na~ine konzerviranja i za{tite fotograf- budu}nost fokusirao se na fotografiju kao integralni dio kul- skih kolekcija. Tre}eg dana simpozijuma, osim predavanja turnog naslje|a, kao i na razvijanje strategija za za{titu foto- eminentnih stru~njaka iz oblasti konzervacije fotografija, grafskih kolekcija koje se nalaze u centralnoj, jugoisto~noj odr`an je i okrugli stol na kojem se razgovaralo o potreba- i isto~noj Europi. Simpozijum su organizirali Institut za kon- ma u okviru kolekcija i institucija u zemljama u~esnicama. zervaciju Geti (GCI) iz Los An|elesa, Akademija likovnih Tako|er smo imali priliku da slu{amo predavanje pod umjetnosti i dizajna iz Bratislave i Slova~ka nacionalna bi- nazivom Prva fotografija – na~in analiziranja, smje{taja i blioteka iz Martina u Slova~koj Republici. izlaganja. Prva fotografija – View from the Window at Le Tema ~etvorodnevnog simpozijuma bile su historija i Gras – delo je @ozefa Nisefora Nijepsa (Joseph Nicéphore konzervacija fotografija u Albaniji, Bjelorusiji, Bosni i Her- Niépce) i nastala je 1826. godine. To je prvi primjer trajne cegovini, Bugarskoj, Hrvatskoj, ^e{koj Republici, Njema~- slike napravljene izlaganjem fotosenzitivne plo~e (izra|ene koj, Ma|arskoj, Makedoniji, Moldovi, Crnoj Gori, Poljskoj, od legure olova, bakra, nikla i `eljeza, s premazom bitume- Rumuniji, Srbiji, Slova~koj Republici i Sloveniji. na) u kameri opskuri. Ona je sada dio fotografske kolekcije Na simpozijumu je bilo preko 120 u~esnika iz 22 zemlje. Harry Ransom Humanities Research Center na Univerzitetu Prvog i drugog dana simpozijuma odr`ana su predavanja o hi- Teksas u Ostinu. U junu 2002. godine fotografija je stigla u storiji i konzervaciji fotografija u zemljama regiona. Svaka Institut za konzervaciju Geti radi nau~nih analiza koje do zemlja predstavila je i opisala historiju fotografije, va`ne fo- tada nisu bile obavljene, iako je proces stvaranja fotografije

122 EDUCATION AND PROFESSIONAL MEETINGS DIANA #13 the existence of a descriptive aspect (content), which, on one tion, analysis, prospection, construction, and reconstruction hand, reflects external optical phenomena, and on the other, of the components that comprise the concrete task of laser a constructive aspect, a kind of metaphor or formalized struc- protection of cultural heritage objects, the issue of this ture that contains the unconventional, suitable solution. method’s semantic capacity is made more topical. This is why the research topic, the object requiring Applying comparative analyses of the figurine and the action, the means of action, the observation area, and the pedra sabão material, researchers have proved that spectral evidence instrumentarium must be functionally connected analyses have sufficient semantic capacity to establish the in the process of applying the laser in the conservation of cul- geographic origin of an artifact and that, therefore, the ana- tural heritage objects. Their relationship is characterized by lysis of spectral data should definitely be the starting point complete causality, so the application of laser techniques in when considering the application of the laser in the resto- solving problems in the conservation of cultural heritage ration of cultural heritage objects. In other words, research objects is not possible if any of these factors do not have a on the phenomena of applying the laser in the protection of suitable function. cultural heritage objects’ material is all about a development By considering the place of spectral analysis within the that starts with investigating the technology of art and subjective-objective picture built in the processes of descrip- ends with investigating the art of technology. „

Azra BE^EVI]-[ARENKAPA, conservator National Museum of BiH

SYMPOSIUM PHOTOGRAPH HERITAGE IN CENTRAL, SOUTHERN AND EASTERN EUROPE: PAST, PRESENT AND FUTURE 4–9. November 2007, Bratislava, Republic of Slovakia

THE INTERNATIONAL SYMPOSIUM on the Photograph Heritage in Central, Southern and Eastern Europe: Past, Pre- phore Niépce’s in 1826 (View from a window at La Gras). sent and Future focused on photographs being integral com- This was the first example of a permanent picture made by ponents of cultural heritage, and on developing preservation exposing a photosensitive slab (made from lead, copper, strategies for photograph collections located in Central, nickel and iron alloy covered with bitumen) inside a camera Southern, and Eastern Europe. The Symposium was organi- obscura. It now forms part of the photographic collection of zed by the Getty Institute for Conservation (GCI), Los Ange- Harry Ransom Humanities Research Center at Texas Univer- les, the Academy of Fine Arts and Design, Bratislava, and the sity, Austin. In June 2002, the photograph came to Getty Slovak National Library, Martin, Slovakian Republic. Conservation Institute (GCI) for scientific analysis since The four-day symposium considered the history of pho- this had not been done before, although the procedure for tography and photograph conservation in Albania, Belarus, taking a photo had been documented (supported by docu- Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, mentary evidence). The scientific team of GCI used non- Germany, Hungary, Macedonia, Moldova, Montenegro, Po- destructive analytic methods that included XRF (X-Ray land, Romania, Serbia, Slovak Republic, and Slovenia. Over 120 participants from 22 countries attended the symposium. During the first two days, participants gave lectures on the history and conservation of photography in the countries of the region. Each country represented and described the history of its own photography, significant photographic collections, and methods of conservation and protection of photographic collections. On the third day, in addition to lectures given by eminent experts in the field of photograph conservation, there was a roundtable discussion about the needs of photograph collections, and about exis- ting institutions in participating countries. We had a chance to listen to the stimulating lecture First Photography – Method of Analyzing, Storage and Display. One of the earliest photographs was taken by Joseph Nicé-

123 DIANA #13 EDUKACIJA I STRU^NI SKUPOVI bio dokumentovan. Nau~ni tim GCI koristio je nedestruk- tivne analiti~ke metode, koje su uklju~ivale XRF (X-ray flu- orescente) i FTIR (Fourier-transform infrared spectrometry). Tim GCI tako|er je izradio i specijalnu vitrinu za izlaganje, napunjenu inertnim gasom, s kontrolom mikroklime. Institut za konzervaciju Geti, Akademija likovnih umjet- nosti i dizajna iz Bratislave i Slova~ka nacionalna biblioteka iz Martina 8. novembra 2007. godine u Ameri~koj ambasadi u Bratislavi potpisali su sporazum o me|uinstitucionalnoj saradnji i daljoj edukaciji na polju konzervacije fotografija. Mo`e se re}i da je cilj simpozijuma bio da on poslu`i kao katalizator za me|unarodnu saradnju i da omogu}i zasni- vanje edukacije na polju konzervacije i za{tite fotografija u bogatom naslje|u centralne, jugoisto~ne i isto~ne Europe. Tako|er je omogu}io stru~njacima iz regiona i svijeta da se upoznaju i razmjene iskustva u na~inu pristupanja proble- mima deponovanja, za{tite, konzervacije i digitalizacije fo- tografskih kolekcija. „

Ubavka MIO^ Fakultet za fizi~ku hemiju Univerziteta u Beogradu

STUDENTI BEOGRADSKOG UNIVERZITETA NA SKUPU U SUSRET PRO[LOSTI: NAUKA I KULTURNO NASLE\E

KRAJEM NOVEMBRA 2006. GODINE u Galeriji Tejt modern (Tate Modern Gallery) u Londonu odr`an je jednodnevni se- Na skupu su u~estvovali i Olgica Marjanovi} i Neboj{a minar pod nazivom U susret pro{losti: nauka i kulturno na- Peri{i}, apsolventi na Fakultetu za fizi~ku hemiju Beograd- sle|e (Looking Forward to the Past: Science and Heritage). skog univerziteta, sada diplomirani fizikohemi~ari. Oni su Seminar je organizovao CCLRS (Council for the Central La- rezultate svojih diplomskih radova Bojena neolitska keramika boratory of the Research Councils) u saradnji sa Arts & Huma- vin~anske kulture (Neboj{a Peri{i}) i Spektroskopsko ispitiva- nities Research Council, a u okviru evropskog projekta COST. nje ikona slikanih na platnu (Olgica Marjanovi}) predstavili Na ~elu organizacionog odbora bio je prof. dr Manolis Pan- na skupu kao postere. Prezentovani radovi deo su istra`iva- tos sa Univerziteta u Barseloni. Cilj skupa bilo je povezivanje nja grupe beogradskih nau~nika koji razvijaju multidisci- nau~nika iz oblasti prirodnih nauka, restauratora, konzer- plinarni pristup u ispitivanju umetni~kih dela. Tu grupu ~i- vatora, istori~ara umetnosti i arheologa koji se na multidi- nili su prof. dr Ubavka Mio~ i doc. dr Ljiljana Damjanovi} sciplinaran na~in bave o~uvanjem kulturnog nasle|a, kao i sa Fakulteta za fizi~ku hemiju, diplomirani hemi~ar Milica razmena ideja izme|u njih. Stojanovi} iz Narodnog muzeja u Beogradu i diplomirani Galerija Tejt modern otvorena je 2000. godine i jedan je fizikohemi~ar Velibor Andri} iz Instituta za nuklearne na- od najpoznatijih muzeja savremene umetnosti u Evropi. Na- uke Vin~a. lazi se na desnoj obali Temze, u neposrednoj blizini Mileni- Bojena neolitska keramika vin~anske kulture s lokali- jumskog pe{a~kog mosta, koji je podignut povodom ulaska teta Plo~nik bila je predmet jednog od istra`ivanja. Cilj ra- u tre}i milenijum. Galerija Tejt modern impresivno je zda- da bili su rekonstrukcija tehnologije pe~enja i utvr|ivanje nje, koje je nekada bilo elektrana, i mo`e da primi veliki broj porekla pigmenata kori{}enih za ukra{avanje. U tu svrhu ljubitelja umetnosti. Upravo zbog toga {to povezuje suprot- primenjeno je nekoliko metoda fizi~kohemijske analize: in- nosti ta galerija je izabrana za mesto odr`avanja skupa. fracrvena (IC) spektroskopija, rendgenska fluorescentna ana- Seminar je okupio veliki broj u~esnika iz mnogih zema- liza (XRF) i difrakcija rendgenskog zra~enja na kristalnom lja Evrope: Francuske, Nema~ke, Belgije, Austrije, Italije, prahu (XRPD). Na osnovu IC analize otkriveno je prisustvo Slovenije, Rumunije, Izraela, [panije, Portugalije i Srbije, kalcijum-ortofosfata u pigmentima bele boje, {to ukazuje a najbrojniji su bili u~esnici iz Velike Britanije. Teme pre- na kori{}enje samlevenih kostiju kao belog pigmenta. Na davanja bile su veoma raznovrsne, iako su se sve odnosile osnovu XRF analize odre|ena je koli~ina gvo`|a u pigmen- na primenu fizi~kohemijskih metoda u ispitivanju i za{titi tima crvene i crne boje, na osnovu ~ega je zaklju~eno da je umetni~kih dela. crveni pigment hematit (Fe2O3), a crni FeO. Uz pomo} XRPD

124 EDUCATION AND PROFESSIONAL MEETINGS DIANA #13 fluorescence) and FTIR (Fourier-Transform Infrared) spec- Conclusion: the goal of this symposium was for it to trometry. The GCI team also constructed a special showcase serve as a catalyst for international collaboration in order filled in with inert gas to control its microclimate. to promote the conservation and preservation of photography On November 8th 2007, the Getty Institute for Conser- within the established photographic heritage of Central, vation (USA), Academy of Fine Arts and Design Bratislava, Southern, and Eastern Europe. This symposium enabled and the Slovakian National Library, Martin (Republic of experts from the region and elsewhere to get to know one Slovakia), signed an Agreement on International Coopera- another and exchange their experience in solving the pro- tion and Further Education in the Field of Photography blems of storage, protection, conservation and digitization Conservation. of photograph collections. „

Ubavka MIO^ Faculty for Physical Chemistry, University of Belgrade

STUDENTS OF BELGRADE UNIVERSITY AT THE MEETING LOOKING FORWARD TO THE PAST: SCIENCE AND HERITAGE

TOWARDS THE END OF NOVEMBER a one day seminar on Looking Forward to the Past: Science and Heritage was grade who are developing a multidisciplinary research held in the Museum of Contemporary Art at Tate Modern approach to works of art. The group of scientists performing Gallery in London. The seminar was organized by CCLRS this research consisted of Professor Dr. Ubavka Mio~ and (Council for the Central Laboratory of Research Councils) senior lecturer Dr. Liljana Damjanovi} from the Faculty of in cooperation with the Arts & Humanities Research Council, Physical Chemistry, graduate chemist, Milica Stojanovi} within the European COST project. The chairman of the from the National Museum in Belgrade, and graduate organizing committee was Professor Manolis Pantos from physico-chemist, Velibor Andri} from the Institute for the University of Barcelona, Spain. The goal of this meeting Nuclear Science Vin~a. was the communication and exchange of the ideas among The aim of the research on the Painted Neolithic Cera- natural sciences, restoration, and conservation scientists, hi- mics of Vin~a Culture, Plo~nik site, was to reconstruct the storians of art, and archeologists, all dealing with the conser- technology of firing and discover the origin of pigments vation of cultural heritage in a multidisciplinary manner. used for adornment. For this purpose, several methods of Tate Modern Gallery was opened to the public in 2000 physico-chemical analysis have been used: (IC) infrared spe- and is one of the most famous museums of modern art in ctroscopy, Roentgen fluorescent analysis (XRF) and dif- Europe. It is situated on the south bank of the River Thames, fraction of Roentgen rays on crystal dust (XRPD). During close to the Millennium Footbridge, built on the occasion basic IC analysis, the presence of calcium orthophosphate of entering the third millennium. Tate Modern Gallery is an in the pigments of white color was discovered, which indi- impressive building that used to be a power station and is cate that ground bones were used as white pigment. On the able to hold a great number of art admirers. Since the gal- basis of XRF analysis, the quantity of iron was defined in lery itself connects opposites, it was chosen to be the venue the pigments of red and black color, which proved that red of the meeting. pigment is hematite (Fe2O3) and black FeO. By the means The seminar was attended by a large number of partici- of XRPD analysis, the composition of ceramic material was pants from various European countries: France, Germany, discovered and this was used to estimate the temperature Belgium, Italy, Slovenia, Romania, Israel, Spain, Portugal of firing. and Serbia, but participants from Great Britain were parti- In another paper, spectroscopic testing of icons pain- cipants from Great Britain were overwhelmingly superior in ted on canvas showed the use of the spectroscopic method number. Lecture topics were heterogeneous, although they in analyzing pigment and other painting material used for all dealt with the application of physico-chemical methods making three icons painted on canvas. The tested icons in testing and conserving works of art. Godmother and Christ, Saint Petka Paraskeva and Madonna Students from Belgrade University, Faculty of Physical belong to the Museum of the Serbian Orthodox Church. It is Chemistry, Olgica Marjanovi} and Neboj{a Peri{i}, now supposed that they originate from the end of XIX century graduate physico chemists, attended this seminar and pre- and beginning of XX century. By means of an optic micro- sented results of their final examination papers: (Neboj{a scope, a cross section of all samples was photographed and Peri{i}) and Spectroscopic Testing of Icons Painted on Canvas the chronology of applied layers of colour was established. By (Olgica Marjanovi}), as posters. The presented papers form combining results obtained from physico chemical methods part of the research work of a group of scientists from Bel- (XRF and IC spectroscopy), identification of the painting

125 DIANA #13 EDUKACIJA I STRU^NI SKUPOVI analize ustanovljen je sastav minerala u keramici, na osno- Ova metoda daljinske detekcije (analize terestri~nih avion- vu kojeg je procenjena temperatura pe~enja. skih i satelitskih snimaka) relativno je nova u istra`ivanju U radu Spektroskopsko ispitivanje ikona slikanih na plat- arheolo{kih lokaliteta, a posebno je korisna za lociranje te- nu prikazana je primena spektroskopskih metoda u analizi {ko pristupa~nih arheolo{kih lokaliteta. pigmenata i drugog slikarskog materijala kori{}enog za iz- Dr Jana Kolar iz Slovena~ke nacionalne biblioteke go- radu tri ikone na platnu. Ispitivane ikone – Bogorodica sa vorila je o uzrocima degradacije, nedestruktivnoj hemijskoj Hristom, Sveta Petka i Madona – pripadaju Muzeju Srpske analizi i za{titi papira (raznih dokumenata i pisama), knji- pravoslavne crkve i pretpostavlja se da poti~u s kraja XIX ga i pergamenata od velike vrednosti. Mikroramanska spek- ili po~etka XX veka. Uz pomo} opti~kog mikroskopa snim- troskopija i rendgenska fluorescentna analiza (XRF), prema ljeni su popre~ni preseci svih uzoraka, na osnovu ~ega je Jani Kolar, predstavljaju najprikladnije metode za ovakav vid ispitivanja, jer ispunjavaju stroge uslove vezane za ne- destruktivnost i osetljivost, {to je neophodno prilikom ana- lize vrednih umetni~kih dela. Veliki broj starih dokumena- ta i knjiga koji se ~uvaju u bibliotekama {irom sveta nalazi se u veoma lo{em stanju i, prema oceni stru~njaka, vero- vatno ne}e pre`iveti ovaj vek ukoliko se ne preduzmu me- re za{tite. Kao jedan od primera navedeni su Rembrantovi crte`i koji su na ivici propadanja. Tako|e je ukazano na va- `nost ispitivanja mastila na starom papiru. Na osnovu po- znavanja hemijskog sastava kori{}enog mastila mogu}e je utvrditi, osim uzroka propadanja papira, i autenti~nost do- kumenata i starih spisa. Istra`iva~i iz Italije govorili su o kori{}enju lasera pri uklanjanju patine s bronzanih skulptura. Ta metoda se ve} du`e vreme primenjuje kod ~i{}enja predmeta od kamena, dok to doskora nije bilo mogu}e na metalnim skulpturama zbog topljenja i promene boje legure usled lokalnog zagre- vanja predmeta. Taj problem uspe{no je razre{en primenom pulsnih lasera, jer je na taj na~in izbegnuto kontinualno iz- laganje metala visokoenergetskom zra~enju. Na poster-sekcijama koje su odr`ane u pauzama preda- vanja prikazani su rezultati velikog broja ispitivanja umet- Gore, s leve strane, prof. dr Manolis Pantos ni~kih dela. Metode koje su kori{}ene u tim ispitivanjima u i Olgica Marjanovi}; dole, prvi zdesna, Neboj{a Peri{i} najve}oj meri su spektroskopske i nuklearne. Objekti koji su In the upper row from the left to the right, ispitivani veoma su raznovrsni, po~ev od nov~i}a, nakita, Prof. Dr. Manolis Pantos, Olgica Marjanovic. gr~kih i rimskih {lemova, preko drevnih kerami~kih pred- At the bottom, first from the right Nebojsa Perisic meta, srednjovekovnih slika i fresaka, fasada katedrala i zgrada, do potopljenih brodova i skulptura kojima je po- trebna restauracija. utvr|en redosled nano{enja razli~itih slojeva. Kombinacijom Na seminaru U susret pro{losti: nauka i kulturno nasle|e rezultata dobijenih fizi~kohemijskim metodama (XRF i IC pokazano je na veoma zanimljiv na~in da nauka i umetnost spektroskopija) identifikovani su kori{}eni slikarski materi- imaju mnogo zajedni~kih tema. Na osnovu toga jasno se vi- jali. Zaklju~eno je da je na sve tri ikone kao vezivo kori{}eno di da je ispitivanje umetni~kih dela pre{lo veliki put od ideje laneno ulje, dok se me{avina kalcita i olovnobele koristila o mogu}nosti primene egzaktnih nauka do njene realizacije. kao podloga (u podlozi ikone s likom svete Petke prona|en je [irom sveta nau~nici iz oblasti prirodnih nauka ve} su ostva- i barit). Utvr|eno je da su na ikonama kori{}eni pigmenti rili dobru komunikaciju s nau~nicima iz oblasti humani- kao {to su prusko plavo, oksidi gvo`|a (hematit, getit), ze- sti~kih nauka, dok je kod nas takav vid saradnje na samom lena zemlja, dok se cinkova bela koristila za dobijanje `elje- po~etku. U~e{}e na{ih nau~nika na skupovima sa ovakvom ne nijanse. Na osnovu identifikovanog slikarskog materija- tematikom doprinosi razvoju prilaza o~uvanju kulturne ba- la potvr|ena je pretpostavka o vremenu nastanka ikona. {tine koji je za na{u sredinu nov, kao i upoznavanju novih Ovaj skup dao je pregled multidisciplinarnog pristupa egzaktnih metoda i razvoju saradnje nau~nika iz dve gru- ispitivanju najrazli~itijih umetni~kih predmeta kulturnog pacije, kako u na{oj zemlji tako i sa onima iz inostranstva. nasle|a. Pored novih saznanja, ste~enog iskustva i uspostavlja- Profesor Dejvid Majls (David Miles) s Birmingemskog nja kontakata sa stru~njacima iz razli~itih oblasti i zemalja, univerziteta pokazao je u svom predavanju da ne postoji nije izostalo ni fantasti~no dru`enje, {to se mo`e videti iz nauka s kojom se arheologija ne mo`e povezati. Kao primer prilo`ene slike. naveo je va`nost razvoja avio-industrije za arheologiju, {to Istra`ivanja predstavljena na ovom seminaru, komplet- je ilustrovao zanimljivim snimcima Stounhend`a iz balona, ne informacije o u~esnicima, kao i fotografije, mogu se na- nastalim 1906. godine, i snimcima iz aviona iz 2006. godine. }i na adresi: http://www.srs.ac.uk/scienceandheritage/ „

126 EDUCATION AND PROFESSIONAL MEETINGS DIANA #13 material used was made. It was concluded that for all three the cause of paper decay, but also facts regarding the icons, linseed oil was used as connective tissue, while the authenticity of documents and old papers. compound of calcite and led white was used as a base (in Researchers from Italy talked about the use of lasers in the base of the icon Saint Petka, barite was found). It was cleaning patina from bronze sculptures. This method for established that pigments such as Prussian blue, ferrous cleaning stone objects has been used for some time, but oxides (Hematite Goethite), and green earth were used for this has not been possible recently because of melting and icons, while Zinc white was used to obtain desired shades. changes in the colour of alloys, caused by localized heating The identified painting material confirmed a hypothesis of the object. This problem has been successfully overcome regarding the date of origin of these icons. by using pulse lasers, since in this way continuous exposu- This meeting provided a survey of the multidisciplinary re of metal to high-energy radiation sources was avoided. approach in testing heterogeneous works of art forming part At poster workshops, held during break time between of the cultural heritage. the lecturers, results obtained from testing various works of In his lecture, Professor David Miles from Birmingham art, were presented. Methods used in testing were mostly spe- University conveyed that there is no science that archeolo- ctroscopic and nuclear. Tested objects were heterogeneous, gy could not be connected to. As an example, he stated the beginning with coins, jewelry, Greek and Roman helmets, importance of the development of the aviation industry for through ancient ceramic objects, medieval paintings, archeology and illustrated it with interesting photos of Stone- frescoes, cathedral and building facades, to sunken boats henge taken from a balloon in 1906 and from a plane in 2006. and sculptures that needed restoration. This method of remote detection (analysis of terrestrial The seminar, Looking Forward to the Past: Science and plane and satellite photos) is relatively new in researching Heritage, presented in a very interesting way that science archeological sites. It is especially useful in locating arche- and arts have very much in common. Accordingly, it is ological sites that are difficult to access. . obvious that testing works of art has come a long way from Dr. Jana Kolar from the Slovenian National Library the first ideas of applying exact sciences to its realization. talked about causes of degradation, about non-destructive Worldwide, scientists from natural sciences have already chemical analysis, and the conservation of paper (various had good communication with humanities scholars, while documents and letters), books, and parchment of great value. in our country, this type of communication is still at an According to Dr. Kolar, Micro-Raman spectroscopy and early stag. The participation of our scientists at meetings Roentgen fluorescent analysis (XRF), present the most ap- dealing with this subject contributes to our developing new propriate methods for this kind of research, since they approaches to the protection of cultural heritage in our fulfill severe conditions connected to non-destructiveness country, to our introducing new exact methods, and to and sensitivity, necessary during analysis of valuable works developing cooperation between scientists from those two of art. Numerous old documents and books kept in libraries groups, both in our country and abroad. all over the world are in very bad condition and, according Besides new knowledge, obtained experience, and con- to the estimation of experts, will not survive this century, tacts with experts from various fields and countries, we also if conservation measures are not undertaken. Rembrandt’s had a good time, which is obvious from the photos included drawings, which are on the brink of ruin, were given as one here. of the examples. Dr. Kolar also pointed out the importance The research work presented at this seminar, complete of testing ink on old paper. By knowing the chemical com- information about participants and photos can be found on position of used ink, it is possible to determine, not only the web page http://www.srs.ac.uk/scienceandheritage/ „

Vesna @IVKOVI], curator for Preventive Conservation Diana Department for Preventive Conservation, National Museum in Belgrade

THE ESTABLISHEMENT OF A MASTER’S DEGREE IN PREVENTIVE CONSERVATION IN BELGRADE

THE MASTER’S DEGREE in Preventive Conservation was officially launched on 24th November 2008 at the Centre the Diana Department for Preventive Conservation at the for Multidisciplinary Studies, Belgrade University. The National Museum in Belgrade, the direct result of the establishment of this Master’s program is connected with department’s activities. the introduction of preventive conservation principles within Since current study programs in conservation at uni- cultural heritage preservation in Serbia and a new approach versities in Serbia are oriented towards the conservation of to conservation education, four years after the creation of paintings on canvas and wood, mural paintings, mosaics,

127 DIANA #13 EDUKACIJA I STRU^NI SKUPOVI

Vesna @IVKOVI], kustos za preventivnu za{titu Odeljenje za preventivnu za{titu Dijana, Narodni muzej u Beogradu

RAZVOJ DIPLOMSKIH AKADEMSKIH STUDIJA PREVENTIVNE KONZERVACIJE (MASTER) U BEOGRADU

U NOVEMBRU 2008. GODINE na Univerzitetu u Beogradu, u okviru multidisciplinarnih poslediplomskih studija, Program se realizuje u okviru delatnosti Ve}a za multi- zvani~no je zapo~eto s realizacijom diplomskih akademskih disciplinarne studije. Odluka da se najpre zapo~ne s realiza- studija iz preventivne konzervacije (master). Osnivanje ma- cijom programa iz preventivne konzervacije bila je uslovljena ster studija iz preventivne konzervacije povezano je sa uklju- potrebama u razvoju preventivne konzervacije u muzejima ~ivanjem koncepta i principa preventivne konzervacije u u Srbiji i logisti~kim razlozima, budu}i da odvijanje tog pro- procese za{tite kulturne ba{tine u Srbiji, kao i s primenom grama ne zahteva postojanje specijalizovanih radionica i la- novog pristupa u edukaciji iz konzervacije. Diplomske aka- boratorija, ~ije je formiranje povezano sa osnivanjem Cen- demske studije (master) osnovane su ~etiri godine nakon us- tralnog instituta za konzervaciju.2 tanovljenja Odeljenja za preventivnu za{titu Dijana u Na- Osnovni cilj studija iz preventivne konzervacije na rodnom muzeju u Beogradu i to je rezultat aktivnosti ovog Beogradskom univerzitetu jeste uklju~ivanje koncepta pre- odeljenja u domenu konzervacije i edukacije u konzervaciji. ventivne konzervacije u aktivnosti muzeja, arhiva i bibliote- Budu}i da se postoje}i studijski programi iz konzer- ka u Srbiji. Program je prvenstveno namenjen profesional- vacije na univerzitetima u Srbiji odnose na konzervaciju cima iz institucija za{tite i svima onima koji u~estvuju u slika na platnu i drvetu, zidnih slika, mozaika, skulptura i za{titi kulturnih dobara; tako|e je u skladu s promenama u umetni~kih dela na papiru, uz usredsre|ivanje na prakti~ni oblasti konzervacije koje treba da donesu Zakon o muzej- aspekt procesa konzervacije,1 bilo je o~igledno da postoji skom nasle|u u Srbiji i njegov o~ekivani uticaj na status potreba za daljim razvojem formalnih edukativnih progra- profesije konzervatora, kao i na zahteve u za{titi. Na diplom- ma iz konzervacije drugih materijala i u skladu s razvojem ske akademske studije iz preventivne konzervacije upisano konzervacije i statusa profesije. Bilo je neophodno da se tim je jedanaest studenata razli~itih profila i edukacije. Finan- programima obuhvati i teorija konzervacije, kao i druge te- siranje tih studija omogu}eno je zahvaljuju}i podr{ci i dona- me, poput eti~kih principa u konzervaciji, istorije konzerva- cijama Ambasade Francuske i Ambasade Kraljevine Holan- cije i restauracije, pravnih aspekata konzervacije, menad`- dije u Beogradu. menta zbirki, komunikacije, preventivne konzervacije itd. Studije su konceptualno i sadr`ajno zasnovane na edu- Deo aktivnosti Odeljenja za preventivnu za{titu pod- kativnom programu iz preventivne konzervacije koji je od razumeva i organizaciju edukativnih programa u koje su, 1994. godine formiran na Sorboni. Koncept prevencije u pored prakti~ne obuke iz konzervacije, uklju~ene i teme iz procesu konzervacije postoji ve} trideset godina. Od 1977. teorije konzervacije i preventivne konzervacije. Veliki deo godine ICCROM (International Centre for the Study of the programa ostvaren je u saradnji sa institucijama za konzer- Preservation and Restoration of Cultural Property – Me|u- vaciju iz Francuske i uz podr{ku francuske vlade. Ideja o narodni centar za prou~avanje o~uvanja i restauracije kul- osnivanju akademskog programa iz konzervacije koji bi turnih dobara) organizuje kurseve za muzejske profesional- obuhvatio problematiku konzervacije razli~itih materijala i ce koji se bave tom temom. Zatim je, 1986. godine, zapo~eto specifi~no preventivne konzervacije rezultat je saradnje u s projektom PREMA (Prevention in Museums in Africa – edukaciji konzervatora s Laboratorijom za konzervaciju i re- Prevencija u muzejima u Africi), u okviru kojeg je razvijana stauraciju Arheolo{kog centra Vara u Draginjanu i s njenim metodologija preventivne konzervacije i didakti~kog pri- sada{njim direktorom @akom Ribijerom. Godine 2003. ostva- stupa koji odgovara specifi~nosti oblasti. Projekat je zami{- reni su prvi kontakti sa Univerzitetom Pariz 1 – Panteon, ljen kao proces edukacije muzejskih profesionalaca u kon- Sorbona; diskutovalo se o razli~itim mogu}nostima dalje zervaciji, s tim {to oni mogu da preuzmu dalju edukaciju. edukacije konzervatora u Srbiji i Francuskoj i o zasnivanju studija konzervacije i preventivne konzervacije u Beogradu, a u saradnji sa Univerzitetom Pariz 1 i na osnovu iskustava 1] Odsek za konzervaciju i restauraciju na Fakultetu prime- u razvoju studijskih programa u domenu konzervacije ste- njene umetnosti, Univerzitet umetnosti u Beogradu; Visoka {kola ~enih na tom univerzitetu. Pravoslavne crkve za umetnost i konservaciju, u okviru ~ijeg pro- Pregovori, administrativne i organizacione pripreme i grama postoji kurikulum koji se odnosi na konzervaciju i restaura- ciju, odnosno na ~uvanje i obnovu pravoslavne crkvene ba{tine; na razvoj sadr`ine programa zvani~no su zaklju~eni nakon pet Akademiji umetnosti Univerziteta u Novom Sadu, Departman likov- godina – 25. novembra 2008. godine – potpisivanjem spora- nih umetnosti, Katedra za slikarstvo, postoji izborni predmet Osno- zuma izme|u Beogradskog univerziteta i Univerziteta Pariz vi konzervacije i restauracije. 1; tada je na diplomske akademske studije (master) iz pre- 2] Na predlog Ministarstva kulture, vlada Republike Srbije ventivne konzervacije na Beogradskom univerzitetu upisa- donela je 22. januara 2009. godine odluku o formiranju Centralnog na prva generacija studenata. instituta za konzervaciju u Beogradu.

128 EDUCATION AND PROFESSIONAL MEETINGS DIANA #13

laboratories. Its establishment is connected with the foun- dation of the Central Institute for Conservation.2 The principle aim of the studies is to introduce the con- cept of preventive conservation into museums, archives and libraries in Serbia. The programme is primarily open for professionals from the institution of protection as well as for all those active in the conservation of cultural heri- tage. It is in accordance with the changes which should be introduced with the acceptance of the new Law on museum heritage in Serbia and its expected impact on the status of conservators and conservation demands. There are currently 11 students in the first generation, from different back- grounds. The programme is funded through donations of the French Embassy and the Royal Embassy of the Nether- Merenje svetlosnog zra~enja u muzeju – kurs o osvetljenju lands in Belgrade. u muzejima odr`ao je @an-@ak Ezrati iz Francuske The study program is based on the Master’s in preven- Monitoring of illumination in a museum, course on lighting tive conservation established at the Sorbonne in 1994. The in museums held by Jean-Jacques Ezrati, France concept of prevention has been included in conservation for 30 years. Since 1977 the ICCRM (International Centre for the Study of the Preservation and Restoration of Cultural sculpture and graphic arts and are focused on the craft Property) has been organizing courses dealing with the aspect of conservation and practical training,1 the need to subject. Furthermore, in 1986 the project PREMA (Preven- further develop another formal study program in conserva- tion in Museums in Africa) started, where the methodology tion in accordance with the development of conservation of preventive conservation, as well as a didactic approach and status of the profession, was obvious. It was also neces- for this specific area, was developed. The project was con- sary to include courses on theoretical and other practical ceived as an educational one for museum professionals in elements of conservation, such as ethical principles, history conservation, and future educators. Paris University 1 took of conservation-restoration, legal issues, management of part in the creation of courses and curricula and delivered collections, communication, preventive conservation etc. academic diplomas to its graduates. At the beginning of the The Department for Preventive Conservation has 1990s the approach to conservation changed in France and among other practical activities fostered training programs the concept of preventive conservation was introduced as a covering the theory of conservation and preventive conser- topic in the study programme (MST – Maîtrise de science et vation. These were partly realized in collaboration with technique). Preventive conservation was accepted as an French institutions for conservation and with the support alternative to curative conservation and restoration in accor- of the French government. The idea for the establishment dance with the ethical principle of minimal intervention, of a new academic program in conservation, to encompass introduced in conservation practice by Canadian experts. topics dealing with the conservation of different materials As a result, the study programme in preventive conserva- and specifically preventive conservation, is the result of co- tion was established – DESS for preventive conservation operation on training of conservators with the Laboratory for (Diploma of the Higher Specialist Studies for Preventive Con- conservation and restoration of the Archaeological Centre of servation of Cultural Property-Diplôme d’études supérieures Var in Draguignan, France and its current director Jacques spécialisées en conservation préventive des biens culturels) Rebiere. First contacts were made with University Paris 1- intended for professionals who wanted to broaden their Pantheon Sorbonne in 2003, to explore the possibilities of knowledge in processes of evaluation and control of collec- furthering the education of conservators in Serbia and in tion environments. The program in preventive conservation France and to mount a joint project on establishing a study in Paris 1 was transformed into a Master’s degree in pre- programme in conservation and preventive conservation in ventive conservation according to the Bologna process for Belgrade, based on the experience of University Paris 1 in the development of educational programmes in conservation. Negotiations, administrative and organizational proce- 1] Department of Conservation and Restoration at the dures and the development of the content of the program- Faculty of Applied Arts, University of Arts in Belgrade. The College me were finally concluded after five years on 25 November of Serbian Orthodox Church for Art and Conservation runs a 2008 when the convention between the Universities of program which currently consists of an undergraduate degree in Sorbonne and Belgrade was signed and the first generation conservation and restoration (referred to as „Reconstruction and safeguarding“). At the Academy of Arts of the University of Novi of students was officially enrolled. Sad, students can follow the basics of conservation and restoration The program has been established within the Counsel as an optional course at the Department for painting. for Multidisciplinary Studies. The main reason for this is to 2] The decision on the establishment of the Central Institute address the issue of preventive conservation in museums for Conservation was made by the Government of the Republic of in Serbia, while the logistics of the program in preventive Serbia on 22nd January 2009, upon the proposal of the Ministry of conservation do not require specialized workshops and Culture.

129 DIANA #13 EDUKACIJA I STRU^NI SKUPOVI

Univerzitet Pariz 1 u~estvovao je u pripremi kurseva i ku- zervacije i preventivne konzervacije, uklju~uju}i eti~ka i rikuluma u okviru projekta, a izdaje i diplome za u~esnike pravna pitanja u konzervaciji, zatim na komunikaciju, sre- projekta. Po~etkom devedesetih u Francuskoj se menja dinu u kojoj se nalaze zbirke i fondovi, na upravljanje zbir- pristup konzervaciji i uvodi se koncept preventivne konzer- kama i preventivnu konzervaciju pojedinih materijala. vacije kao samostalne discipline u okviru edukativnog pro- Studije traju godinu dana, s obzirom na to {to je pro- grama iz konzervacije (MST – Maîtrise de science et technique gram, na prvom mestu, namenjen profesionalcima koji su – diploma nauke i tehnike). Preventivna konzervacija prihva- zavr{ili ~etvorogodi{nje osnovne studije. Tako|e je ve}ina }ena je kao alternativa kurativne konzervacije i restaura- fakulteta na koje se sada upisuju potencijalni kandidati za cije, u skladu sa eti~kim principom minimalne intervencije diplomske akademske studije iz preventivne konzervacije i na predmetu, koji su u praksu konzervacije uveli kanadski koji su prihvatili promene prema Bolonjskoj deklaraciji us- stru~njaci. Kao rezultat tog procesa formiran je studijski vojila program sa ~etvorogodi{njim osnovnim studijama. program iz preventivne konzervacije – DESS preventivne Odlu~eno je da master studije budu organizovane kao di- konzervacije (Diplôme d’études supérieures spécialisées en plomske akademske studije, {to omogu}uje prohodnost ka conservation préventive des biens culturels – diploma vi{ih doktorskim studijama, a s obzirom na to {to preventivna specijalisti~kih studija preventivne konzervacije kulturnih konzervacija ne predstavlja samo strukovnu disciplinu. Za dobara); namenjen je profesionalcima koji `ele da steknu razliku od organizacije studija na Sorboni, gde je mogu}e dodatno znanje o proceni i kontroli uslova u sredini u kojoj nakon profesionalnog mastera nastaviti dalju edukaciju na se nalaze predmeti. U skladu s bolonjskim procesom u doktorskim studijama,3 na Univerzitetu u Beogradu ta mo- visokom {kolstvu u Evropi, DESS je 2005. godine postao gu}nost u potpunosti je isklju~ena. profesionalni master iz preventivne konzervacije (Master Predava~i su odabrani me|u stru~njacima za specifi~ne Professionnel Spécialité „Conservation préventive du patri- oblasti iz Srbije, regiona i evropskih institucija i organiza- moine“ – profesionalni master, specijalnost „Preventivna kon- cija za{tite. Odabir predava~a jedan je od osnovnih uzroka zervacija ba{tine“). problema koji se pojavio u pogledu usagla{enosti s regula- Pojam preventivne konzervacije (preveden kao preven- tivom Beogradskog univerziteta; njegovim statutom predvi- tivna za{tita) ulazi u edukaciju i praksu konzervacije u |eno je da je u realizaciju programa potrebno uklju~iti 70% Srbiji tokom 2000. godine. Tema preventivne konzervacije profesora zaposlenih na tom univerzitetu. Isto se tako po- uklju~ena je u kurseve konzervacije u okviru Letnje {kole za stavilo i pitanje broja predmeta, budu}i da jednogodi{nje konzervaciju Dijana. Osnivanjem Odeljenja za preventivnu master studije dozvoljavaju samo ograni~en broj predmeta. za{titu Narodnog muzeja u Beogradu preventivna konzer- Pri tom nije uzeto u obzir to {to su predmeti tretirani kao vacija i njena sistematska primena zvani~no postaju deo kursevi koji traju najvi{e pet {kolskih dana i {to je struktura obaveznih aktivnosti Narodnog muzeja. U saradnji sa studija iz preventivne konzervacije druga~ija od uobi~ajenih ICCROM-om, organizovan je i prvi uvodni kurs o pre- programa koji ve} postoje u okviru Beogradskog univerzi- ventivnoj konzervaciji za profesionalce iz muzejske mre`e teta. Otvoreno pitanje ostaje i sistem polaganja ispita koji Srbije, a zatim i niz kurseva u vezi s razli~itim temama koje ne omogu}uje polaganje ispita na osnovu analiza studija obuhvata preventivna konzervacija. Iskustva zaposlenih u slu~aja, ve} je potrebno organizovati ispitivanja kroz semi- Odeljenju za preventivnu za{titu, zavr{en master iz narske radove, pisane i usmene ispite i sli~no. preventivne konzervacije jednog od njih na Sorboni, kao i Budu}i da je re~ o prvoj godini realizacije programa, znanje {to su ga svi oni stekli rade}i na me|unarodnim o~ekuje se da }e rezultati aktivnosti i reakcije studenata i projektima koji se odnose na preventivnu konzervaciju, i to predava~a omogu}iti neophodna pobolj{anja u sadr`aju i ne samo znanje o materiji ve} i o razli~itim didakti~kim organizaciji ovih studija iz preventivne konzervacije. Isto je pristupima, predstavljali su jo{ jedan bitan element za raz- tako potrebno da program pro|e akreditaciju u okviru proce- voj programa diplomskih akademskih studija iz preventiv- sa akreditacije visoko{kolskih ustanova Ministarstva pro- ne konzervacije. svete i sporta Republike Srbije. Iako nije u potpunosti prila- Razvoj diplomskih akademskih studija u Beogradu na go|en zahtevima administracije univerzitetskog obrazovanja osnovu postoje}eg programa i iskustava sa Univerziteta u Srbiji, program je uskla|en s preporukama za edukaciju Pariz 1 olak{ao je uspostavljanje kurikuluma modula i na- u domenu konzervacije u Evropskoj uniji.4 Na koji }e na~in ~ina bodovanja u skladu sa zahtevima reforme {kolstva u Ministarstvo prosvete odlu~iti o „prihvatljivosti“ diplomskih Evropi. Ipak, bilo je neophodno da se program prilagodi akademskih studija preventivne konzervacije u okvirima kontekstu i zahtevima administracije Beogradskog univer- visokog obrazovanja u Srbiji, ostaje da se vidi u junu 2009. ziteta. Pojedine teme razra|ene su detaljnije, na primer orga- godine, kada }e komisija za akreditaciju razmatrati pro- nizacija depoa, menad`ment vanrednih situacija, {teto~ine gram ovih studija. „ i zaga|iva~i, a uklju~eni su i novi kursevi (Uvod u menad`- ment i Metodologija menad`menta rizika po muzejske zbirke). U program su, prema uslovima Beogradskog univerziteta, 3] Podatak je dobijen od Denija Gijmara, direktora master stu- uvr{teni i izborni predmeti, oni koji se odnose na preven- dija iz preventivne konzervacije na Univerzitetu Pariz 1 – Panteon, tivnu konzervaciju specifi~nih grupa materijala. Sorbona. Program se sastoji od kurseva u vezi sa specifi~nim te- 4] http://www.encore-edu.org/encore/DesktopDefault.aspx? mama iz preventivne konzervacije; oni su grupisani u {est tabindex=1&tabid=172 osnovnih modula koji se odnose na teoriju i istoriju kon- http://www.ecco-eu.org/.

130 EDUCATION AND PROFESSIONAL MEETINGS DIANA #13

Bezbednost u muzeju, ve`ba – kurs su odr`ali Uticaj zaga|enja na muzejske predmete, ve`ba – kurs Adalberto Bijazioti, Italija, i Dragoslav Filipovi}, Srbija o zaga|iva~ima odr`ao je Morten Ril-Svendsen, Danska Exercise on security in a museum, course held by Exercise on the influence of pollution on museum objects, Adalberto Biasiotti, Italy, and Dragoslav Filipovi}, Serbia course on pollutants held by Morten Rhyl-Svendsen, Denmark higher education in 2005 (Master Professionnel Spécialité museum and archive materials. The fact that the programme „Conservation préventive du patrimoine“). is aimed at graduates following a four-year study system in- The notion of preventive conservation was introduced duced the one-year only program for the Master’s degree. into education and conservation practice in Serbia in 2000. Furthermore, most of the faculties where potential candi- The subject of preventive conservation was included in dates for the Master’s are enrolled now and which accepted Summer school courses for conservation organized by the Bologna reforms, also adopted a four-year system for Diana. The establisment of the Department for Preventive basic studies. It was also decided that the Belgrade Master’s, Conservation in the National Museum in Belgrade meant as stated in the University Statute, should be an academic that preventive conservation and its systematic application master, i.e. leading to PhD studies, having in mind that edu- offically became part of the activities of the museum. In cation in preventive conservation is not only a professional colaboration with ICCROM, Diana organised the first in- specialization. Unlike the organization of the Master’s in troductory course on preventive conservation for museum Sorbonne which allows the possibility to continue PhD professionals in Serbia and then a series of courses covering studies after the professional Master’s,3 at the University differnet preventive conservation topics. The experience of of Belgrade that option is excluded. employees in the Department, the fact that the one of the Lecturers have been chosen among experts from curatores obtained a Master’s degree in preventive conser- regional and European universities and institutions for vation from Paris University 1, Pantheon Sorbonne, as well conservation of cultural property. This raised an important as the knowledge they gained working on international issue at Belgrade University, whose regulations require projects on preventive conservation, not only on the topic that 70% of lecturers in every programme are employees of itself , but also on a pedagogical approach, were further im- this university. Remarks were also made concerning the portant elements in the development of the Master’s pro- number of subjects, since for the one-year master’s only a gram in Belgrade. limited number of subjects are expected. It was not taken This development facilitated the preparation of the cur- into account that some subjects are considered as courses ricular modules and the introduction of the system of credits even though they last at the most five school days, and that in accordance with higher education reform in Europe. How- the structure of the curriculum in preventive conservation ever it was necessary to adjust the program to the context is different from usual programs at Belgrade University. and administrative requirements of Belgrade University. There is also the question of how exams should be organi- Certain subjects, like storage organization, emergency mana- zed, since every subject has to be covered by both written gement, pest management, and pollution, were developed and oral exams and it is not possible to cover the topics by in detail and new courses were introduced (Introduction in exams based on practical case study analysis. management and Methodology of risk management for Since this is the first year of the programme, it is ex- collections). The module on preventive conservation of pected that the results of activities and students and specific materials has been organized as a set of optional teachers reactions will enable necessary improvements in courses according to University of Belgrade regulations. the content and organization of the studies in preventive The courses are organized in six modules, dealing with the following subjects: theory of conservation and preven- tive conservation, including ethical and legal issues; commu- 3] The information gave by Denis Guillemard, director of the nication; collections environment; conservation manage- Master in Preventive Conservation, University Paris 1 – Pantheon ment; and preventive conservation of different types of Sorbonne

131 DIANA #13 KULTURNI TURIZAM

Aleksandar TODOROVI]

TURISTI^KA VALORIZACIJA SPOMEN-PARKA KRAGUJEVA^KI OKTOBAR

SPOMEN-PARK KRAGUJEVA^KI OKTOBAR najve}a je ze- lena povr{ina u gradu i prostire se na 352 hektara. Poznat je u~enicima i profesorima; poznat je pod nazivom Peto tri. To pod nazivom [umarice. Nalazi se u severozapadnom delu je najpoznatije umetni~ko delo u okviru kompleksa. Podig- grada, na putnom pravcu koji Kragujevac povezuje s Gornjim nut je 1963. godine i dominira okolinom. Sme{ten je na Milanovcem. mesto na kojem je streljana najve}a grupa |aka i profesora Spomen-kompleks predstavlja ambijentalnu celinu i Kragujeva~ke gimnazije. Spomenik je podignut u znaku simbol posve}en kragujeva~kim `rtvama koje su streljane rimskog broja pet jer su u to vreme u~enici vi{ih razreda 21. oktobra 1941. godine. Na velikom prostranstvu, na me- gimnazije bili, zapravo, u petom razredu. Kada se spomenik stima na kojima su Kragujev~ani streljani, nalazi se 30 hum- posmatra iz daljine, sti~e se utisak da je re~ o stilizovanim ki; tom broju mogu se dodati jo{ tri u okolini grada. Oko slomljenim pti~jim krilima. Time se simboli~no ukazuje na Erdoglijskog potoka nalazi se 16 humki, a oko Su{i~kog po- zauvek slomljenu i zaustavljenu mladost jedne generacije. toka 14. Pojedine humke s vremenom su umetni~ki obliko- Autor dela je Milorad @ivkovi}. vane, pa se danas na tom prostoru uzdi`e 10 spomenika, te- Prostor oko spomenika stilski je oblikovan. Na kamenju matski povezanih s tragi~nim doga|ajem iz 1941. godine. razli~itog oblika ispisane su poruke stradalih |aka i profeso- ^itav kompleks mo`e se obi}i kru`nim asfaltnim putem, ra, a na jednom kamenu je i tekst Krvave bajke, pesme koju dugim sedam kilometara. Pored toga, tu je i veliki broj pe- je Desanka Maksimovi} posvetila tom tragi~nom doga|aju. {a~kih staza koje povezuju pojedine tematske celine. Budu}i da spomenik predstavlja simbol ~itavog spo- men-parka, svake godine na tom mestu odr`ava se manife- Kulturno-istorijsko spomeni~ko nasle|e stacija Veliki {kolski ~as. Na ulazu u spomen-park nalazi se Muzej 21. oktobar. Muzej U daljem obilasku spomen-parka nailazi se na spome- je nastao 1953. godine. Zgrada je podignuta naknadno – nik Kristalni cvet, posve}en ~ista~ima obu}e. Na tom mestu 1976. godine. Muzej predstavlja kamen temeljac u nastaja- su, s ve}om grupom Kragujev~ana, streljani i de~aci romske nju ~itavog spomen-parka. Iako je re~ o muzeju, zgrada je nacionalnosti, starosti oko 15 godina. Spomenik je podignut sama po sebi svojevrstan spomenik. Sagra|ena je po pro- 1968. godine i predstavlja pupoljak razdvojen na dva dela. jektu arhitekte Ivana Anti}a. Sti~e se utisak da izranja iz Gornji deo spomenika je bele boje, dok je postament tam- zemlje kao znak novog `ivota. Spoljna fasada izvedena je od niji, {to ukazuje na put stradalih de~aka. Autor ovog umet- crvenih cigala koje asociraju na prolivenu krv, a 33 vertika- ni~kog dela je arhitekta Neboj{a Delja. le razli~itih visina simboli~no povezuju 33 humke. Osnova U neposrednoj blizini Kristalnog cveta podignut je spo- muzeja je u obliku krsta, hri{}anskog simbola stradanja. menik Protiv zla. On spada u grupu mla|ih ostvarenja u Unutra{njost muzeja ~ine dva nivoa. U prizemnom de- okviru kompleksa po{to je podignut 1991. godine. ^itavo lu prikazana je revolucionarna pro{lost Kragujevca, a u delo izvedeno je u belom mermeru. Reljef uklesan u spo- gornjem ustanak i Kragujeva~ki oktobar. Pored toga {to u menik tematski se povezuje s hri{}anskom ikonografijom muzeju postoje stalne postavke, on se bavi i prikupljanjem, Stra{nog suda, a po na~inu prikazivanja neodoljivo podse- ~uvanjem, obradom i prezentacijom dokumenata u vezi sa }a na indijansku kulturu starih naroda Ju`ne i Srednje istorijom grada i streljanjem Kragujev~ana. Muzej tako|e Amerike jer je autor meksi~ki vajar Migel Roma. organizuje stalne i povremene manifestacije koje opominju Na kraju obilaska prvog dela spomen-kompleksa nailazi i podse}aju na taj tragi~ni doga|aj kako se tako ne{to nika- se na spomenik Sto za jednoga, koji je podignut 1980. godi- da ne bi ponovilo. Najpoznatija takva manifestacija jeste ne. Naziv je dobio po naredbi nema~kog glavnokomanduju- Veliki {kolski ~as, koji se prire|uje svake godine 21. oktobra. }eg generala Franca Bemea, koji je u proglasu objavio da }e Uz to, muzej je pokrenuo odr`avanje me|unarodne likov- se za jednog ubijenog nema~kog vojnika streljati sto gra|ana. ne kolonije Mostovi Balkana. Spomenik predstavlja drvo ~ija se kro{nja grana u mno{tvo Prvi spomenik s kojim se posetioci susre}u prilikom raz- ljudskih tela. Po{to je udaljen od asfaltnog puta, ure|ena je gledanja spomen-kompleksa jeste Spomenik bola i prkosa. staza koja vodi do njega, a u blizini se nalazi spomen-plo~a. Podignut je 1958. godine. Nalazi se na mestu na kojem su Autor spomenika je vajar Nandor Glid. streljani radnici Vojno-tehni~kog zavoda, a me|u njima i Po{to se pre|e magistralni put koji povezuje Kragujevac jedna `ena – Nada Naumovi}. Izveden je od jednog komada i Gornji Milanovac, a koji ujedno deli spomen-kompleks na belog mermera, a predstavlja mu{karca i `enu. Jedna figura dva dela, nailazi se na spomenik pod nazivom Kameni spava~, skrhana je bolom, dok druga stoji uspravno, izra`avaju}i na podignut 1969. godine. Na tom mestu je, pored ostalih, stre- taj na~in prkos smrti. Autor dela je vajar Ante Gr`eti}. ljana grupa seljaka. Zato on simboli~no prikazuje {umadijsko Slede}i spomenik na koji nailazimo kre}u}i se kroz seosko doma}instvo. Ograda tog doma}instva predstavljena je Spomen-park Kragujeva~ki oktobar posve}en je streljanim u vidu betonskih stubova nejednake visine, tlo je poplo~ano

132 CULTURAL TOURISM DIANA #13 conservation in Belgrade. It is also necessary to pass through of higher education in Serbia remains to be resolved in June an accreditation procedure according to the Ministry of 2009, when the commission for accreditation will discuss Culture and Sports of the Republic of Serbia. Although the the programme. „ programme is not completely adapted administratively to the regulations in Serbia, it is adapted to the European 4 Union approach to higher education in conservation. How 4] http://www.encore-edu.org/encore/DesktopDefault.aspx? the Ministry of education will decide on the acceptability of tabindex=1&tabid=172 the Master’s in preventive conservation within the system http://www.ecco-eu.org/

Aleksandar TODOROVI]

TOURIST VALORIZATION OF THE OCTOBER OF KRAGUJEVAC MONUMENT PARK

THE OCTOBER OF KRAGUJEVAC monument park is the largest local urban green area and lies within a 352 ha. Mo- every year. Lately, the museum has initiated the internati- nument park known as [umarice. It is located in the north- onal drawing colony Bridge of the Balkans. west part of the city on the route that connects Kragujevac The first monument that visitors see is the Monument and Gornji Milanovac. of pain and defiance, built in 1958 on the site where the The monument complex is an atmospheric symbolic workers of the Military-technical institute, including one space dedicated to the victims of shot on October 21st 1941. woman Nada Naumovi}, were shot. In was created of white About 30 headstones are placed on the large area where the marble by the sculptor Ante Gr`eti} and show the figures shootings took place, while to this number can be added 3 of a man and woman. One figure is destroyed by pain, while more from a neighboring town. Around the Erdoglian stream other stands erect, expressing defiance to death. there are another 16, and around the stream of Su{ica 14 The next monument along the visitors’ route is dedica- more headstones. Some headstones were artistically sculp- ted to school children and teachers of the grammar school tured and today there are 10 that are thematically connec- who were shot, known as Fifth three. It is the most famous ted to the tragic events of 1941. sculpture within the complex. It was built in 1963. The The whole complex is encircled by an asphalt path 7 km Monument is carved in the shape of the Roman numeral long. In addition there are many paths for walkers, connec- five, because the pupils were actually in the fifth grade. ting each thematic part. Viewing the monument from a distance, one gets the im- pression of a stylized bird wing, forever broken, the youth Culture-historical monumental inheritance of one generation stopped. The artist was Milorad @ivkovi}. At the entrance to the monument park stands the October The area around the monument is shaped, and on stones 21st museum, created in 1953, while the museum building of various shapes there are messages by the school children was constructed in 1976 from the same stone as that of the and teachers that were shoot. One stone contains the text monuments, as a monument in its own right. The architect of Bloody fairytale, a poem which Desanka Maksimovi} de- was Ivana Anti}. The museum seems to be sculpted from the dicated to this tragic event. ground, as a sign of new life. The front wall is made of red Because this monument represents the symbol of the brick, associated with spilled blood, and vertical stumps of whole monument park, the Big School class event is held on different heights symbolically connect the 33 headstones. this spot every year. The base of the museum is in the form of a cross, a symbol Walking further through the monument park, one can of Christian suffering. see the monument Crystal flower dedicated to gypsy boys, The interior of the museum is on two levels. In the lobby about 15 years old, who were shoot with numerous people there is a presentation of the revolutionary past of Kragu- at the place were the monument is placed today. It was jevac while at the higher level there is display of the built in 1968. It represents bloom, divided into two parts. October uprising. Besides museum’s permanent exhibition The higher section of the monument is in white, while the it collects, keeps, cultivates, and presents documents rela- base is darker and represents the skin colour of the shot ting to the history of the town and the shooting of the Kra- boys. The artist was Neboj{a Delja. gujevac people. The museum also organizes regular and Close to the Crystal flower, there is a monument occasional events to remind visitors of this tragic event, so entitled Against evil. It is one of the latest creations in the that it will never happen again. The most famous of these complex, built in 1991. The work is carved in white marble is the Big school class, which take place on October 21st and its carved relief is thematically connected with

133 DIANA #13 KULTURNI TURIZAM kamenim plo~ama, a uzdignuti betonski blokovi predsta- pred prednje linije groblja na kojem su sahranjeni srpski i vljaju stogove sena. Iz sredi{njeg dela dve poplo~ane staze okupatorski vojnici. Lav stoji na postolju s natpisom Pro vode do dve humke. Autori su supru`nici Gradimir i Jelica patria. Prikazan je kako le`i, s glavom polo`enom na pred- Bosni}, arhitekte. nje {ape, tako da izgleda kao da je na stra`i. Sledi Spomen-obele`je hrvatskog naroda. Podignuto je Grobnica pogubljenih Slovaka koji su 1918. godine po- 1981. godine sredstvima Republike Hrvatske. Sastoji se od digli pobunu protiv Austrougarske monarhije nalazi se u sedam krugova nejednake veli~ine, a oni simbolizuju kreta- jugoisto~nom delu spomen-kompleksa. Slovaci su tra`ili pre- nje `ivota i prirode. Od tog spomenika, izra|enog od ner|a- kid rata i slobodu za sve porobljene narode. Pobuna je ugu- ju}eg ~elika, odbija se svetlost i {iri u svim pravcima, {to {ena, a 44 vojnika i pet civila osu|eni su na smrt streljanjem. ozna~ava razli~ito `ivotno doba `rtava. Ispod njega nalazi se Na mestu na kojem su 8. juna 1918. godine Slovaci strelja- kamen monolit s posvetnim tekstom. Re{enje za spomen- ni podignut je 1924. godine spomenik, a njegova okolina je -obele`je uradile su arhitekte Josip Seisel i Silvana Seisel. ure|ena. Neposredno uz Su{i~ki potok, s njegove leve strane, postavljen je Spomenik otpora i slobode iz 1966. godine. To Turisti~ka valorizacija je monumentalna figura ~oveka koji se bori za `ivot; glava Turisti~ka valorizacija ambijentalne celine kao {to je Spo- mu je na grudima. Iz figure se izdi`e beli obelisk, ~ija visi- men-park Kragujeva~ki oktobar predstavlja kompleksnu na iznosi ~etiri metra, a koji se zavr{ava simbolom slobode ocenu antropogenih ali i prirodnih vrednosti koje su od – latini~kim slovom V. Ovo umetni~ko delo izradio je, kao zna~aja za turisti~ki razvoj. Na osnovu primenjene kvanti- i spomenik Bola i prkosa, Ante Gr`eti}. tativno-kvalitativne metode i najva`nijih elemenata turi- Na samom izlazu iz spomen-kompleksa, nedaleko od sti~ke valorizacije kulturno-istorijskih spomenika mo`e se prethodno opisanog, nalazi se Spomenik prijateljstva. To je re}i da Spomen-park Kragujeva~ki oktobar ima dobru turi- najmla|i spomenik u okviru kompleksa, podignut 1994. sti~ku vrednost. godine kao poklon rumunskog grada Pite{tija gradu Kragu- Ambijentalna celina predstavlja najve}u gradsku zelenu jevcu. Prikazuje otvorenu knjigu s brojem 21, ~ime se po- zonu, to jest park koji je uokviren blago zatalasanim bre`ulj- kazuje da }e zlo~in po~injen u Kragujevcu ostati trajno za- cima, s travnom vegetacijom i me{ovitim {umama. U njemu pisan u literaturi i da }e ve~no ostati urezan u pam}enje se nalazi 10 prepoznatljivih kulturno-istorijskih spomenika, svih posetilaca Spomen-parka Kragujeva~ki oktobar. Autor kao i gra|evina muzeja, koja zbog svojih arhitektonskih re- ovog dela je poznati rumunski vajar Nikolaj Stoj~eu. {enja predstavlja kuriozitet sa simboli~nim zna~enjem. Na osnovu toga, a primenom kvantitativno-kvalitativne meto- de turisti~ke valorizacije, zaklju~uje se da element turisti~- ke vrednosti ambijenta i element umetni~ke vrednosti za- slu`uju najvi{u ocenu. Za razliku od njih, elementi izgra|enosti i opremljeno- sti prostora i turisti~ke atraktivnosti i prepoznatljivosti nisu na tako zavidnom nivou. U Kragujevcu ne postoji turisti~ka signalizacija, a u okviru nje morala bi se na}i i analizirana ambijentalna celina. Osim toga, infrastrukturna izgra|enost prostora nedovoljna je i dotrajala, te su dodatna ure|enja i ulaganja nephodna. Turisti~ka atraktivnost i prepoznatlji- vost su nezadovoljavaju}e naspram potencijala koji Spo- men-park Kragujeva~ki oktobar poseduje, te se u tom smi- slu mora anga`ovati turisti~ki menad`ment na njegovom dodatnom afirmisanju. Elementi valorizacije kao {to su turisti~ko-geografski polo`aj i uklopljenost u turisti~ke sadr`aje na zadovoljava- Povratkom do Muzeja 21. oktobar, ispred kojeg se na- ju}em su nivou. U Kragujevcu se nalazi i Milo{ev venac, jo{ lazi skulptura Su|aje, zaokru`uje se jedna celina. Pomenu- jedna turisti~ki potencijalna ambijentalna celina. Osim to- ta skulptura prikazuje tri `ene koje u crnoj marami dr`e ga, u neposrednoj blizini su manastiri Dra~a i Divostin, a bebu, simbol novog `ivota i boljeg vremena – u kojem se ni- ne{to dalje i Voljav~a i Blagove{tenje. Grad Kragujevac ima kada i nikome ne sme dogoditi ono {to se desilo stradalima povoljan turisti~ko-geografski polo`aj, pa sama ambijentalna u [umaricama 1941. godine. celina mo`e biti kompatibilna s drugim turisti~kim vredno- U okviru spomen-parka nalazi se Srpsko vojni~ko gro- stima u bli`oj i daljoj okolini grada. blje, jedno od najstarijih vojni~kih grobalja u [umadiji. U cilju turisti~kog unapre|ivanja analizirane ambijen- Okru`eno je {umom, a nastalo je u vreme srpsko-turskih talne celine, a time i pove}anja ocene turisti~ke valorizaci- ratova. U blizini groblja postavljena je figura lava, isklesa- je, neophodno je dodatno anga`ovanje u sferi turisti~kog na u mermeru. Taj spomenik poru~io je kralj Petar Kara- marketinga, ali i u revitalizaciji i izgradnji infrastrukture. |or|evi} za hram Svetog \or|a na Oplencu, ali su okupa- Pre svega, potrebno je uvesti turisti~ku signalizaciju kako cione vlasti 1915. godine naredile da se jedna od dve lavlje na gradskom nivou tako i u okviru samog spomen-parka, a figure prenese u Kragujevac, sredi{te okruga, i postavi is- potrebno je izgraditi i pe{a~ke staze. Posebna pa`nja mora se

134 CULTURAL TOURISM DIANA #13

Christian iconography of Judgment Day, while by its ima- be moved to the front row of the cemetery in Kragujevac, gery is reminiscent of the culture of south and central mid- which was then the center of the district, and where the dle American Indians, because the author is the Mexican Serbian and occupation soldiers were buried. The lion is sculptor Miguel Roma. placed on a pedestal with the inscription Pro patria. Its At the end of the tour through this first part of the head rests on its upper paw, giving the impression that it is monument complex lies the monument Hundred for one. It on watch. was erected in 1980. It got its name from the order of the The tomb of the Slovakian rebels, who raised the revolt German commander-in-chief, general France Beme, who in 1918 against the Austro-Hungarian Monarchy, lies in the declared that the German army would shoot one hundred south-east part of the monument complex. These rebels re- local citizens for each German soldier killed. The Monument quested an end of the war and freedom for all enslaved nati- represents a tree whose top spreads into many human ons. The revolt was suppressed and 44 soldiers and 5 civi- bodies. Because is not near the asphalt way, there is a path lian were condemned to death. The monument was built in which leads to it, near a smaller monument. The author of 1924 on the spot where the Slovakian people were executed this work is the sculptor Nandor Gild. on July 8th 1918. Where the highway which connects Kragujevac and Gornji Milanovac separates the monument complex into Tourist valorisation two parts, there is monument Stone sleeper. It was erected The tourist valorisation of such an emotive monument park in 1969 at the site of the shooting of a group of peasants. represents a complex classification of anthropogenic, but It therefore symbolizes typical peasants from the [umadija also natural values, important for tourist development. By district. The defense of this land is represented as stumps of using quantity-qualifying methods starting from the most a different sizes, symbolizing a haystack. From the middle important elements of tourist valorisation of cultural-histo- two paths lead to two headstones. The sculptors of these rical monuments, it can be concluded that the October of monuments were architects Gradimir and Jelica Bosni}. Kragujevac monument park is valuable in terms of tourism. The next monument in the complex is the Monument The atmospheric entirety is situated in the largest complex of the Croatian people, erected in 1981, with money „green“ area, actually a park placed in some small hills, given by the Republic of Croatia. It consists of seven circles with grass vegetation and mixed woodland. At the same of different size that symbolize circulating life and nature. time, within it there are 10 recognized cultural-historical From this monument light is reflected in different ways, monuments and museums, representing a curiosity with representing victims of different ages. It is made of stainless symbolic meaning. For this reason, in applying tourist valori- steel. Beyond the monument there is a monolithic stone with sation criteria, elements of ambience and art value deserve an inscription. The authors of this work were Josip Seisel the highest grade. and Silvana Seisel. However, in Kragujevac there is no tourist signalisation. To the right of the Su{ica stream there is the next Also, the park’s infrastructure old and insufficient, so sup- monument of resistance and freedom, built in 1966. It re- plemental arrangement and investments are necessary. As presents the monumental figure of a man, whose head is a fully recognized tourist attracttion, with great potential, on his breast, fighting for life. From it rises a white obelisk the Monument park requires better tourist management. 4 meters high, ending with the letter V, a symbol of victory Elements of valorisation such as its geographic position The artist was also Ante Gr`eti}. and content are at a satisfactory level. In Kragujevac there Nearby, at the exit of the monument complex, there is is one more atmospheric park, the Square of Milo{, and a Monument of friendship the last to be built, in 1994. It is close to Kragujevac there are two monasteries, Dra~a and a gift to Kragujevac from the Romanian town of Pitesti. It Divostin, while a few kilometres away lie Voljav~a and Blago- shows an open book on which October 21st is written, indi- ve{tenje. Besides, Kragujevac has a positive tourist-geogra- cating that the crime committed in Kragujevac, will stay in phic position, so its attractions are compatible with other literature and in the memory of all visitors to the monument surrounding tourist values. park October of Kragujevac forever. The author of this work For tourist promotion purposes, and an increasing is the Romanian sculpture Nicolaj Stoj~eu. grade of tourist valorisation, supplemental arrangements Returning to the museum October the 21st, in front of in tourist marketing and revitalisation and construction of which there is the sculpture Sudjaje, the first section ends. infrastructure are necessary. Above all, it is necessary to On this sculpture there are three women holding a baby in erect tourist signalisation, both in the town and in the mo- a black kerchief. This baby is a symbol of new life and better nument park, as well as paths for walkers. Attention should times, when the 1941 shooting and suffering of [umarice be paid to the environment, which forms the basis of tourist must not happen again. development of the October of Kragujevac Monument park In the monument park, there is also the Serbian Milita- Through the principle of integrative protection of heritage ry cemetery, one of the oldest in [umadija. It is surrounded on the one side, and sustained development on the other, by woodland, and dates back to the Serbian-Turkish wars. tourist development and utilization of this ambient Close to cemetery there is a figure of a lion carved in marble. entirety could be faster. By affirmation of this principle, This monument was ordered by King Petar Karadjordjevi} concern for and protection of others cultural and natural for the temple of Saint George in Oplenac, but in 1915 the values placed in the territory of Kragujevac could be occupation government ordered that one of two lion’s heads achieved.

135 DIANA #13 KULTURNI TURIZAM

– kulturno-istorijska ba{tina velikog zna~aja – velika povr{ina pod vegetacijom, pre svega drvenastim biljkama i travnjacima – kompatibilnost s drugim gradskim turisti~kim vrednostima, kao i sa onima u bli`oj i daljoj okolini Prednosti – razvijena saobra}ajna infrastruktura za prilaz ambijentalnoj celini – povoljan polo`aj u okviru grada – stru~njaci zaposleni u spomen-kompleksu

– nedovoljna pa`nja u politici organizovanja i menad`menta u turizmu – neadekvatna turisti~ka signalizacija ili njeno nepostojanje – nezadovoljavaju}a saobra}ajna infrastruktura u okviru samog spomen-kompleksa (nedostatak pe{a~kih Slabosti i biciklisti~kih staza, lo{ kolovoz, nedovoljan prostor za stacionarni saobra}aj) – nejasni ciljevi i strategija turisti~kog razvoja spomen-kompleksa – nedostatak finansijskih ulaganja u procese za razvoj turizma – nedovoljno pa`nje posve}eno za{titi `ivotne sredine

– adekvatna iskori{}enost spomen-kompleksa kao turisti~ke vrednosti – ve}a ulaganja u turisti~ki razvoj ambijentalne celine – uklju~ivanje spomen-komleksa u regionalni turisti~ki proizvod Mogu}nosti – mogu}nosti za razvoj razli~itih vidova turizma (kulturni, manifestacioni, rekreativni, ekskurzioni) – ve}a saradnja s doma}im i inostranim turisti~kim i privrednim organizacijama – pobolj{anje infrastrukture – kori{}enje spomen-parka u turisti~ke svrhe tokom ~itave godine

– opasnost od zaga|ivanja `ivotne sredine (zemlji{ta, vodotokova, vazduha) – nezainteresovanost i skromna ulaganja u turisti~ki marketing Pretnje – nedostatak inovacija i neprimenjivanje dostignu}a savremenih turisti~kih tokova na gradskom nivou – nedovoljno anga`ovanje na turisti~koj prezentaciji spomen-parka – postoji pretnja gubitka kontinuite- ta u prezentaciji istorijskih doga|aja koji su s njim povezani (gubitak prepoznatljivosti)

posvetiti o~uvanju `ivotne sredine, koja je, zapravo, osnova uve}ati za oko 25-30%, jer je realna pose}enost za toliko ve- turisti~kog razvoja Spomen-parka Kragujeva~ki oktobar. }a. Svi posetioci ne zaustavljaju se kod muzeja i ne koriste Kroz princip intregrativne za{tite ba{tine sa odr`ivim raz- njegove usluge, tako da ne mogu biti registrovani. Pored to- vojem mogu se znatno unaprediti ali i ubrzati turisti~ki ga, ovaj prostor pru`a povoljne uslove za razvoj rekreacionog razvoj i eksploatacija ove ambijentalne celine. Afirmacijom turizma. Hotel, restoran i sportski objekti samo upotpunju- tog principa ostvaruju se negovanje i za{tita drugih kultur- ju kulturno-istorijsku ponudu koju spomen-park nesum- nih i prirodnih vrednosti na teritoriji grada Kragujevca. njivo ima. Za dalji razvoj turizma na tom prostoru potreb- U okviru spomen-parka nalazi se hotel [umarice, koji no je odr`ati postoje}e stanje i ulaganjima stvoriti nove doprinosi turisti~koj atraktivnosti kompleksa. Osim toga, sadr`aje, a turisti~kim marketingom afirmisati postoje}e, tu je, neposredno uz muzej, i restoran nacionalne kuhinje kako bi se postizali jo{ bolji rezultati u turisti~kom sektoru. Palisad. Ako se tome dodaju i zatvoreni sportski tereni Olimp, Nikako se ne sme zaboraviti ~injenica da je spomen-park mo`e se zaklju~iti da Kragujeva~ki oktobar ima povoljne jedan od simbola grada i to u budu}em turisti~kom razvo- uslove za razvoj turisti~ke delatnosti. ju mo`e biti samo ~inilac unapre|ivanja i daljeg razvoja. Broj posetilaca govori o tome da spomen-park posedu- je odgovaraju}e turisti~ke potencijale. Izneti podaci mogu se SWOT analiza S obzirom na savremene tokove u razvoju svetske turisti~ke politike, za Spomen-park Kragujeva~ki oktobar ura|ena je STRUKTURA POSETILACA BROJ POSETILACA SWOT analiza. Ta analiza mo`e poslu`iti kao jedan od in- U~enici 142.328 strumenata za stvaranje strategije daljeg turisti~kog razvoja. Odrasli 35.712 Na osnovu SWOT-a analizirane ambijentalne celine mogu Strani turisti 1.159 se prepoznati pozitivni i negativni ~inioci koji imaju utica- Doma}e delegacije (53) 993 ja na stvaranje odgovaraju}e strategije, ali i odrediti na~ini njihovog blagovremenog modifikovanja ili prilago|avanja Strane delegacije (212) 3.711 radi ostvarivanja uspe{nijeg turisti~kog razvoja. „ Ukupno 183.903

Registrovane posete Muzeju „21. oktobar“ i Spomen-kompleksu „Kragujeva~ki oktobar“ 1] Podaci su dobijeni od slu`be za obradu podataka Muzeja od 2001. do 2007. godine1 21. oktobar u Kragujevcu.

136 CULTURAL TOURISM DIANA #13

Inside the monument park there is a hotel [umarice, is bigger. Not all visitors stop at the museum or use its ser- which further contributes to the tourist attraction of this vices, so not all visits are registered. The hotel, restaurant complex. Near the hotel there is the Palisad restaurant and sports facilities supplement the cultural-historical which has a national cuisine. If one adds to this the Olympia offer. For the further development of tourism in this space, the present stage needs to be maintained and new content created by investment. Also, the tourist potential must be STRUCTURE OF VISITORS NUMBER OF VISITORS marketed at a higher level. These proposals will bring Students 142.328 better results. It must not be forgotten that the monument Adults 35.712 park is one of the symbols of the town and in future Foreign tourists 1.159 development can only be a means of promotion and further Domestic delegation (53) 993 development. Foreign delegation (212) 3.711 Summary 183.903 SWOT analysis SWOT analysis of the monument park was carried out Registered visits to the „October 21st“ museum according to the latest trends in the development of world and „October of Kragujevac“ monument complex tourism policy. Such analysis can be used as an instrument from 2001 to 20071 for the creation of a strategy for further tourist develop- ment. Progressive and regressive factors can be found, which influence the creation of the right strategy. Also, closed sports’ facility it can be said that the October of Kra- this is way to modify and adjust these factors to improving gujevac has favoured conditions for the further develop- the quality of tourism in the vicinity. „ ment of tourism. The number of visitors to the Monument park shows that it does have tourist potential. These statistics can be 1] Statistics of Service data for museum October 21st in increased by 25%–30% because the true numbers of visits Kragujevac.

– Cultural-historical hereditary of huge importance – Large green vegetated area, especially trees and grass – Compatibility with other tourist values of the town, especially with those in closer and more distant Strengths surroundings – Developed approaching traffic infrastructure – Favourable position in town – Educated human resources employed in the monument complex

– Unsatisfactory attention to policy of organization and management of tourism – Inadequate tourist signalisation – Insufficient traffic infrastructure within the monument complex (lacks of paths for walkers, bad Weaknesses roads, small space for stationary traffic, nonexistent paths for bicycles) – No defined aims and strategy for tourist development of the Monument complex – Lack of investment to process developing tourism – Unsatisfactory attention to the protection of the environment

– Adequate usage of monument complex as a tourist value – Bigger investment in tourist development – Implementation of the monument complex into the regional tourist product Opportunities – Possibilities for developing different kinds of tourism (culture, creation, excursions) – Better cooperation with domestic and international tourist and business organisations – Improving infrastructure – Using the monument park for tourist purposes throughout the year

– Risk of pollution of the environment (ground, water, air) – Lack of interest and investments in tourist marketing Threats – Absence of innovation and implementation of modern tourist trends at town level – The unsatisfactory arrangements for tourist presentation of the monument park may lead to lost continuity in the presentation of historic events connected with it (lost individuality)

137 DIANA #13 REGIONALNA SARADNJA

Mila POPOVI]-@IVAN^EVI], savetnik konzervator {ef OPZ Dijana, predsednik ICOM-SEE-ja

REGIONALNI PROJEKTI I AKTIVNOSTI U JUGOISTO^NOJ EVROPI koje su pokrenuli, koje realizuju, koordiniraju i ~iji su organizatori OPZ Dijana i ICOM-SEE, u saradnji s raznim partnerima

SPECIFI^NOST RADA u Dijani le`i i u ~injenici da je ona sve svoje aktivnosti povezala i ispreplela sa aktivnostima Na- miteta iz regiona, to su ~esto i ICCROM, UNESCO-BRESCE, rodnog muzeja, ICOM-a, ICOM-SEE-ja. Profesionalne ci- Konzervatorski centar Geti, Kanadski konzervatorski institut, ljeve Dijana stalno uskla|uje sa strategijama na globalnom zna~ajne institucije za{tite i muzeji iz Francuske, Holandi- nivou, koje dolaze od ICOM-a, Uneska, ICCROM-a i drugih je i drugi. Mnogi od ovih projekata za~eti su pre vi{e godi- organizacija. Projekti i metodolo{ki elementi koje ona raz- na u Srbiji i Dijani, sa u~esnicima iz regiona, a sada se kao vija da bi sprovodila profesionalne ciljeve i delatnosti do- dobro razra|eni i etablirani preme{taju u druge zemlje re- sledno se realizuju uz pomo} jasno definisanih strate{kih giona: u Albaniju, Makedoniju, Rumuniju, kao, na primer, planova i sadr`aja. Zbog toga se, s jedne strane, na{i projek- projekat Arheolo{ka konzervacija, preventivna konzervacija ti i aktivnosti lako prilago|avaju razli~itim okolnostima i – Procena i kontrola rizika, SEE TIEM-MEP. Ostali primeri stvarnim situacijama, dok se, s druge strane, uklapaju u op- su: Problem ilegalne trgovine i drugih nedozvoljenih radnji {te strategije i ciljeve. Regionalna saradnja predstavlja onu kod ba{tine; Zajedni~ka za{tita prirodnog i kulturnog nasle- sponu koja povezuje na{e nacionalne potrebe i interese sa |a; Eksperimentalna arheologija – Tradicionalne proizvodnje onima na me|unarodnom, globalnom nivou. keramike; Tradicionalne tehnologije stakla u regionu Balka- na; Akademski programi obrazovanja; Organizacija regio- I. REGIONALNI PROJEKAT REVITALIZACIJA nalne institucije za{tite; Za{tita anti~kih mozaika; Metode KULTURNOG I PRIRODNOG NASLE\A U REGIONU za{tite arheolo{kog stakla; Preventivna za{tita arheolo{kog BALKANA – JUGOISTO^NE EVROPE, 2006–2012 metala; Novi materijali kod konzervacije arheolo{ke kerami- (dr M. Popovi}-@ivan~evi}, autorski projekat, OPZ Dijana, ke, majolike, fajansa i porculana; Za{tita prirodne ba{tine avgust 2005) – projekat strate{ke platforme i akcioni plan, kao model za o~uvanje ~ovekove okoline; Zajedni~ka baza po- kratkoro~ni i dugoro~ni, za region jugoisto~ne Evrope. Po- dataka za oblast za{tite ba{tine; Kreiranje pozitivnog dru- sebno treba ista}i zna~aj projekta u postavljanju integrativ- {tvenog ambijenta za oblast za{tite ba{tine; projekti MATRA nog koncepta za{tite ba{tine u regionu jugoisto~ne Evrope. i drugi. Projekat se sastoji od tri osnovne faze: – Faza I. Analiza stanja i definisanje problema – Stanje I.1. Prva regionalna konferencija kulturne i prirodne ba{tine u regionu Balkana, – Stanje kulturne i prirodne ba{tine u regionu Balkana, 2006–2008; Kladovo, 23–27. oktobar 2006 – Faza II. Procena rizika, identifikacija rizika, odre|i- Organizovanje prve regionalne konferencije u Kladovu u vanje prioriteta i programa sanacije – Procena rizika oktobru 2006, s temom Stanje kulturnog i prirodnog nasle|a po kulturnu i prirodnu ba{tinu u regionu Balkana, u regionu Balkana – jugoisto~ne Evrope, predstavlja po~etak 2008–2010; realizacije prve faze projekta Revitalizacija kulturnog i pri- – Faza III. Kontrola rizika, predupre|enje pojave po- rodnog nasle|a u regionu Balkana – jugoisto~ne Evrope. Kon- tencijalnih rizika – Upravljanje rizicima kod kulturne ferencija je postavljena kao platforma za diskusiju kojom je i prirodne ba{tine u regionu Balkana, 2010–2012. trebalo da se odrede dalji pravci snimanja i analiziranja sta- Veoma je bitna ~injenica da je Unesko ovaj projekat nja kulturne i prirodne ba{tine u regionu jugoisto~ne Evro- prihvatio kao strategiju za re{avanje zapu{tenog stanja ba- pe. Na taj na~in u narednim fazama ustanovi}e se uzroci, {tine u regionu jugoisto~ne Evrope i kao potencijalnu osno- proceni}e se rizici, odredi}e se prioritetne mere sanacije vu za dalji razvoj. ugro`ene prirodne i kulturne ba{tine u na{im zemljama i Projekat je veoma elasti~an, lako se prilago|ava posto- ustanovi}e se sistemi kontrole rizika. je}im prilikama i u njega se na jednostavan na~in uklapaju Na konferenciji je u~estvovao izuzetno veliki broj pro- mnogobrojni manji zaokru`eni projekti ili potprojekti, koji fesionalaca iz regiona i oni su pokazali zna~ajno intereso- tako ~ine aktivan mozai~ki organizam razli~itih aktivnosti. vanje za zajedni~ke regionalne aktivnosti u svim oblastima Skoro sve regionalne aktivnosti i programi koje ICOM-SEE razvoja institucija, struke i za{tite nasle|a. Bilo je prisutno sprovodi u regionu uklju~uju se u metodologiju projekta. U 86 u~esnika iz osam zemalja regiona: Slovenije, Hrvatske, okviru ovog dugogodi{njeg strate{kog projekta ve} postoji ~i- Bosne i Hercegovine, Srbije, Albanije, Makedonije, Bugar- tav niz potprojekata, koji se lako uklapaju u njegovu osnovnu ske i Rumunije. Tako|e, u radu konferencije u~estvovali su strategiju. U realizaciji potprojekata, neposredno ili posred- predstavnici Regionalne kancelarije UNESCO-BRESCE iz no, u~estvuju mnogobrojni partneri – pored nacionalnih ko- Venecije, ICCROM-a iz Rima i Italijanskog nacionalnog

138 REGIONAL COOPERATION DIANA #13

Mila POPOVI]-@IVAN^EVI], museum councillor – conservator Head of Diana Department for Preventive Conservation, President of ICOM SEE

REGIONAL PROJECTS AND ACTIVITIES IN SOUTH EAST EUROPE initiated, coordinated and organised by Department for Preventive Conservation and ICOM SEE in cooperation with various partners

WHAT IS SPECIAL about the work in Diana is the fact that it has combined all its activities and intertwined them with Getty, Canadian Conservation Institute, important institu- the activities of National Museum, ICOM and ICOM SEE. tions of conservation and museums from France, The Diana constantly matches its professional goals with global Netherlands and others. Many of these projects were strategies, which come from ICOM, UNESCO, ICCROM and initiated several years ago by Diana in Serbia, with regional other organisations. Diana develops projects and methodolo- participants, but now that they are well established they gical elements to reach its professional goals, and activities are being moved to other countries in the region: to Albania, are implemented with the help of clearly defined strategic Macedonia, Romania as was the case with the project plans and content. That is why, on one hand, our projects Archaeological conservation, preventive conservation – Risk and activities adapt flexibly to different circumstances and assessment and control, SEE TIEM MEP. Other examples real situations, while on the other hand, they easily fit into are Problem of illegal trade and other unauthorised actions general strategies and goals. Regional cooperation repre- with heritage; Joint protection of natural and cultural sents that bond that connects our national needs and heritage; Experimental archaeology –Traditional production interests with those on the international, global level. of ceramics, Traditional technology of glass in the region of Balkans; Academic programs of education; Organisation of I. REGIONAL PROJECT REVITALISATION OF regional institution of protection; Protection of antique CULTURAL AND NATURAL HERITAGE IN THE REGION mosaics; Methods of protection of archaeological glass; Pre- OF BALKANS – SOUTH EAST EUROPE, 2006–2012 ventive protection of archaeological metal; New materials in (PhD M. Popovi}-@ivan~evi}, author project, OPZ Diana, conservation of archaeological ceramics, majolica, faience August 2005). This project has a strategic platform and and porcelain; Protection of natural heritage as model of action plan, both short-term and long-term, for South East protection of human environment; Joint database for the Europe. The significance of the project is in establishing a domain of protection of heritage; Creating positive social regional, integrative concept of heritage conservation. The environment in the domain of protection of heritage; projects project consists of three different phases: MATRA and others. – Phase I. Condition assessment and defining the pro- blem – The Condition of Cultural and Natural Herita- I.1. First Regional conference on the State of cultural ge in the Region of Balkans, 2006–2008; and natural heritage in the region of Balkans, – Phase II. Risk assessment, identifying priorities and Kladovo, October 23–27th 2006 programs of rebuilding – Evaluation of Risk to Cultu- The first regional conference in Kladovo was organized in ral and Natural Heritage in the Region of Balkans, October 2006, with the subject State of cultural and natural 2008–2010; heritage in the region of Balkans – South East Europe. The – Phase III. Risk Control, prevention of occurance of po- conference was set up as a platform for panel discussions tential risks – Managing Risks to Cultural and Natu- to determine the future monitoring and analysis of the ral Heritage in the Region of Balkans, 2010–2012. state of cultural and natural heritage in the region of South The fact that UNESCO accepted this project as a stra- East Europe. In the following phases, causes will be deter- tegy for solving the neglected state of heritage in the region mined, risk will be evaluated, and priority measures for the of South East Europe and as a potential base for further prevention of endangered natural and cultural heritage in development is very important. The project is very flexible, our countries and the system of Risk Control will be adapts easily to individual circumstances, and numerous established. smaller finished projects fit into it, making an active A large number of professionals from the region parti- mosaic-like organism of different activities. Almost all the cipated and showed interest in joint regional activities in regional activities and programs that ICOM-SEE implements all areas: the development of institutions, trade and heritage in the region fit into the project methodology. Within this protection. There were 86 participants from eight countries long-term strategic project a number of sub-projects have of the region: Slovenia, Croatia, Bosnia and Herzegovina, been done, which fit into its basic strategy. In the imple- Serbia, Albania, Macedonia, Bulgaria and Romania. Repre- mentation of these sub-projects, many partners are involved sentatives of the Regional office UNESCO-BRESCE from directly or indirectly, as well as regional national committees, Venice, ICCROM from Rome and Italian national committee often ICCROM, UNESCO-BRESCE, Conservation Centre ICOM were also present at the conference. Participants

139 DIANA #13 REGIONALNA SARADNJA komiteta ICOM-a. U~esnici konferencije upoznali su se, na raka. Najzna~ajniju finansijsku pomo} pru`ili su UNESCO- osnovu ~etrdeset tri prezentacije, sa op{tim i vrlo specifi~nim -BRESCE i Narodni muzej u Beogradu. Pored toga, Narod- problemima za{tite prirodne i kulturne ba{tine u regionu ni muzej je u velikoj meri doprineo da se tako slo`en posao jugoisto~ne Evrope. Konferencija je predstavljala zna~ajan uspe{no privede kraju. Federalno Ministarstvo kulture Bosne uspeh jer je pokazala da profesionalci iz zemalja regiona vi{e i Hercegovine tako|e je u~estvovalo u pripremama publika- ne `ele da ~ekaju da se zvani~ni organi pojedinih dr`ava i cije s manjim iznosom. vlasti stabilizuju i preduzmu strate{ko definisanje ba{tine, Publikacija je prvi put javno predstavljena, u obliku ma- njeno saniranje i revitalizaciju. Predstavnici zemalja regiona kete, na Generalnoj skup{tini ICOM-a u avgustu 2007. u iskazali su zna~ajan interes za to da zajedni~ke regionalne Be~u, gde je izazvala veliko interesovanje i dobila pohvale aktivnosti po~nu da predstavljaju osnovu za strate{ki raz- za konkretne strate{ke rezultate koje donosi. ICOM-SEE i voj svih oblasti ba{tine, posebno za{tite nasle|a. Dijana veoma su zadovoljni ~injenicom da su predstavnici nekih zemalja Afrike i Evrope smatrali da iskustva iz ove pu- I.2. Regionalna publikacija blikacije mogu biti dragocena i za njihove zemlje i regione. Stanje kulturne i prirodne ba{tine u regionu Balkana, sveska 1 (Beograd, oktobar 2007) I.3. Regionalna publikacija Stanje kulturne Ova publikacija je zbornik radova iznetih na Prvoj regional- i prirodne ba{tine u regionu Balkana I, sveska 2, noj konferenciji u Kladovu, a njen naslov je Stanje kultur- ~ije je publikovanje planirano za februar/mart 2009 nog i prirodnog nasle|a u regionu Balkana – jugoisto~ne Druga regionalna publikacija, sveska 2, treba da obuhvati teme koje nisu bile zastupljene na konferenciji u Kladovu i koje nisu publikovane u svesci 1. To su teme koje se odno- se na stanje arhivske i bibliote~ke ba{tine, stanje kinote~- kog i filmskog materijala, stanje nematerijalne ba{tine, na povezanost i interaktivnu vezu izme|u kulturne i prirodne ba{tine, stanje prirodne ba{tine, stanje profesije i struke, stanje industrijske ba{tine i drugo. Na osnovu prispelih radova zaklju~uje se da }e publika- cija imati izme|u 350 i 400 strana. Obuhvati}e oko dvade- set pet tekstova, radova autora iz svih zemalja jugoisto~ne Evrope. Publikovanjem sveske 2 zaokru`i}e se, u obliku pi- sanih dokumenata, sagledavanje stanja ba{tine u regionu jugoisto~ne Evrope iz ugla profesionalaca. Time }e biti za- klju~ena prva faza strate{kog regionalnog projekta Revita- lizacija kulturnog i prirodnog nasle|a u regionu jugoisto~ne Evrope. Objavljivanje sveske 2 predvi|eno je za kraj 2009, a o~ekuje se finansijska pomo} od UNESCO-BRESCE i Mini- starstva kulture Srbije, kao i ministarstava kulture iz zemalja ~lanica ICOM-SEE-ja.

Ure|iva~ki odbor ICOM-SEE-ja Ure|iva~ki odbor je stalno telo, sastavljeno od predstav- nika nacionalnih komiteta iz regiona; ~ini ga ukupno devet ~lanova: – dr Mila Popovi}-@ivan~evi}, ICOM Srbije, urednik, – Janja Rebolj, ICOM Slovenije, Regionalna publikacija „Stanje kulturne i prirodne baštine – Vlatka Filip~i}-Maligec, ICOM Hrvatske, u regionu Balkana“ – Azra Be~evi}-[arenkapa, ICOM Bosne i Hercegovine, Regional publication „Condition of the cultural and natural – Branislava Mihajlova, ICOM Makedonije, heritage in the Balkan region“ – Albana Hakani, ICOM Albanije, – Ljiljana Zekovi}, ICOM Crne Gore, – dr Simeon Nedkov, ICOM Bugarske, Evrope. Tu se prvi put na jednom mestu iznose realno sta- – Elena Doina Punga, ICOM Rumunije, nje i analiza stanja ba{tine u velikom broju oblasti u regio- – Maja Frankovi}, ICOM Srbije, sekretar redakcije. nu jugoisto~ne Evrope. Posebna vrednost publikacije le`i u ~injenici da su svi pogledi i mi{ljenja koji su izneti plod pro- I.4. Druga regionalna konferencija s temom fesionalnih pristupa, stavova i razmi{ljanja, a ne neke zva- Procena rizika kod kulturne i prirodne ba{tine u regionu ni~ne politike. jugoisto~ne Evrope treba da predstavlja razradu druge faze Ova obimna publikacija, na preko 600 strana, pripre- regionalnog projekta Revitalizacija kulturne i prirodne ba- mljena je na devet nacionalnih jezika regiona Balkana, s {tine u regionu jugoisto~ne Evrope. Planirano je da se Druga paralelnim engleskim prevodom, i u tira`u od 1.600 prime- regionalna konferencija odr`i od 9. do 13. novembra 2009.

140 REGIONAL COOPERATION DIANA #13 became acquainted with the general and specific problems shing of Volume II is planned for the end of the year 2009 of conservation of cultural heritage in the region of South and financial aid from UNESCO-BRESCE is expected as East Europe, based on forty-three presentations. The con- well as from the Ministry of Culture of Serbia and from ference was especially significant because it showed that Ministries of culture of member states of ICOM-SEE. professionals from countries of the region no longer want to wait for the official bodies of certain states and governments Editorial board of ICOM SEE to become stable and undertake the strategic definition of The Editorial board is a permanent body consisting of heritage, its protection and revitalisation. Representatives representatives from national committees from the region. expressed particular interest in joint regional activities as a It consisted of nine members: base for the strategic development of all domains of herita- – Dr Mila Popovi}-@ivan~evi}, ICOM Serbia, editor, ge, especially conservation. – Janja Rebolj, ICOM Slovenia, – Vlatka Filip~i}-Maligec, ICOM Croatia, I.2. Regional publication Condition of the cultural – Azra Be~evi}-[arenkapa, ICOM Bosnia and Herze- and natural heritage in the Balkan region, volume I govina, (Belgrade, October 2007) – Branislava Mihajlova, ICOM Macedonia, This publication is a collection of works discussed at the – Albana Hakani, ICOM Albania, First Regional Conference in Kladovo. For the first time, – Ljiljana Zekovi}, ICOM Montenegro, the real state of heritage in many areas in South East – Dr Simeon Nedkov, ICOM Bulgaria, Europe was made known and analyzed. The special value of – Elena Doina Punga, ICOM Romania, this publication is that all views and opinions expressed are – Maja Frankovi}, ICOM Serbia, the secretary of edi- the fruit of professional thought, and not part of official torial office. policies. This extensive publication, over 600 pages in length, has been published in nine national languages of the Bal- I.4. Second regional conference with the subject kans, with parallel English translations, and a circulation of The assessment of risk in cultural and natural heritage in 1,600 copies. The greatest financial assistance came from the region of South East Europe should represent the ela- UNESCO-BRESCE and the National Museum in Belgrade. boration of the second phase of the regional project Revita- The National Museum has largely contributed to accompli- lisation of Cultural and Natural Heritage in the Region of shing this complex task. The Federative Ministry of Cultu- South East Europe. It is planned to have Second regional re of Bosnia and Herzegovina also participated in the conference from 9th till 13th of November 2009. It was preparation of publication with a smaller financial suggested that the host should be ICOM Croatia (Gornja contribution. Stubica, October 2010). The publication was presented publicly for the first time, as a model, in the General assembly of ICOM in August Programs of preventive conservation 2007 in Vienna, where it aroused great interest and was po- sitively appraised for the concrete strategic results it brought. I.5. Introductory courses from preventive conservation ICOM SEE and Diana were very satisfied that some repre- Diana and ICOM of Serbia and Montenegro have organi- sentatives of Africa and Europe believed that this publica- zed a number of different educational programs in all areas tion could be valuable for their countries and regions. of theory and practice in preventive conservation since 2004, and in cooperation with ICCROM. Within those pro- I.3. Regional publication Condition of the cultural grams, two specialist introductory courses in preventive con- and natural heritage in the Balkan region, volume II, servation are noteworthy, along with programs conducted publishing of which is planned for February/March 2009 by experts from ICCROM. These courses included preven- Second regiaonal publication, Volume 2 of the publication, tive conservation as a strategy, the basic system of measures should cover all subjects not included in the conference in of preventive conservation in museums, the theory of con- Kladovo and which were not published in volume 1.Those dition assessment in those museums, risk assessment and mainly refer to the condition of archive and library heritage, control, museum buildings, the problems and privileges of cinema and film material, and intangible heritage, and the the museum profession, depots, exhibitions and transport, connection and interactive link between cultural and natural handling, depositing, environmental control, microclimate heritage, the condition of natural heritage, the state of the and collections, museum standards, fire protection, floods profession, the state of industrial heritage and so on. and other unpredicted circumstances, air pollution, and Based on the works we received the publication will have agents of deterioration. Special programs relate to microbi- between 350 and 400 pages. It will enclose around twenty ology, micro organisms, fungi, mould, vermin and insect five texts, works by authors from all the countries of South control in museums, protection in cases of emergency, and East Europe. With publishing this Volume II the state of accidents (fire, flood, theft, vandalism, war etc). heritage in the region of South East Europe will be recog- nised in the form of written documents from the viewpoint I.6. Reducing Risks to Collections– Risk Assesment of professionals. With it the first phase of strategic regional Programs of preventive conservation under the title Reducing project Revitalisation of Cultural and Natural Heritage in the Risks to Collections – Risk Assessment will be further deve- Region of South East Europe will be concluded. The publi- loped in South East Europe. This is an international project

141 DIANA #13 REGIONALNA SARADNJA

zovani su i posebni programi koji su se odnosili na mikro- biologiju, mikroorganizme, gljivice, bu|i, plesni, {teto~ine u muzejima, insekte, dezinfekciju, deratizaciju, dezinsekciju, za{titu od vanrednih prilika i nesre}a (po`ar, poplava, kra|e, vandalizam, rat).

I.6. Smanjivanje rizika po muzejske kolekcije Programi preventivne za{tite pod nazivom Reducing Risks to Collections – Risk Assesment (Smanjivanje rizika po muzej- ske kolekcije) razvija}e se dalje u jugoisto~noj Evropi. To je me|unarodni projekat ICCROM-a Risk Assesment in Muse- ums (Procena rizika u muzejima), u kojem se Dijana poja- vljuje kao partner. U tom edukativnom projektu stru~njaci iz Dijane u~estvuju ne samo u organizaciji ve} i u realiza- Predavanje u okviru kursa „Umanjenje rizika po muzejske ciji kompletnog programa. Tako je juna 2007. u Sibiuu, u zbirke“, jun–jul 2007, Sibiu, Rumunija Rumuniji, organizovan specijalisti~ki kurs koji se odnosio na ovu temu i na kojem je Vesna @ivkovi}, mladi stru~njak A lecture during course „Reducing risks to collections“, June–July 2007, Sibiu, Romania iz Dijane, bila jedan od nosilaca glavnih programa. Iako je kurs imao me|unarodni karakter, najve}i broj u~esnika bio je iz regiona jugoisto~ne Evrope. godine. Predlo`eno je da doma}in bude ICOM Hrvatske (Gornja Stubica, oktobar 2010). I.7. Teorija i praksa preventivne konzervacije Programe iz preventivne za{tite Dijana je od 2007. po~ela da Programi preventivne za{tite organizuje i s drugim partnerima, kao {to je organizacija Kul- tura bez granica (Cultural Heritage Without Borders) iz [ved- I.5. Uvodni kursevi iz preventivne konzervacije ske. Tim stru~njaka iz Dijane, s Vesnom @ivkovi} na ~elu, sa- Dijana i ICOM Srbije i Crne Gore od 2004. godine, u sarad- mostalno je programski postavio i realizovao sve sadr`aje nji sa ICCROM-om, organizuju vi{e razli~itih edukativnih programa iz preventivne za{tite, odredio me|unarodne pre- programa iz svih oblasti teorije i prakse preventivne za{tite. dava~e i drugo. Program je po~eo da se organizuje kao regi- U okviru tih programa isti~u se dva specijalisti~ka uvodna onalni seminar za 18–20 polaznika – profesionalaca iz mu- kursa iz preventivne za{tite, s programima koje su realizova- zeja iz regiona zapadnog Balkana. Prvi ciklus bio je Uvodni li stru~njaci ICCROM-a. Sadr`ina tih kurseva obuhvatala je seminar iz teorije i prakse preventivne za{tite, odr`an u de- preventivnu za{titu kao strategiju, osnovni sistem mera pre- cembru 2007. u radnim prostorima Dijane, u Galeriji fresa- ventivne za{tite u muzejima, teoriju analize stanja u muzeji- ka u Beogradu. ma, procenu i kontrolu rizika, muzejske zgrade, probleme i pogodnosti za muzejske delatnosti, depoe, izlo`be i transport; I.8. Primena procene rizika u praksi rukovanje, deponovanje, kontrolu sredine, mikroklimu i zbir- Ove godine otpo~elo se sa sprovo|enjem edukativnog pro- ke, muzejske standarde, za{titu od po`ara, poplave i drugih jekta pod nazivom Primena procene rizika u praksi (autor vanrednih prilika, aerozaga|enja, faktore propadanja. Reali- projekta je Vesna @ivkovi}, kustos za preventivnu konzer-

Predavanje u okviru uvodne radionice, projekat Prakti~ni rad u okviru uvodne radionice, projekat SEE TIEM-MEP, novembar 2007, Ohrid, Makedonija SEE TIEM-MEP, novembar 2007, Ohrid, Makedonija A lecture during Introductory workshops SEE TIEM MEP, Exercise during Introductory workshops SEE TIEM MEP, November 2007, Ohrid, Macedonia November 2007, Ohrid, Macedonia

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Ve`ba u okviru završne radionice, projekat SEE TIEM-MEP, Predavanje u okviru završne radionice, projekat oktobar 2008, Gornja Stubica, Hrvatska SEE TIEM-MEP, oktobar 2008, Gornja Stubica, Hrvatska Exercise during Closing workshops SEE TIEM-MEP, A lecture during Closing workshops SEE TIEM-MEP, October 2008, Gornja Stubica, Hrvatska October 2008, Gornja Stubica, Hrvatska of ICCROM Risk Assessment in Museums in which Diana is It is necessary to have instructions on how risk analysis a partner. Experts from Diana will participate not only in is methologically conducted and which elements are taken organisation, but also in the implementation of complete into consideration, so that based on it the treatment of risk program. In June 2007, a specialist course relating to this can be defined and management of risk planned. The basis subject was organized in Sibiu, Romania, at which Vesna of this process is in education. That means that training is @ivkovi}, a young expert from Diana, was one of the mentors necessary in order to begin and implement the phase of of the main programs. Even though the course had an in- risk assesment. It is planned to inlude as many museums as ternational character, most participants were from South possible in the project. East Europe. After defining the mutual parameters for the analysis of the state, which is conducted by ICOM-SEE, the elabo- I.7. Theory and practice of preventive conservation ration of mutual methodology of risk assesment and its Diana started organizing programs of preventive con- possible application in practice in the region are already in- servation in 2007 in collaboration with other partners, and troducing the implementation of the second phase of the with the organisation Cultural Heritage Without Borders from project Revitalisation of cultural and natural heritage in the Sweden. A team of experts from Diana, led by Vesna @ivko- region of South East Europe. Through educative program vi}, has conducted all program contents of preventive con- Application of Risk Assessment in the Practice OPZ Diana and servation independently, and invited international lectu- ICOM SEE will be included in planning further activities in rers. The program started as a regional seminar for 18–20 elaboration of the second phase of regional project. participants, professionals from museums in the west In October of 2008 the project Application of Risk Asses- Balkans. The first cycle was an introductory seminar on the sment in the region is applied to organisations ICOM and theory and practice of preventive conservation, held in UNESCO-BRESCE for co-financing in 2009. December 2007 in the premises of Diana and the Gallery of Frescoes in Belgrade. I.9. SEE TIEM-MEP TIEM MEP, Teamwork for integral managing in a state of I.8. The change of risk assesment in practice emergency – Museum programs for state of emergency. The This year the implementation of educative project named main organiser of this project was ICCROM, Rome. That is The Application of Risk Assesment in Practice (author of the a regional project for South East Europe, which involves all project is Vesna @ivkovi}, curator for preventive conserva- countries from the region. Partners in this project are tion from OPZ Diana). The project stresses the importance ICCROM, UNESCO-BRESCE, the Getty Conservation in- of management of risk as the key element when bringing stitute and ICOM SEE, as well as the regional coordinator. decisions related to the protection of heritage, considering The project was established to answer the needs expressed that it anticipates all that could happen to the collections in by museum professionals from all over the world, and to de- next forty years. The assesment of risk is a phase of velop expertise in preparations for and reactions to states management of risk, it is constantly conducted , and it is of emergency. The aim of the project is to provide the staff comprised of a number of decisions which are brought in of institutions with skills for conserving heritage and for accordance with present circumstances. Based on constant risk evaluation and management. Nine museums and two monitoring of possibility of damage and consequences that university programs from Albania, Bulgaria, Bosnia and can occur in the area that is monitored the magnitude of risk Herzegovina, Croatia, Macedonia, Montenegro, Moldova, is established and it is reacted and planned accordingly. Serbia and Slovenia are involved in this project.

143 DIANA #13 REGIONALNA SARADNJA vaciju iz OPZ Dijana). Projekat isti~e va`nost menad`menta sni projekat MEP, da se podigne svest o va`nosti muzejskih rizika kao klju~nog elementa pri dono{enju odluka u vezi sa programa za vanredne prilike i da se obezbedi dalja sarad- za{titom kulturne ba{tine, budu}i da predvi|a sve ono {to nja s direktorima muzeja u realizaciji i sprovo|enju projekta bi zbirkama moglo da se desi tokom narednih ~etrdeset go- u muzejskoj praksi. Edukativni redosled TIEM-MEP ~inila dina. Procena rizika jeste faza menad`menta rizika; ona se su tri modula: stalno sprovodi iznova, a sastoji se od niza odluka donetih – uvodna radionica (15–31. novembar 2007, Ohrid, u skladu s trenutnim okolnostima. Na osnovu stalnog pra- Makedonija); }enja verovatno}e {tete i posledica koje se mogu pojaviti u – Distance mentoring (januar–septembar 2008); oblasti koja se prati ustanovljava se veli~ina rizika i reagu- – zavr{na radionica (13–17. oktobar 2008, Gornja Stu- je se ili planira u skladu s tim. bica, Hrvatska). Potrebno je da postoje uputstva o tome kako se meto- Prilikom odr`avanja zavr{ne radionice u Gornjoj Stu- dolo{ki sprovodi analiza rizika i koji se elementi uzimaju u bici predstavnici ICOM-a, ICCROM-a, Instituta Geti i obzir da bi se na osnovu toga odredio tretman rizika i pla- UNESCO-BRESCE izrazili su zadovoljstvo povodom uspe- nirao menad`ment rizika. Osnova tog procesa le`i u eduka- {nog okon~anja ove faze MEP-a. U zavr{nim diskusijama i ciji. To zna~i da je neophodna obuka kako bi se uop{te za- razgovorima posebno je nagla{ena pozitivna uloga ICOM- po~ela i realizovala faza procene rizika. Predvi|eno je da se -SEE-ja kao regionalnog partnera i koordinatora aktivnosti, u projekat uklju~i {to vi{e muzeja. pri ~emu je istaknuto da }e se aktivnosti pomenutih orga- Nakon odre|ivanja zajedni~kih parametara za analizu nizacija u regionu jugoisto~ne Evrope nadalje sve vi{e osla- stanja, {to sprovodi ICOM-SEE, razrada zajedni~ke meto- njati na partnerstvo sa ICOM-SEE-jem. Kada je re~ o raz- dologije procene rizika i njena mogu}a primena u praksi u voju TIEM-MEP-a, od ICOM SEE-ja o~ekuje se da defini{e, regionu ve} uvode u realizaciju druge faze projekta Revitali- razradi i koordinira njegovu primenu u institucionalnoj zacija kulturne i prirodne ba{tine u regionu jugoisto~ne Evro- praksi u regionu jugoisto~ne Evrope. pe. Kroz edukativni program Primena procene rizika u prak- si OPZ Dijana i ICOM-SEE uklju~i}e se u planiranje daljih I.10. Centralni institut za konzervaciju – CIK aktivnosti u razradi druge faze regionalnog projekta. Nakon institucionalne i kadrovske analize koju su obavili U oktobru 2008. godine projekat Primena procene rizi- predstavnici Evropskog saveta 2002. zaklju~eno je da u Beo- ka u regionu prijavljen je organizacijama ICOM i UNESCO- gradu postoji institucionalna i kadrovska baza za razvoj re- -BRESCE za sufinansiranje u 2009. godini. gionalnog sredi{ta za{tite ba{tine. Predstavnici Evropskog saveta tada su preporu~ili da se u Beogradu osnuje nova in- I.9. SEE TIEM-MEP stitucija za{tite, koja }e po~ivati na obrazovanju i nauci i TIEM-MEP – Timski rad za integralno upravljanje u vanred- nim situacijama – Muzejski programi za vanredne situacije. Glavni organizatori ovog projekta jesu ICCROM i ICOM. To je regionalni projekat za jugoisto~nu Evropu, u koji se uklju- ~uju sve zemlje iz regiona. Partneri u projektu su ICCROM, ICOM, UNESCO-BRESCE, Konzervatorski institut Geti i ICOM-SEE kao regionalni koordinator. Projekat je nastao kao program koji odgovara potrebama {to su ih iskazali muzejski profesionalci iz celog sveta, a kako bi se razvila stru~nost u pripremama za vanredne prilike i u reagovanju na njih. Zadatak projekta jeste razvijanje sposobnosti u in- stitucijama za{tite ba{tine za preduzimanje procene rizika i za upravljanje rizicima. U TIEM-MEP uklju~eno je devet muzeja iz regiona, kao i po dva univerzitetska programa iz Albanije, Bugarske, Bosne i Hercegovine, Hrvatske, Make- donije, Crne Gore, Moldavije, Srbije i Slovenije. U pripremama projekta u martu 2007. u Rimu u~estvo- vale su i dr M. Popovi}-@ivan~evi} i Vesna @ivkovi}. ICOM-SEE je istakao da je regionalna analiza pokaza- la da se u muzejima u regionu, kada je re~ o vanrednim si- tuacijama, ~esto pojavljuje problem neodgovaraju}eg pona- {anja direktora i da se problemi u vezi sa sprovo|enjem i primenjivanjem projekta mogu nalaziti i u tome {to direk- tori i odgovorna lica u ministarstvima kulture ne}e u dovolj- noj meri razumeti ove va`ne teme. Zbog toga su direktori muzeja i obrazovnih sistema koji su izabrani da u~estvuju u TIEM-MEP-u pozvani na dvodnevni seminar (17. i 18. avgusta 2007), odr`an tokom Generalne skup{tine ICOM-a Studija izvodljivosti za Centralni institut za konzervaciju u Be~u. Cilj seminara bio je da se direktorima muzeja obja- Feasibility study for Central Institute for Conservation

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of a regional center for heritage conservation. Representa- tives of the European Council recommended that Belgrade should establish a new institution of conservation, based on science and education, and oriented towards the region, mainly the Western Balkans. During 2005, intensive work on that significant regional project began, given the name Central Institute for Conservation in Belgrade – CIC. A joint expert group from the Ministry of Culture worked on a feasibility study, comprising experts from institutions for conservation and representatives from the Ministry of Foreign Affairs of Italy. On the Serbian side, active mem- bers of the expert team were especially engaged in making the Feasibility study, Report on justification, and other documents and procedures: Dr Mila Popovi}-@ivan~evi}, Deo u~esnika završne radionice SEE TIEM-MEP Miladin Luki}, Radmila Petrovi} and Branka [ekari}, and u Gornjoj Stubici, Hrvatska, oktobar 2008 on the Italian side: Donatella Cavezzali from the Central Institute for Conservation in Rome and Michele Morana Some of participants in Closing workshops SEE TIEM-MEP, October 2008, Gornja Stubica, Hrvatska from the ministry of Foreign Affairs in Italy. The Serbian- –Italian version of the Feasibility study was published in December 2007 and publicly presented at the Italian Dr Popovi}-@ivan~evi} and Vesna @ivkovi} participated Cultural Centre Belgrade. The Procedure of founding CIK in preparing the project in Rome, in March 2007. ICOM SEE has reached its end and it is expected that during year 2009 pointed out that regional analysis shows that when it comes the Government of Republic of Serbia will officially establish to states of emergency, there is often a problem in museums a new institution of protection. of the region because of the unprofessional behaviour of Associates from Diana have made a special contribution museum directors; problems with implementing and in defining and implementing the new institutional applying project may be due to directors and Ministries of organization of a conservation service, and in preparing all Culture not understanding this important subject. That is documents, studies, and analyses. The establishment of this why museums directors and educational principals were institute, which envisages all categories of heritage and all chosen to participate in TIEM MEP and invited to the two- conservation activities in one system, received professional day seminar (August 17th and 18th 2007), which was held support from experts from ICOM, UNESCO, ICCROM and during the General Assembly of ICOM in Vienna. The aim institutions of conservation in France, The Netherlands, of the seminar was to explain the MEP project to directors, Great Britain and other countries. to raise awareness of the importance of museum programs for states of emergency and to ensure further cooperation I.11. Archaeological conservation in the implementation of the project in museum practice. Conservation at archaeological site is one of the most Educative timeline TIEM-MEP is consistent of three modules: important regional projects. It is done by ICCROM, as the – introductory workshops (15th to 31st November, Ohrid, main organiser and Diana Department for Preventive Con- Macedonia); servation as national and regional partner and coordinator. – distance learning (january–september 2008) UNESCO-BRESCE Venice has also participated in the – closing workshops(13–17 October 2008, Gornja implementation of this important educational program, Stubica, Hrvatska) provided in the form of conservation courses over a three- During the closing workshop in Gornja Stubica the year period, from 2004 until 2007, at Diana’s HQ in the reporesentatives of ICOM, ICCROM, Getty Institute and Gallery of Frescoes in Belgrade and on archaeological sites UNESCO-BRESCE have expressed their satisfaction because in Serbia: Diana–Karata{ on location, and in Sremska Mitro- of the successful ending of this phase of MEP. In closing vica. The final part of the introductory part of the course discussions and talks the positive role of ICOM SEE as regi- took place in the Butrint Archaeological park in October onal partner and coordinator of activities was stressed, it was 2007. Representatives from countries in South East Europe also emphasised that activities of above mentioned organi- participated in all the programmed courses, including Slo- sations in the region of South East Europe will in future venia, Croatia, Bosnia and Herzegovina, Montenegro, increasingly rely on partnership with ICOM SEE. When the Albania, Romania, Bulgaria, Greece and Serbia. development of TIEM-MEP is in question, ICOM SEE is At the General assembly of ICCROM held from 7th to expected to define, elaborate and coordinate its application 9th of November in Rome, Archaeological conservation was in institutional practice in the region of South East Europe. represented as a long term regional project for the region of South East Europe, which is included in the long term I.10. Central Institute for Conservation – CIC plans of ICCROM for the following period. The special After an institutional and human resources analysis done educative significance is that it envisages all the elements by representatives of the European council of 2002, it was of planning, managing, conservation and presentation of concluded that there is a suitable base for the development archaeological sites.

145 DIANA #13 REGIONALNA SARADNJA koja }e biti regionalno orijentisana, pre svega na podru~je Ovaj va`an edukativni program odvijao se tokom tri go- zapadnog Balkana. Tokom 2005. otpo~elo se sa intenzivni- dine, od 2004. do 2007, u vidu kurseva konzervacije u Dija- jim radom na tom zna~ajnom regionalnom projektu i on je ni, u Galeriji fresaka u Beogradu, i na arheolo{kim terenima dobio naziv Centralni institut za konzervaciju u Beogradu – u Srbiji: na lokalitetu Dijana–Karata{ i u Sremskoj Mitro- CIK. Na Studiji izvodljivosti radila je zajedni~ka ekspertska vici. Zavr{nica uvodnog dela kursa odvijala se u Albaniji, u grupa Ministarstva kulture Srbije, koju su ~inili stru~njaci Arheolo{kom parku Butrint, u oktobru 2007. U svim dosa- iz institucija za{tite u Srbiji i predstavnici Ministarstva da{njim programima kurseva u~estvovali su predstavnici iz inostranih poslova Italije. vi{e zemalja regiona jugoisto~ne Evrope: iz Slovenije, Hrvat- Aktivni ~lanovi ekspertskog tima, koji su posebno bili ske, Bosne i Hercegovine, Crne Gore, Albanije, Rumunije, anga`ovani oko izrade Studije izvodljivosti, Elaborata o op- Bugarske, Gr~ke i Srbije. ravdanosti i drugih osniva~kih dokumenata i procedura, jesu, Na Generalnoj skup{tini ICCROM-a koja je odr`ana od sa srpske strane, dr Mila Popovi}-@ivan~evi}, Miladin Luki}, 7. do 9. novembra 2007. u Rimu Arheolo{ka konzervacija pre- Radmila Petrovi} i Branka [ekari}, a sa italijanske Donate- zentovana je kao dugoro~ni regionalni projekat za region ju- la Kavecali iz Centralnog instituta za konzervaciju u Rimu goisto~ne Evrope, uklju~en u dugoro~ne planove ICCROM-a i Mikele Morana iz Ministarstva inostranih poslova Italije. za naredni period. Poseban edukativni zna~aj projekta jeste Studija izvodljivosti u srpsko-italijanskoj verziji publikova- to {to on obuhvata sve segmente planiranja, upravljanja, is- na je u decembru 2007, kada je i organizovana njena sve- tra`ivanja, za{tite i prezentacije arheolo{kog lokaliteta. Sa ~ana javna prezentacija u Italijanskom kulturnom centru u ekspertima iz ICCROM-a ve} se radi na formiranju novog Beogradu. programa iz ove oblasti, programa koji }e predstavljati da- Procedura osnivanja CIK-a pri samom je kraju i o~eku- lji razvoj edukacije i njenu primenu u praksi arheolo{ke je se da }e tokom 2009. godine vlada Republike Srbije i for- konzervacije u na{em regionu. malno osnovati novu instituciju za{tite. Poseban doprinos u definisanju i realizaciji ideje o no- I.12. Eksperimentalna arheologija vom institucionalnom organizovanju slu`be za{tite, u pri- – Tradicionalne proizvodnje keramike premanju svih dokumenata, studija, analiza i gotovih rado- Projekat koji je pokrenula i razvijala Dijana, a povezan s va neposredno su pru`ili saradnici OPZ Dijana. Osnivanje nau~noistra`iva~kim projektom Vin~a, ve} je dao zna~ajne ovog instituta, koji objedinjuje u jedan sistem za{tite sve ka- rezultate u Srbiji. Dijana inicira pokretanje sli~nih projeka- tegorije ba{tine i sve aktivnosti na za{titi, dobilo je profesi- ta i u Bosni i Hercegovini (Muzej grada Sarajeva), Makedo- onalnu podr{ku stru~njaka iz ICOM-a, Uneska, ICCROM-a, niji (Muzej Makedonije), Sloveniji (Gori{ki muzej). Dijana iz institucija za{tite iz Francuske, Holandije, Velike Brita- i ICOM-SEE nameravaju da u ovaj projekat uklju~e i ostale nije i drugih zemalja. zemlje regiona i da pomo}u tradicionalne keramike uka`u na bliske kulturne i istorijske veze koje izme|u njih postoje. I.11. Arheolo{ka konzervacija Arheologija Balkana na ovaj na~in mo`e da do|e do zna~ajnih Konzervacija na arheolo{kom lokalitetu jeste jedan od naj- nau~nih podataka i rezultata, koji }e tako|e pomo}i da se tra- va`nijih regionalnih projekata. Sprovode ga ICCROM, kao dicionalna keramika plasira kao regionalni identitet i savre- glavni organizator, i OPZ Dijana, kao nacionalni i regional- meni komercijalni i turisti~ki proizvod. Projekat je povezan ni partner i koordinator. U realizaciji programa u~estvuje i sa analizama keramike s preistorijskog lokaliteta Vin~a kod UNESCO-BRESCE iz Venecije. Beograda i sa analizama nalazi{ta gline u okolini lokaliteta.

Kurs arheološke konzervacije na lokalitetu Dijana–Karataš Kurs arheološke konzervacije u Sremskoj Mitrovici Course on Archaeological conservation Course on Archaeological conservation on site Diana–Karataš in Sremska Mitrovica

146 REGIONAL COOPERATION DIANA #13

Konzervacija keramike Sandra Dejvison Conservation of ceramic Sandra Davison

A new program in this domain is already being developed with the help of experts from ICCROM, which will represent further development of education and its application in the practice of archaeological conservation in our region.

I.12. Experimental archaeology – Traditional production of ceramics This project was established and developed by Diana in cooperation with Project Vin~a and has already brought some significant results in Serbia. Diana has initiated similar projects in Bosnia and Herzegovina (City Museum of Sara- jevo), Macedonia (Museum of Macedonia), and Slovenia (Museum Gori{ki). Diana and ICOM SEE intend to involve this project in other countries of the region and to show the close cultural and historical bonds that exist between them, with the help of traditional ceramics. Archaeology in the Konzervacija stakla Balkans can reveal important scientific data and obtain re- Conservation of glass sults that will also help traditional ceramics by representing regional identity and producing contemporary commercial products for tourists. The project is linked with the analysis manner, as a unique system of protection of intangible heri- of ceramics from the prehistoric site of Vin~a near Belgrade tage and its material products in their natural surroundings. and the analysis of clay in the site surroundings. After two The project will also help include traditional glass-related years, knowledge about old technologies and techniques crafts in sustainable development and fit it into the con- has been acquired, which at the same time determines pre- temporary life of the local community without threatening cise methods for the conservation of archaeological ceramics. the original technology of glass production. The interdisciplinary character of the project needs to be The project is implemented within the joint regional- emphasised: it involves several different institutions of European project which includes different countries, with scientific research and universities, as well as researchers, the help of the EU and the main mentor of this project the conservationists, archaeologists, and potters. European University in Ravel. The bearers of the project are Mila Popovi}-@ivan~evi} The project was prepared by Mila Popovi}-@ivan~evi}, and M.A. Vesna Svoboda. T. Nedeljkovi}, M. @ivkovi} and M. Brzakovi}.

I.13. Traditional glass production, in cooperation with I.14. Conservation of natural heritage the Serbian factory of glass in Para}in. This project should ICOM SEE is preparing a proposal for a regional project for help to preserve and revitalise one of the rare original old the conservation of natural heritage and environment. The technologies of glass in the region of South East Europe. This main goal is to create a conservation project for famous traditional technology still continues in its unchanged, ori- natural locations in the region of Balkans, to work it out as ginal form as an important part of the industrial production a model, and to offer a suitable general approach to the of glass in Para}in. Preservation of that old technology, craft conservation of heritage and environment. Members of the skills, and knowledge has been approached in an integrative working group for initiating and implementing this project

147 DIANA #13 REGIONALNA SARADNJA

Posle dve godine razvoja projekta ve} su ste~ena zna~aj- na saznanja o starim tehnologijama i tehnikama, koje isto- vremeno odre|uju i precizne metode za{tite i konzervacije arheolo{ke keramike. Posebno treba ista}i interdisciplinar- nost projekta, u kojem u~estvuje veliki broj razli~itih nau~no- istra`iva~kih institucija i fakulteta, kao i istra`iva~a, kon- zervatora, arheologa i prakti~ara – kerami~ara. Nosioci projekta su dr Mila Popovi}-@ivan~evi} i mr Vesna Svoboda.

I.13. Tradicionalne proizvodnje stakla, u saradnji sa Srp- skom fabrikom stakla u Para}inu. Projekat treba da po- mogne u o~uvanju i revitalizaciji jedne od retkih sa~uvanih originalnih starih tehnologija stakla u regionu jugoisto~ne Evrope. Ova tradicionalna tehnologija jo{ uvek `ivi u ne- promenjenom, izvornom obliku kao sastavni deo fabri~ke Polaznici Letnje škole „Dijana“ proizvodnje u Para}inu. U za{titarskom smislu, o~uvanje te Attendants of „Diana“ Summer School stare tehnologije, zanatskih ve{tina i znanja postavljeno je integrativno, kao jedinstven sistem za{tite nematerijalne ba{tine i njenih materijalnih proizvoda u prirodnom okru- Realizacija programa obrazovanja u letnjim {kolama `enju. Projekat }e tako|e pomo}i da se tradicionalni sta- Dijana odvija se u kontinuitetu svake godine od 1997, tra- klarski zanat postavi u okvir odr`ivog razvoja i da se uklo- dicionalno od juna do septembra. U tim aktivnostima u~e- pi u savremeni `ivot lokalne zajednice, bez ugro`avanja ili stvuje veliki broj mladih, studenata, konzervatora, kustosa opasnosti po opstanak originalne tehnologije proizvodnje i istra`iva~a iz muzeja i drugih institucija za{tite, kao i mla- stakla. dih razli~itog profila. U realizaciji programa u~estvuju pre- Projekat se sprovodi u okviru zajedni~kog regionalno- dava~i iz zemlje i sveta; to su eksperti sa univerziteta, iz -evropskog projekta, koji uklju~uje razli~ite zemlje Evrope, specijalizovanih institucija i privatnih studija. Formiran je pod pokroviteljstvom EU, a glavni nosilac projekta je Evrop- stalni tim od trideset predava~a i eksperata, u koji ulaze i ski univerzitet u Ravelu. mladi edukatori iz Dijane. Projekat su pripremile M. Popovi}-@ivan~evi}, M. @iv- kovi}, T. Nedeljkovi} i M. Brzakovi}. I.16. Dokumentacija za{tite ba{tine Zavr{ava se pripremanje projekta jedinstvenog dokumen- I.14. Za{tita prirodnog nasle|a tacionog sistema za oblast za{tite ba{tine, jedinstvene baze ICOM-SEE priprema predlog regionalnog projekta za za{ti- podataka za sve aktivnosti na za{titi nasle|a, kao i stvaranja tu prirodnog nasle|a i `ivotne sredine. Osnovni cilj jeste da baze podataka za konzervatorsku dokumentaciju. Novi do- se kreira projekat za{tite jednog od o~uvanih prirodnih lo- kumentacioni digitalni sistem za{tite ba{tine treba da bude kaliteta u regionu Balkana, da se on kao model razradi i da povezan s me|unarodnom bazom podataka u oblasti konzer- se ponude odgovaraju}a re{enja u generalnom pristupu vacije nasle|a. o~uvanju prirodnog nasle|a i `ivotne sredine. Projekat predvi|a razvoj stru~nih biblioteka i izdava~- Radnu grupu za pokretanje i realizaciju projekta ~ine: ke delatnosti u oblasti za{tite i obezbe|ivanje tehni~ke opre- Dra`en Kotro{an iz Bosne i Hercegovine, Branislava Mihaj- me za dokumentaciju. Zavr{ena je specijalizacija jednog lova iz Makedonije i Ljiljana Proti} iz Srbije. Predvi|eno je mladog stru~njaka iz Dijane u Centru za konzervaciju i is- da se u projekat uklju~i i prof. dr Bo`idar ]ur~i}, predsed- tra`ivanja muzeja Francuske (C2RMF), {to treba da po- nik Uneskovog MAB komiteta Srbije. mogne u kona~nom definisanju jedinstvene baze podataka za oblast za{tite ba{tine – EROS (European Research Open I.15. Letnja {kola konzervacije Dijana System); to je otvoren vi{ejezi~ni sistem za pretra`ivanje U realizaciji programa letnjih {kola konzervacije Dijana sadr`aja slika, posve}en razmeni konzervatorsko-restaura- zna~ajnu finansijsku pomo} pru`ali su od 2001. godine torskih podataka izme|u institucija kulture (Open Source Unesko iz Pariza, s dva programa participacije, i od 2005. Multilingual Research System for Image Content Retrieval UNESCO-BRESCE iz Venecije. Ti programi obuhvataju te- dedicated to Conservation-Restoration exchange between Cul- orijska predavanja [sa ciklusima iz preventivne konzervacije tural Institutions). (uslovi ~uvanja kulturnih dobara, za{tita od vanrednih prili- ka, priprema planova preventivne za{tite i drugo), muzeo- I.17. Akademski program obrazovanja iz za{tite ba{tine logije i teorije za{tite, kulturne politike, etike, zakonodavstva, – definisanje, organizacija i primena akademskog progra- arheologije i arheolo{ke konzervacije, prirodnih nauka (fizi- ma obrazovanja iz oblasti za{tite ba{tine. Program se spro- ke, hemije, tehnologije), aktivnih konzervatorskih tretmana] vodi u saradnji s Beogradskim univerzitetom (u okviru i prakti~nu obuku (savladavanje primene mera preventivne multidisciplinarnih studija) i Sorbonom – Pariz I. U pripre- za{tite u muzejskoj praksi, savladavanje konzervatorskih manju novih studija za{tite dragocenu pomo} pru`a Fran- ve{tina, znanja i tretmana). cuski kulturni centar u Beogradu.

148 REGIONAL COOPERATION DIANA #13 are: Dra`en Kotro{an from Bosnia and Herzegovina, Brani- Undergraduate and Master studies, based on the prin- slava Mihajlova from Macedonia and Ljiljana Proti} from ciple 3 + 2 are being prepared, envisaging programs of pre- Serbia. It is planned to involve Professor Dr Bo`idar ]ur~i}, ventive conservation and conservation treatment. First phase the president of UNESCO’s MAB committee of Serbia. started in November 2008 – it is a one-year academic master programme in preventive conservation, in its realisation I.15. Diana Summer schools of conservation experts from Europe and the region of South East Europe Significant financial help for the implementation of Diana’s are taking part. In second phase during 2009, it is planned summer schools of conservation has been received from to continue academic programs of education and to expand UNESCO in Paris since 2001, with two programs of parti- it with one-year master studies in conservation treatment. cipation, and since 2005 from UNESCO-BRESCE in Venice. The third phase should start in 2010–2011 with academic Those programs contain theoretical lectures with cycles in program of protection of heritage-both undergraduate and preventive conservation (the conditions of preserving cul- master studies on the principle 3 + 2. tural goods, protection in cases of emergency, preparation In the first phase studies will relate to the conservation of plans of preventive conservation and others), museology of archaeological locations and museum objects. It is planned and theory of conservation, cultural policy, ethics, law, archa- that a one year Master’s program in preventive conservation eology and archaeological conservation, science (physics, will start in 2008, followed by a one year Master’s in con- chemistry, technology), active conservation treatments and servation treatment. From 2009 a Master of Heritage aca- practical training (the application of measures of preventive demic program will continue with basic and Master studies conservation in museum practice, learning conservation on the principle 3 + 2. skills and treatments). The practical implementation of studies will be done Implementation of Diana’s educational program in in cooperation with the newly founded CIC, and all pro- summer schools has taken place continuously every year grams starting with 2009 have a regional character when it since 1997, traditionally from June to September. Many comes to students. young people, students, conservationists, curators, and re- searchers from museums and other institutions of conser- I.18. Integrative system of conservation vation have taken part. Many lecturers from Serbia and and methodology of preventive conservation abroad, academic experts from universities, specialist in- The design, organization and application of the integrative stitutions and private studies have been involved. A perma- concept use a methodology of preventive conservation in nent team of thirty lecturers and experts has been formed, practice. The integrative concept should be based on the including young instructors from Diana. organization of a broad, interdisciplinary, multidisciplinary and unique system of conservation in Serbia and the region. I.16. Documentation on heritage conservation In this unique system of protection all categories of cultural Preparation of this project for the unique documentation goods are included in their natural surroundings and mutually system for heritage conservation and the preparation of a connected, including: architectural and monument heritage, unique database for all activities in conservation of heritage archaeological sites, museum objects, archive and library and the creation of a database for conservation documenta- material, film, audiovisual and digital material, and intangi- tion are in their final phase. New digital system of protec- ble heritage. The unique system of protection also includes all tion of heritage should be connected to international data- activities regarding the conservation of heritage: education, base in the domain of heritage conservation. scientific research, preventive conservation, conservation The project undertakes the development of expert libra- treatments, documentation, presentation, and marketing. ries, publishing in the field of conservation, and providing technical equipment for documentation. One young expert I.19. Analysis of the state of mosaics from Diana has finished specialization in the Centre for con- in the region of South East Europe servation and research of the Museum of France (C2RMF), The authors of the project are young experts Maja which should help finally to define a unique database for the Frankovi} from OPZ Diana and Branislava Lazarevi}, the field of conservation of heritage – EROS (European Research conservationist. It is planned to develop it as a regional Open System) e.g. Open Source Multilingual Research System project which will cover areas with mosaics in South East for Image Content Retrieval dedicated to Conservation-Resto- Europe. Methodology of designing the analysis of the state ration exchange between Cultural Institutions. of mosaic within this project has largely relied on coopera- tion with individuals from institution, on direct or indirect I.17. Academic program of education research of available documentation and different infor- in heritage conservation mation, and research in institutions and archaeological sites. The design, organisation and application of academic edu- Three types of questionnaires were used for colleagues from cational programs are included in heritage protection. This the region: for mosaics in situ, mosaics in museums and for program is implemented in collaboration with the Univer- conservation of mosaics. After several months of research the sity of Belgrade (within multidisciplinary studies) and the need for changing the way of managing sites was evident, also Sorbonne, Paris. The French Cultural Centre in Belgrade has that the number of specialists for conservation of mosaics is been of invaluable help in the preparation of new studies of insufficient in most countries, that there is a need for profes- conservation. sional training and contemporary methods of conservation,

149 DIANA #13 REGIONALNA SARADNJA

Pripremaju se osnovne i master studije na principu 3 + I.19. Analiza stanja mozaika 2, koje obuhvataju programe preventivne za{tite i konzerva- u regionu jugoisto~ne Evrope torskog tretmana. S prvom fazom otpo~elo se u novembru Autori projekta su mladi stru~njaci Maja Frankovi} iz OPZ 2008. godine – to je jednogodi{nji akademski master program Dijana i Branislava Lazarevi}, konzervator. Planirano je da iz preventivne konzervacije; u njegovu realizaciju uklju~eni se tokom 2009. on razvije kao regionalni projekat koji }e su eksperti iz Evrope i regiona jugoisto~ne Evrope. Planira- pokriti podru~ja s mozaicima u jugoisto~noj Evropi. Meto- no je da se u drugoj fazi, tokom 2009, akademski programi dologija razrade analize stanja mozaika u okviru ovog pro- obrazovanja nastave i pro{ire jednogodi{njim masterom iz jekta velikim se delom oslanjala na saradnju s pojedincima konzervatorskog tretmana. Trebalo bi da tre}a faza zapo~ne u institucijama, na posredno ili neposredno istra`ivanje 2010/2011. godine sa akademskim programom za{tite ba- dostupne dokumentacije i razli~itih informacija, istra`iva- {tine – osnovnim i master studijama na principu 3 + 2. nja u institucijama i na arheolo{kim lokalitetima. Kori{}e- U prvoj fazi studije }e se odnositi na konzervaciju arhe- ne su tri vrste upitnika za kolege iz regiona: za mozike in olo{kih lokaliteta i muzejskih predmeta. Planirano je da se situ, mozaike u muzejima i za konzervaciju mozaika. Posle 2008. zapo~ne s jednogodi{njim programom postdiplomskih nekoliko meseci istra`ivanja pokazalo se da postoji potreba studija iz preventivne konzervacije, a potom i s jednogodi- za promenom na~ina rukovo|enja i upravljanja lokaliteti- {njim postdiplomskim studijama iz konzervatorskog tret- ma, da je broj specijalista za konzervaciju mozaika u ve}ini mana. Od 2009. akademski programi za{tite ba{tine nasta- zemalja regiona nedovoljan, da postoji potreba za profesio- vi}e se sa osnovnim i master studijama i na principu 3 + 2. nalnom obukom i savremenim konzervatorskim metoda- Prakti~na realizacija studija obavlja}e se u saradnji s ma, za obukom tehni~ara koji bi se prvenstveno bavili odr- novoosnovanim CIK-om, a svi programi }e od 2009, kada je `avanjem mozaika na arheolo{kom lokalitetu, za boljom re~ o studentima, dobiti izrazito regionalni karakter. stru~nom saradnjom i slobodnom razmenom informacija u okviru pojedinih zemalja, kao i u regionu, a i potreba da se I.18. Integrativni sistem za{tite i metodologija preven- javnosti skrene pa`nja na kulturni zna~aj ove oblasti i va- tivne za{tite – definisanje, organizacija i primena integra- `nost njenog o~uvanja. tivnog koncepta koji koristi metodologiju preventivne kon- zervacije za svoju primenu u praksi. Integrativni koncept II. BORBA PROTIV ILEGALNE TRGOVINE treba da po~iva na organizovanju sveobuhvatnog, interdi- ICOM-SEE je pokrenuo definisanje regionalnog projekta sciplinarnog, multidisciplinarnog i jedinstvenog sistema za borbu protiv ilegalne trgovine i drugih nelegalnih radnji za{tite u Srbiji i regionu. U jedinstven sistem za{tite uklju- na ba{tini u na{em regionu. Nosilac projekta je ICOM Slo- ~uju se sve kategorije kulturnih dobara u prirodnom okru`enju venije, a koordinator dr Dragan Mati} iz Inspektorata Mi- i me|usobno se povezuju: arhitektonsko i spomeni~ko nasle- nistarstva kulture Slovenije, stru~njak koji poseduje veliko |e, arheolo{ki lokaliteti, muzejska gra|a, arhivski i biblio- iskustvo u ovoj oblasti i koji je ostvario zna~ajne rezultate. te~ki materijal, kinote~ki, filmski, audio-vizuelni i digitalni U toku je prou~avanje zakonodavstva u regionu u vezi sa ile- materijal, nematerijalna ba{tina. Jedinstven sistem za{tite galnom trgovinom, pripremaju se elementi za predloge za- tako|e uklju~uje i sve aktivnosti na za{titi ba{tine: edukaci- kona o zabrani ilegalne trgovine kulturnim dobrima. Zapo- ju, nau~noistra`iva~ki multidisciplinarni rad, preventivnu ~elo se i s prikupljanjem odgovaraju}ih podataka, kako bi se za{titu, konzervatorski tretman, dokumentaciju, prezenta- na osnovu njihovog razmatranja postavio dalji razvoj projek- ciju i marketing. ta. D. Mati} je u tu svrhu posebno pripremio anketu upitnik,

Master iz preventivne konzervacije, Master iz preventivne konzervacije, predavanje Gaela de Gišana ve`ba s Denijem Gimarom Master studies in preventive conservation, Master studies in preventive conservation, a lecture held by Gaël de Guichen exercise with Denis Guillemard

150 REGIONAL COOPERATION DIANA #13 for the training of technicians who would primarily work illegal trade and stolen cultural goods. That is why we on maintaining mosaics on archaeological sites, the need expect ICOM from Paris to become directly involved in the for better expert cooperation and free exchange of informa- project. The portal EU customs control for cultural heritage tion within certain countries, as well as in region, but also the will be used for this purpose. need to focus the attention of public on the cultural importan- ce of this domain and the importance of its preservation. III. MATRA The MATRA Project has been implemented with the help II. COMBATING ILLEGAL TRADE of the Museum Association in The Netherlands, with ICOM-SEE has initiated a regional project to fight illegal ICOM SEE as coordinator. The program is directed towards trade and other criminal activities related to heritage in social transformation in countries that are candidates for our region. The bearer of the project is ICOM Slovenia, and EU membership and it offers assistance in all areas of social coordinator is Dr Dragan Mati} from the Inspectorate of life, including culture. It has already been implemented in Ministry of Culture of Slovenia was appointed project museum programs in Hungary, Czech Republic, Slovenia, coordinator; he has significant experience and has Russia, Ukraine and Poland. Last year preparations began accomplished notable results in this field. Research into in Croatia. The program is very practical and can easily be laws in the region relating to illegal trade is in process, adapted to countries in which it is applied. In some areas forming elements for draft legislation: The Law on the Pro- of the region three-year projects have taken place, relating to hibition of the Illegal Trade of Cultural Goods. The phase of museums’ capacity to develop management and marketing. gathering suitable data has also begun, so that the further At a meeting in Amsterdam in 2007, it was agreed that im- development of this project can be planned. Dragan Mati} plementation of the new MATRA regional program should has prepared a special survey-questionnaire for this purpose, continue in the region of South East Europe. As Slovenia which should provide data on the people responsible for completed the program several years ago, and Croatia began problems of illegal trade in the countries of the region, then preparations for the new MATRA program in 2006, it has on kinds and categories of legal acts and international treaties been decided that Croatia should organize this phase, Slo- which are accepted on national level. This survey is a part venia will be a consultant, and Bosnia and Herzegovina and of preparation for the conference on illegal trade in Europe Serbia co organizers. According to the data of the Museum which is planned in 2010. Since there is evident need for Association of Netherlands, the bearer of the project, the harmonization of laws in the region of South East Europe, implementation of MATRA project in our region should due to this, the legal situation from the domain of illegal start during 2009. It is planned for project MATRA to be trade in the region should be presented on this conference. developed and implemented in other parts of the region of The aim of the project is to make the legislation of South East Europe. countries in the region more accessible to the public. The idea is to gather together all laws on cultural pro- IV. CULTURAL TOURISM perty in one place, so that illegal activities can be reacted to The Program of the project of cultural tourism is very more quickly and simply, to protect cultural heritage. important for the whole region of South East Europe. Its One of the goals of the project should be to update data basic goal is accurate definition of the role of cultural on stolen goods and illegal trade, to process and publish tourism, because of the evident fact that presentation of them within the well-known ICOM’s editions dedicated to heritage is increasingly abused, thus jeopardizing security, stability and protection of heritage. Inadequate managing of cultural tourism increasingly destroys its very resources and inadequate inclusion of heritage in contemporary life jeopardizes the needs of future generations and it is not within the context of sustainable development. The project should have an educational character and it will include professionals from the domain of heritage protection, tourismologists, urbanists, scientists, different institutions and organisations from local communities etc. The first phase of the project should begin with the regional conference in Croatia when general attitudes will be defined. It is planned to organise workshops in December 2010 with the name The Role of Museums in Sustainable Development of Cultural Tourism. The main goal of the workshops will be analysis of cultural tourism in the region, and it will use a methodology of different forms of discussions and case studies. Its activities will include the representatives from Master iz preventivne konzervacije, the whole region of South East Europe. The bearer of the predavanje @an-@aka Ezratija project is NC ICOM Slovenia and NC ICOM Austria. Master studies in preventive conservation, Coordinator of the project is Gorjanka Horjan, the director a lecture held by Jean-Jacques Ezrati of the Museum of Croatian Zagorje. „ 151 DIANA #13 REGIONALNA SARADNJA koja treba da pru`i podatke o licima odgovornim za proble- pro{la kompletan program pre nekoliko godina, a Hrvatska me ilegalne trgovine u zemljama regiona, zatim o vrstama je u toku 2006. ve} zapo~ela s pripremama za novi program i kategorijama nacionalnih pravnih akata i me|unarodnih MATRA, odre|eno je da Hrvatska u ovoj fazi bude organiza- sporazuma koji su prihva}eni na nacionalnom nivou. Ova tor, Slovenija konsultant, a Bosna i Hercegovina i Srbija ko- anketa upitnik deo je priprema za konferenciju o ilegalnoj organizatori. Prema podacima Muzejske asocijacije Holan-

Studenti mastera ispred Prirodnja~kog muzeja u Beogradu Grupa studenata mastera na pauzi Students of Master studies in front of Students of Master studies taking a break a Museum of Natural History trgovini u Evropi koja se planira za 2010. Kako postoji real- dije, nosioca projekta, realizacija projekta MATRA u na{em na potreba za uskla|ivanjem zakona u regionu jugoisto~ne regionu trebalo bi da zapo~ne tokom 2009. Predvi|eno je Evrope, na toj konferenciji zbog toga bi trebalo predstaviti da se projekat MATRA razvija i sprovede i u drugim delo- pravnu situaciju iz domena ilegalne trgovine u regionu. vima regiona jugoisto~ne Evrope. Cilj projekta jeste i da se zakonodavstvo zemalja regio- na u~ini dostupnim javnosti. Zami{ljeno je da se na jednom IV. KULTURNI TURIZAM mestu okupe svi zakoni o kulturnim dobrima kako bi se Program projekta kulturnog turizma izuzetno je va`an za moglo br`e i jednostavnije reagovati na krivi~ne prestupe ceo region jugoisto~ne Evrope. Njegov osnovni cilj jeste kada je re~ o za{titi kulturnog nasle|a. pravilno definisanje uloge kulturnog turizma, zbog o~igled- Jedan od ciljeva projekta treba da bude i kompletiranje ne ~injenice da se prezentacija ba{tine sve vi{e zloupotre- podataka o ukradenim dobrima i ilegalnoj trgovini – njiho- bljava na ra~un sigurnosti, stabilnosti i za{tite ba{tine. Ne- va obrada i objavljivanje u okviru poznatih ICOM-ovih edi- primerenim sprovo|enjem kulturnog turizma sve se vi{e cija posve}enih ilegalnoj trgovini i ukradenim kulturnim ru{e i uni{tavaju upravo resursi za kulturni turizam, a ne- dobrima. Zbog toga o~ekujemo i da se ICOM iz Pariza ne- odgovaraju}e uklju~ivanje ba{tine u savremeni `ivot ugro- posredno uklju~i u projekat. Za potrebe projekta koristi}e `ava potrebe budu}ih generacija i izvan je konteksta odr`i- se i portal EU Customs Control for Cultural Heritage. vog razvoja. Projekat treba da ima edukativan karakter i uklju~iva- III. MATRA }e profesionalce iz oblasti za{tite ba{tine, turizmologe, urba- Projekat MATRA sprovodi se pod pokroviteljstvom Muzej- niste, prirodnjake, razne institucije i organizacije iz lokal- ske asocijacije Holandije, sa ICOM-SEE-jem kao koordina- nih zajednica itd. Trebalo bi da prva faza projekta otpo~ne torom. Program je usmeren na dru{tvenu transformaciju u s regionalnom konferencijom u Hrvatskoj, a tada }e biti od- zemljama kandidatima za prijem u EU i pru`a pomo} u svim re|eni op{ti stavovi. Planira se da se u decembru 2010. go- oblastima dru{tvenog `ivota, pa i u kulturi. Kada je re~ o dine odr`e radionice pod nazivom Uloga muzeja u odr`ivom muzejskim programima, on je ve} sproveden u Ma|arskoj, razvoju kulturnog turizma. Osnovni cilj radionica bi}e ana- ^e{koj, Sloveniji, Rusiji, Ukrajini i Poljskoj. Pro{le godine liza kulturnog turizma u regionu, a one }e koristiti meto- otpo~elo se i s pripremama u Hrvatskoj. dologiju razli~itih oblika diskusija i studija slu~aja. U svoje Program je veoma prakti~an i lako se prilago|ava zemlji aktivnosti uklju~iva}e predstavnike iz celog regiona jugo- u kojoj se odvija. U jednoj oblasti regiona projekti se odvi- isto~ne Evrope. jaju tokom tri godine i odnose se na muzejske kapacitete za Nosilac projekta je NC ICOM Hrvatske, a u njegovo razvoj menad`menta i marketinga. sprovo|enje uklju~i}e se jo{ i Komitet za regionalne muzeje Na sastanku u Amsterdamu u maju 2007. dogovoreno ICOM-a, NC ICOM Slovenije i NC ICOM Austrije. Koordi- je da se u regionu jugoisto~ne Evrope nastavi s realizacijom nator projekta je Goranka Horjan, direktor Muzeja Hrvat- novog regionalnog programa MATRA. Kako je Slovenija skog Zagorja. „

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