Vladimir-Peter-Goss-The-Beginnings

Total Page:16

File Type:pdf, Size:1020Kb

Vladimir-Peter-Goss-The-Beginnings Vladimir Peter Goss THE BEGINNINGS OF CROATIAN ART Published by Ibis grafika d.o.o. IV. Ravnice 25 Zagreb, Croatia Editor Krešimir Krnic This electronic edition is published in October 2020. This is PDF rendering of epub edition of the same book. ISBN 978-953-7997-97-7 VLADIMIR PETER GOSS THE BEGINNINGS OF CROATIAN ART Zagreb 2020 Contents Author’s Preface ........................................................................................V What is “Croatia”? Space, spirit, nature, culture ....................................1 Rome in Illyricum – the first historical “Pre-Croatian” landscape ...11 Creativity in Croatian Space ..................................................................35 Branimir’s Croatia ...................................................................................75 Zvonimir’s Croatia .................................................................................137 Interlude of the 12th c. and the Croatia of Herceg Koloman ............165 Et in Arcadia Ego ...................................................................................231 The catastrophe of Turkish conquest ..................................................263 Croatia Rediviva ....................................................................................269 Forest City ..............................................................................................277 Literature ................................................................................................303 List of Illustrations ................................................................................324 Illustration Credits ................................................................................334 Note on the Author ...............................................................................337 Author’s Preface his preface originally came into being as an eight page TEnglish summary to my book Početci hrvatske umjet- nosti (Zagreb: Ibis-grafika, 2020, 458 p.). As I have been keenly interested in making my work available to an inter- national community, I decided to expand that summary and post it on www.academia.edu. As I did so the text kept ex- panding and as it was growing and fattening it kept turning into another book. I let it be so. The Croatian mega-version deals with methodological issues concerning human creativity as a function of space (natura) and spirit (cultura) that I have been studying for decades. It is then applied to a body of material within a concrete space and engendered by a concrete human factor. The bulk of argument deals with representative monuments, evidence of their origin, date, and authorship, which, even- tually, leads to conclusions. The bulk of this “English Version” deals with conclu- sions referring back to the material evidence, sparingly, but I hope sufficiently, to support the conclusions. The Croa- tian version is a heavy, well-armed battle ship, reliable and steady, while the English one is a fast, penetrating destroy- er. If needed, anybody looking for more evidence could V Vladimir Peter Goss probably find it by resorting to some of the world language items listed in the Literature chapter. My note of thanks remains the same: to all of those who have ever helped me on my way, including critics and de- tractors, as those made me work ever harder. I remain equal- ly grateful to authors and owners of illustrations. They are duly acknowledged on a separate list. Zagreb, July 2020 VI What is “Croatia”? Space, spirit, nature, culture umans exist in space. By their presence they expose Hspace to human spirit. To be effective, a human being must be an agent of material and spiritual processes, phys- ical and spiritual manipulator of the space, as argued by Albury Castell in his notorious debate with Robert Skinner (Castell 1963). This is why I like the word “existence”; as it, to my belief, includes both material and spiritual, natu- ral and cultural, processes, both nature and culture, which jointly reflect our presence in the space, the locus of our “existence.” Culture and spirit are purposeless unless we have cast our anchor firmly within a specific space (Goss 2020; Goss 2016, 6-9). Croatia, the “Land of the Croats,” (Hrvatska, Hrvaška, Hrvatistan), is situated on the very south-eastern border of the Western, Latin, Judeo-Christian (both Catholic and Protestant) Europe (fig 1). This border, outlined by the riv- ers Drina and Danube and the Eastern Carpathian Moun- tains, was codified in 395 AD when the Roman Empire was split into its Eastern and Western half. Since then, it has undergone very small modifications. The Ottoman in- vasion in the 15th century moved the frontiers westwards, 1 Vladimir Peter Goss 1. Map of Croatia. encompassing Bosnia and Siebenbürgen. These two lands still stand as multi-ethnical tampons between two large sys- tems, Western and Eastern European, the latter with a dash of the Middle East Islam. The land of Croats has been a frontier, Antemurale Christianitatis, throughout its history: the last Western European country at the border of a differ- ent large system (Goss 2020, 117-119). By its geographic position Croatia belongs to three West- ern European regions: the Mediterranean (Eastern Adriatic and its hinterland), the Eastern Alps (their extreme exten- sions), and the Pannonian Basin. Thus it covers large and important sections of the Roman Pannonia and Dalmatia 2 THE BEGINNINGS OF CROATIAN ART (parts of a larger territorial unit, the Province, i.e. Prae- fectura of Illyricum). The present-day Croatia enters into history via Greek and Roman sources, which report on es- tablishing Greek and especially Roman domination over the local Illyrians and Celts. This process was finalized by the Roman occupation in 9 AD, when Illyricum became a Roman province (Goss 2016, 16-18). From the 4th century on, various Germanic, Asian and Slavic tribes settled in the area and by the end of the 6th century the Roman organization collapsed. The 7th and 8th centuries, with the exception of eastern Adriatic enclaves, were marked by Avar and Slavic conquests. The first Slavic colonizers settled in Illyricum in the context of these inva- sions. By the end of the 8th century, during the military in- terventions of Charlemagne against the Avars, the Croatian tribes - Frankish foederati - settled in Illyricum. Around the year 800 they created their own Principality within Fran- cia in the Eastern Adriatic and Southern Pannonia. During the subsequent three centuries (from ca. 800 to ca. 1100) a coherent political formation – the Kingdom of Croatia, Slavonia and Dalmatia – emerged from this Slavic, Avar, Celtic, Latin, Greek, Frankish and Croatian ethnic material. The tripartite Kingdom continued as a sovereign political unit until the year 1918 when Croatia lost the symbol of its sovereignty, the Sabor (Parliament) within the Kingdom of Serbs, Croats and Slovenes (from 1929 called the Kingdom of Yugoslavia). It was recreated with the formation of the 3 Vladimir Peter Goss Croatian Banovina (Vice-Royalty) in 1939, and continued as the Sabor of the wartime Antifascist Republic of Croatia. The present-day Republic of Croatia, member state of the EU, developed on this foundation (Goss 2020, 46-51; Goss 2016, 65). In the mountainous hinterland of the Eastern Adriatic, mostly within the Roman province of Dalmatia, there was a fourth unit of the tripartite Kingdom – Bosnia. Continuous, never completely successful, efforts by the Croatian and Hungarian-Croatian kings to expand their rule over Bosnia as a legitimate part of the Croatian kingdom demonstrate the fact that Bosnia was considered to be part of Croatian state. Bosnian sovereignty, comparable to that of the tripar- tite Kingdom is confirmed by the institution of ban (vice- roy), as a sovereign ruler under the supreme authority of the Hungarian crown, and respectfully, in the late Middle Ages, the Bosnian kings. The importance of Bosnia to the Croatian-Hungarian Commonwealth was demonstrated by the marriage of Elizabeta Kotromanić, daughter of the Bos- nian ban Stjepan Kotromanić (1322 – 1353) to the Hungar- ian-Croatian king Louis I of Anjou (1342 – 1382), possi- bly the most powerful European monarch at the time (Goss 2020. 269-270). The area of the present-day Republic of Croatia embodies much of the original tripartite Kingdom. Its western border moved towards the West; therefore, Croatia now encom- passes most of Istria. The borders in the Highlands, and 4 THE BEGINNINGS OF CROATIAN ART in the Eastern Alps remain virtually the same. The same applies to the northern border defined by the rivers Mura, Drava and Danube. The border along the rivers Sava and Una in the Croatian and Dalmatian Highlands reflects the old border between Croatia and Bosnia moved somewhat toward the West. Croatian Dalmatia extends to Privlaka, where it borders Montenegro. Together with Bosnia, Cro- atia is shaped as a regular rectangle, without it, its shape is an odd crescent. This by itself indicates the special position of Bosnia, i. e., it confirms the fact that Bosnia is really a separate fourth part of the tripartite kingdom, and, that due to its specificity, could be detached from the whole. De- spite enormous pressures, the tripartite kingdom has stayed together, whilst Bosnia (of course together with Herzego- vina), although bordering Croatia on three sides, developed in a different way. With or without Bosnia, Croatia clearly belongs to three different ecosystems. Starting from the coastline, the terrain soars to the first, and tallest,
Recommended publications
  • Dubrovnik Manuscripts and Fragments Written In
    Rozana Vojvoda DALMATIAN ILLUMINATED MANUSCRIPTS WRITTEN IN BENEVENTAN SCRIPT AND BENEDICTINE SCRIPTORIA IN ZADAR, DUBROVNIK AND TROGIR PhD Dissertation in Medieval Studies (Supervisor: Béla Zsolt Szakács) Department of Medieval Studies Central European University BUDAPEST April 2011 CEU eTD Collection TABLE OF CONTENTS 1. INTRODUCTION ........................................................................................................................... 7 1.1. Studies of Beneventan script and accompanying illuminations: examples from North America, Canada, Italy, former Yugoslavia and Croatia .................................................................................. 7 1.2. Basic information on the Beneventan script - duration and geographical boundaries of the usage of the script, the origin and the development of the script, the Monte Cassino and Bari type of Beneventan script, dating the Beneventan manuscripts ................................................................... 15 1.3. The Beneventan script in Dalmatia - questions regarding the way the script was transmitted from Italy to Dalmatia ............................................................................................................................ 21 1.4. Dalmatian Benedictine scriptoria and the illumination of Dalmatian manuscripts written in Beneventan script – a proposed methodology for new research into the subject .............................. 24 2. ZADAR MANUSCRIPTS AND FRAGMENTS WRITTEN IN BENEVENTAN SCRIPT ............ 28 2.1. Introduction
    [Show full text]
  • Montenegro Old and New: History, Politics, Culture, and the People
    60 ZuZana Poláčková; Pieter van Duin Montenegro Old and New: History, Politics, Culture, and the People The authors are focusing on how Montenegro today is coming to terms with the task of becoming a modern European nation, which implies recognition not only of democracy, the rule of law, and so forth, but also of a degree of ‘multiculturalism’, that is recognition of the existence of cultural, ethnic, linguistic and religious minorities in a society that is dominated by a Slavic Orthodox majority. In his context they are analyzing the history of the struggle of the Montenegrin people against a host of foreign invaders – after they had ceased to be invaders themselves – and especially their apparently consistent refusal to accept Ottoman sovereignty over their homeland seemed to make them the most remarkable freedom fighters imaginable and led to the creation of a special Montenegrin image in Europe. This im- age of heroic stubbornness and unique martial bravery was even consciously cultivated in Western and Central Europe from the early nineteenth century onwards, as the Greeks, the Serbs, the Montenegrins and other Balkan peoples began to resist the Ottoman Empire in a more effective way and the force of Romantic nationalism began to influence the whole of Europe, from German historians to British politi- cians, and also including Montenegrin and Serbian poets themselves. And what about the present situa- tion? The authors of this essay carried out an improvised piece of investigation into current conditions, attitudes, and feelings on both the Albanian and the Slavic-Montenegrin side (in September 2012). key words: Montenegro; history; multiculturalism; identity; nationalism; Muslim; Orthodox Montenegro (Crna Gora, Tsrna Gora, Tsernagora) is a small country in the Western Balkans region with some 625,000 inhabitants,1 which became an independent nation in 2006 and a can- didate-member of the EU in 2010.
    [Show full text]
  • Croatia the Mediterranean As It Once Was
    Croatia The Mediterranean as it once was. www.croatia.hr free IMAGE CATALOGUE english Croatia his is a story about a land of a thousand islands, her magi- T cal nature and rich heritage, her great Men whose great deeds have forever etched the name of Croatia in large letters on the map of the world. This is a story about a land whose beauties have been celebrated since ancient times. From Cas- siodorus, who wrote of the divine life led by Patricians on her shores, to Dante, who wrote his immortal verses, enthralled by the epic scenes of the blue expanse, and all the way to George Bernard Shaw, who found his paradise on Earth right here. Croatia has always been a place of true inspiration. Through pictures of unforgettable scenes and incredible stories, we have endeavoured to bring all the special qualities of this wonderful land that is our beautiful country as close to you as possible. Indeed, in nine fairytale-like chapters we have managed to lay before you the pearls of her diversity. Do not hesitate; descend the thousand-year-old stairs of a rich, tur- bulent and glorious history and discover destinations in which experiences of the warm, blue Mediterranean are enhanced by the charm of the tranquil and picturesque green mountains in the north and the fertile golden plains in the easternmost part of the land. All that you have dreamt of is now within reach. Browsing through the pages of this catalogue you are surely bound to find a place for your perfect holiday.
    [Show full text]
  • Illyrian Religion and Nation As Zero Institution
    Studies in Visual Arts and Communication: an international journal Vol 3, No 1 (2016) on-line ISSN 2393 - 1221 Illyrian religion and nation as zero institution Josipa Lulić * Abstract The main theoretical and philosophical framework for this paper are Louis Althusser's writings on ideology, and ideological state apparatuses, as well as Rastko Močnik’s writings on ideology and on the nation as the zero institution. This theoretical framework is crucial for deconstructing some basic tenants in writing on the religious sculpture in Roman Dalmatia, and the implicit theoretical constructs that govern the possibilities of thought on this particular subject. This paper demonstrates how the ideological construct of nation that ensures the reproduction of relations of production of modern societies is often implicitly or explicitly projected into the past, as trans-historical construct, thus soliciting anachronistic interpretations of the material remains of past societies. This paper uses the interpretation of religious sculpture in Roman Dalmatia as a case study to stress the importance of the critique of ideology in the art history. The religious sculpture in Roman Dalmatia has been researched almost exclusively through the search for the presumed elements of Illyrian religion in visual representations; the formulation of the research hypothesis was firmly rooted into the idea of nation as zero institution, which served as the default framework for various interpretations. In this paper I try to offer some alternative interpretations, intending not to give definite answers, but to open new spaces for research. Keywords: Roman sculpture, province of Dalmatia, nation as zero institution, ideology, Rastko Močnik, Louis Althusser.
    [Show full text]
  • Montenegro's Tribal Legacy
    WARNING! The views expressed in FMSO publications and reports are those of the authors and do not necessarily represent the official policy or position of the Department of the Army, Department of Defense, or the U.S. Government. Montenegro's Tribal Legacy by Major Steven C. Calhoun, US Army Foreign Military Studies Office, Fort Leavenworth, KS. This article appeared in Military Review July-August 2000 The mentality of our people is still very patriarchal. Here the knife, revenge and a tribal (plemenski) system exist as nowhere else.1 The whole country is interconnected and almost everyone knows everyone else. Montenegro is nothing but a large family—all of this augurs nothing good. —Mihajlo Dedejic2 When the military receives an order to deploy into a particular area, planners focus on the terrain so the military can use the ground to its advantage. Montenegro provides an abundance of terrain to study, and it is apparent from the rugged karst topography how this tiny republic received its moniker—the Black Mountain. The territory of Montenegro borders Croatia, Bosnia- Herzegovina, Serbia and Albania and is about the size of Connecticut. Together with the much larger republic of Serbia, Montenegro makes up the current Federal Republic of Yugoslavia (FRY). But the jagged terrain of Montenegro is only part of the military equation. Montenegro has a complex, multilayered society in which tribe and clan can still influence attitudes and loyalties. Misunderstanding tribal dynamics can lead a mission to failure. Russian misunderstanding of tribal and clan influence led to unsuccessful interventions in Afghanistan and Chechnya.3 In Afghanistan, the rural population's tribal organization facilitated their initial resistance to the Soviets.
    [Show full text]
  • Recognition Features for Old Slavic Letters: Macedonian Versus Bosnian Alphabet
    International Journal of Scientific and Research Publications, Volume 5, Issue 12, December 2015 145 ISSN 2250-3153 Recognition features for Old Slavic letters: Macedonian versus Bosnian alphabet Cveta Martinovska Bande*, Mimoza Klekovska**, Igor Nedelkovski**, Dragan Kaevski*** * Faculty of Computer Science, University Goce Delcev, Stip, Macedonia ** Faculty of Technical Sciences, University St. Kliment Ohridski, Bitola, Macedonia *** Faculty of Elecrical Engineering and Information Technology, University St. Cyril and Methodius, Skopje, Macedonia Abstract- This paper compares recognition methods for two recognition have been reported, such as fuzzy logic [9, 10], Old Slavic Cyrillic alphabets: Macedonian and Bosnian. Two neural networks [11] and genetic algorithms [12]. novel methodologies for recognition of Old Macedonian letters Several steps have to be performed in the process of letter are already implemented and experimentally tested by recognition, like pre-processing, segmentation, feature extraction calculating their recognition accuracy and precision. The first and selection, classification, and post-processing [13]. Generally, method is based on a decision tree classifier realized by a set of pre-processing methods include image binarization, rules and the second one is based on a fuzzy classifier. To normalization, noise reduction, detection and correction of skew, enhance the performance of the decision tree classifier the estimation and removal of slant. There are two segmentation extracted rules are corrected according
    [Show full text]
  • Framing Croatia's Politics of Memory and Identity
    Workshop: War and Identity in the Balkans and the Middle East WORKING PAPER WORKSHOP: War and Identity in the Balkans and the Middle East WORKING PAPER Author: Taylor A. McConnell, School of Social and Political Science, University of Edinburgh Title: “KRVatska”, “Branitelji”, “Žrtve”: (Re-)framing Croatia’s politics of memory and identity Date: 3 April 2018 Workshop: War and Identity in the Balkans and the Middle East WORKING PAPER “KRVatska”, “Branitelji”, “Žrtve”: (Re-)framing Croatia’s politics of memory and identity Taylor McConnell, School of Social and Political Science, University of Edinburgh Web: taylormcconnell.com | Twitter: @TMcConnell_SSPS | E-mail: [email protected] Abstract This paper explores the development of Croatian memory politics and the construction of a new Croatian identity in the aftermath of the 1990s war for independence. Using the public “face” of memory – monuments, museums and commemorations – I contend that Croatia’s narrative of self and self- sacrifice (hence “KRVatska” – a portmanteau of “blood/krv” and “Croatia/Hrvatska”) is divided between praising “defenders”/“branitelji”, selectively remembering its victims/“žrtve”, and silencing the Serb minority. While this divide is partially dependent on geography and the various ways the Croatian War for Independence came to an end in Dalmatia and Slavonia, the “defender” narrative remains preeminent. As well, I discuss the division of Croatian civil society, particularly between veterans’ associations and regional minority bodies, which continues to disrupt amicable relations among the Yugoslav successor states and places Croatia in a generally undesired but unshakable space between “Europe” and the Balkans. 1 Workshop: War and Identity in the Balkans and the Middle East WORKING PAPER Table of Contents Abstract ...................................................................................................................................................................
    [Show full text]
  • Enformel - Slikarstvo I Kiparstvo U Hrvatskoj Poslijeratnoj Umjetnosti
    Enformel - slikarstvo i kiparstvo u hrvatskoj poslijeratnoj umjetnosti Babac, Ana-Emanuela Undergraduate thesis / Završni rad 2020 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Rijeka, Faculty of Humanities and Social Sciences / Sveučilište u Rijeci, Filozofski fakultet Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:186:920143 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-30 Repository / Repozitorij: Repository of the University of Rijeka, Faculty of Humanities and Social Sciences - FHSSRI Repository Sveuĉilište u Rijeci Filozofski fakultet u Rijeci Odsjek za povijest umjetnosti Studentica: Ana-Emanuela Babac ENFORMEL – SLIKARSTVO I KIPARSTVO U HRVATSKOJ POSLIJERATNOJ UMJETNOSTI Završni rad Mentorica: dr. sc. Julija Lozzi Barković red. prof. Rijeka, rujan 2020. SADRŢAJ 1. UVOD .................................................................................................................................... 1 2. POVIJESNI KONTEKST I UTJECAJ POLITIKE NA RAZVOJ UMJETNOSTI .............. 2 2.1. Neposredno poraće .......................................................................................................... 2 2.2. Pomaci poĉetkom pedesetih ............................................................................................ 4 2.3. Ograniĉena liberalizacija šezdesetih ................................................................................ 6 3. POJAVA I KARAKTERISTIKE ENFORMELA ................................................................
    [Show full text]
  • Šime Perić U Dijecezanskom Muzeju Požeške Biskupije
    ŠIME PERIĆ U DIJECEZANSKOM MUZEJU POŽEŠKE BISKUPIJE ŠIME PERIĆ U DIJECEZANSKOM MUZEJU POŽEŠKE BISKUPIJE ŠIME PERIĆ U DIJECEZANSKOM MUZEJU POŽEŠKE BISKUPIJE Slike, skulpture i crteži BIBLIOTHECA ARS SACRA POSEGANA ŠIME PERIĆ U DIJECEZANSKOM MUZEJU POŽEŠKE BISKUPIJE – Slike, skulpture i crteži Nakladnik POŽEŠKA BISKUPIJA Za nakladnika IVICA ŽULJEVIĆ Urednici BISERKA RAUTER PLANČIĆ IVICA ŽULJEVIĆ Lektura MARIO BOŠNJAK Prijevod na engleski DAMIR LATIN Fotografije GORAN VRANIĆ DOKUMENTARNE FOTOGRAFIJE IZ SLIKAROVE OSTAVŠTINE Grafičko oblikovanje i priprema TOMISLAV KOŠĆAK Tisak DENONA d.o.o., Zagreb Požega, kolovoz 2020. CIP zapis je dostupan u računalnome katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 001070730. ISBN 978-953-7647-35-3 ŠIME PERIĆ U DIJECEZANSKOM MUZEJU POŽEŠKE BISKUPIJE Slike, skulpture i crteži POŽEGA, 2020. Slika je život sâm. Šime Perić u razgovoru s Marijom Grgičević za Večernji list, 4. V. 1960. (foto Branimir Baković) KAZALO Antun Škvorčević Proslov 7 Biserka Rauter Plančić Šime Perić – život i djelo 11 Reprodukcije 25 Summary 99 Katalog 103 Samostalne i skupne izložbe 115 Nagrade i odlikovanja 129 Literatura 131 6 PROSLOV ANTUN ŠKVORČEVIĆ požeški biskup UMJETNIK ŠIME PERIĆ sa suprugom Tonkom Perić Kaliterna darovao je Požeškoj biskupiji osamdesetak svojih djela te ona u Dijecezanskom muzeju u Požegi svjedoče o njegovu doprinosu hrvatskom duhovnom identitetu dvadesetog stoljeća. Želja nam je da tiska- njem knjige Šime Perić u Dijecezanskom muzeju Požeške biskupije – Slike, skulpture i crteži te izložbom o stotoj obljetnici umjetnikova rođenja (10. ožujka 2020.) i prvoj godiš- njici smrti (14. kolovoza 2020.) upoznamo našu javnost sa spomenutim djelima, te i na taj način izrazimo duboku zahvalnost donatorima za povjerenje i velikodušnost koju su nam iskazali.
    [Show full text]
  • The Emancipatory Potential of Karaman's Concept of “Peripheral Art”
    The Emancipatory Potential of Karaman's Concept of "Peripheral Art”: Still Operative? Laris Borić University of Zadar, Croatia When viewed within its broader European context, the entire premodern Croatian architectural and artistic heritage is characterized by some atypical features. The traditional Eurocentric art-historical narrative follows regional and national paradigms, recognizing trails of political and cultural dominance that emit style and form from centers of power toward near and distant areas in what are usually seen as concentric circles. In the continental parts of Croatia those influences were mostly of a Central European nature, while on the Adriatic coastline there was a continuous flow of Italic influences. However, a cultural bipolarity developed when the long continuity of Roman civilization that extended in the eastern Adriatic communities throughout the medieval period was countered by that of the ninth- century Croatian kingdom whose cultural milieu would permeate that of the coastal Romanized towns. Such fusion of traditions, cultures, and collective experiences, which generated a peculiar genius loci at the confluence of the East and the West, later was dominated by Venice, while the Balkan hinterland was ruled by the Ottoman Empire. Early- to mid-twentieth-century art historians who adhered to fragmentary and nationally biased interpretation often saw eastern Adriatic medieval and early-modern art as a weakened provincial reflection of what was imported from Italian centers.1 Such writings were subsequently abused by pre-World War II politics as proof of a territorial claim by Italy to the whole Adriatic rim, sometimes even as an indication of Italian superiority over Slavic (Croatian and Slovenian) ethnicity or race.
    [Show full text]
  • Zagreb Winter 2016/2017
    Maps Events Restaurants Cafés Nightlife Sightseeing Shopping Hotels Zagreb Winter 2016/2017 Trešnjevka Where wild cherries once grew Go Gourmet A Croatian feast Shopping Cheat Sheet Find your unique item N°86 - complimentary copy zagreb.inyourpocket.com Festive December Contents in Ljubljana ESSENTIAL CITY G UIDES Foreword 4 Sightseeing 46 A word of welcome Snap, camera, action Arrival & Getting Around 6 Zagreb Pulse 53 We unravel the A to Z of travel City people, city trends Zagreb Basics 12 Shopping 55 All the things you need to know about Zagreb Ready for a shopping spree Trešnjevka 13 Hotels 61 A city district with buzz The true meaning of “Do not disturb” Culture & Events 16 List of Small Features Let’s fill up that social calendar of yours Advent in Zagreb 24 Foodie’s Guide 34 Go Gourmet 26 Festive Lights Switch-on Event City Centre Shopping 59 Ćevap or tofu!? Both! 25. Nov. at 17:15 / Prešernov trg Winter’s Hot Shopping List 60 Restaurants 35 Maps & Index Festive Fair Breakfast, lunch or dinner? You pick... from 25. Nov. / Breg, Cankarjevo nabrežje, Prešernov in Kongresni trg Street Register 63 Coffee & Cakes 41 Transport Map 63 What a pleasure City Centre Map 64-65 St. Nicholas Procession City Map 66 5. Dec. at 17:00 / Krekov trg, Mestni trg, Prešernov trg Nightlife 43 Bop ‘till you drop Street Theatre 16. - 20. Dec. at 19:00 / Park Zvezda Traditional Christmas Concert 24. Dec. at 17:00 / in front of the Town Hall Grandpa Frost Proccesions 26. - 30. Dec. at 17:00 / Old Town New Year’s Eve Celebrations for Children 31.
    [Show full text]
  • The Book Art in Croatia Exhibition Catalogue
    Book Art in Croatia BOOK ART IN CROATIA National and University Library in Zagreb, Zagreb, 2018 Contents Foreword / 4 Centuries of Book Art in Croatia / 5 Catalogue / 21 Foreword The National and University Library in Croatia, with the aim to present and promote the Croatian cultural heritage has prepared the exhibition Book Art in Croatia. The exhibition gives a historical view of book preparation and design in Croatia from the Middle Ages to the present day. It includes manuscript and printed books on different topics and themes, from mediaeval evangelistaries and missals to contemporary illustrated editions, print portfolios and artists’ books. Featured are the items that represent the best samples of artistic book design in Croatia with regard to their graphic design and harmonious relationship between the visual and graphic layout and content. The author of the exhibition is art historian Milan Pelc, who selected 60 items for presentation on panels. In addition to the introductory essay, the publication contains the catalogue of items with short descriptions. 4 Milan Pelc CENTURIES OF BOOK ART IN CROATIA Introduction Book art, a constituent part of written culture and Croatian cultural heritage as a whole, is ex- ceptionally rich and diverse. This essay does not pretend to describe it in its entirety. Its goal is to shed light on some (key) moments in its complex historical development and point to its most important specificities. The essay does not pertain to entire Croatian literary heritage, but only to the part created on the historical Croatian territory and created by the Croats. Namely, with regard to its origins, the Croatian literary heritage can be divided into three big groups.
    [Show full text]