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The Timelessness of the Bosnian Stećak and Its Relevance

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The Timelessness of the Bosnian Stećak and Its Relevance A Memorial for the Twenty-First Century: The Timelessness of the Bosnian Ste#ak and Its Relevance to Contemporary Visual Art Author Fejzic, Adis Elias Published 2016 Thesis Type Thesis (PhD Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/118 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/368002 Griffith Research Online https://research-repository.griffith.edu.au 1 A Memorial for the Twenty-First Century: The Timelessness of the Bosnian Stećak and Its Relevance to Contemporary Visual Art Adis Elias Fejzić BFA(Sculpture) MFA(Sculpture) Queensland College of Art School of Arts, Education and Law Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy September 2016 2 Abstract This visual art research project responds to the sculptural and social phenomenon of Stećak (pl. Stećci), a type of monumental tombstone that was prolific in mediaeval Bosnia (later Bosnia and Herzegovina) and surrounding areas at the time. The art of Stećak emerged in the area that divides and connects the East and West (the ‘Orient’ and the ‘Occident’). A specific expression of the mediaeval sepulchral art, the Stećak is the result of an overlap and fusion of different cultures; primarily, Western European, Mediterranean, Byzantine, and South Slavic. Due to the differences in type, shape, volume, decorative motifs, inscriptions, and historic context, the Stećak represents a unique phenomenon within the mediaeval European artistic and archaeological heritage. These monuments were officially recognised on a global scale on 15 July 2016, when a number of Stećci were included on the UNESCO’s World Heritage List. While the Stećak temporally belongs to the wider European medieval period, it also parallels other sculptural traditions from prehistory to, paradoxically, the twentieth and twenty-first centuries. As a Bosnian national and trained sculptor, I have been aware of these monoliths for most of my life, though this research represents my first concerted engagement with them. Through my theoretical and practice-based research, I have come to recognise this old Bosnian sculptural practice as an anachronistic knot, or fusion, of different stone sculptural expressions and traditions. With its layered content, the art of the Stećak is highly applicable and adaptable within the context of contemporary and memorial art. Thus, I contextualise, contrast, and compare the mediaeval Stećak with its sculptural contemporaries—the work of other artists and also my own that have similar memorialising functions. The theoretical and practical aspects of this investigation have overlapped and informed each other throughout the research process. On the one hand, I have completed a rigorous investigation into the historical, political, and cultural significance of these structures; on the other hand, I have drawn upon these meanings to contribute a different and deeper understanding of the art of Stećci as timeless stone sculptural forms that encapsulate a particular Bosnian experience. By resurrecting the tradition for the first time in five hundred years, I return to the past to reconnect with my cultural heritage in order to reflect on the present and move into the future. In the process, I reinterpret the Stećak’s sculpturality as a unique symbol of Bosnian (multi)cultural identity and revive the Stećak tradition as a personal sculptural expression. 3 Acknowledgements I would like to thank my principal supervisor, Dr Sebastian Di Mauro, for the guidance, support, and encouragement he gave me to remain true to my art. My warm thanks also go to my associate supervisors, Professor Dubravko Lovrenović and Associate Professor Hariz Halilovich, for their kind assistance and dedication. I am grateful to all the staff at Queensland College of Art for their help and support. Thanks also to the many Australian and Bosnian institutions, professionals, and friends who assisted me along the way. My love and thanks, as always, go to my family. I dedicate this research to the good people who created the mediaeval art of the Stećak, whose tradition I revived after five hundred years. 4 Statement of Originality This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. Adis Elias Fejzić 5 Table of Contents Abstract ............................................................................................................................................ 2 Acknowledgements .......................................................................................................................... 3 Statement of Originality ................................................................................................................... 4 List of Figures .................................................................................................................................... 7 Introduction .................................................................................................................................... 10 The Historical and Contemporary Significance of Stećak ........................................................... 15 Background and Research Motivations ...................................................................................... 17 Aims and Objectives of This Inquiry ........................................................................................... 19 Thesis Outline: ............................................................................................................................ 22 Chapter 1. Methodology: From National Heritage to Contemporary and Personal Metaphor..... 25 1.1 Research Methodology ........................................................................................................ 25 1.2 Theoretical and Practical Research ...................................................................................... 26 1.3 Studio Method ...................................................................................................................... 28 1.4 Hermeneutic Phenomenology as the Philosophy behind My Reinterpretation of the Stećak .................................................................................................................................................... 29 Chapter 2. Background to the Regional and Cultural Identity of Bosnia and Herzegovina ........... 33 2.1 The Bosnian Historical Narrative .......................................................................................... 34 2.1.1 Early and Mediaeval Bosnia ........................................................................................... 34 2.1.2 Bosnian Ethnicity and Culture ....................................................................................... 35 2.1.3 Bosnia: Late Nineteenth Century through to Tito’s Yugoslavia .................................... 37 2.1.4 The Death of Yugoslavia ................................................................................................ 38 2.1.5 Contemporary Bosnia: A Personal Perspective ............................................................. 39 Chapter 3: Cultural, Historical, and Political Significance of the Art of Stećak .............................. 43 3.1 Research on the Stećak ........................................................................................................ 43 3.2 Names and Meanings ........................................................................................................... 46 3.3 Tradition and Meaning: Lost and Found .............................................................................. 50 3.4 Historical and Cultural Context ............................................................................................ 52 3.5 Style and Iconography .......................................................................................................... 58 Chapter 4: The Stećak and Contemporary (Stone) Sculpture ........................................................ 67 4.1 (Stone) Sculpture—Symbolism and Significance .................................................................. 67 4.2 Sculpturality of the Stećak— A Unique Amalgamate of Primordial and Postmodern Expression ................................................................................................................................... 70 4.3 Complex Simplicity and Multisculpturalism of the Art of Stećak ......................................... 73 6 4.4 (Un)limited Framework of Creative Improvisation .............................................................. 79 4.5 Memorials—Sculpturalised Remembrance ......................................................................... 84 4.5.1 Peter Eisenman ............................................................................................................. 87 4.5.2 Maya Lin ........................................................................................................................ 88 4.5.3 Daniel Karavan .............................................................................................................. 89 4.5.4 Michael Arad and Peter Walker .................................................................................... 90 4.5.5 Rachel Whiteread .........................................................................................................
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