egipat u sećanju srbije egypt Remembered by Serbia

MUZEJ AFRIČKE UMETNOSTI: Zbirka Vede i dr Zdravka Pečara THE MUSEUM OF AFRICAN ART: The Veda and Dr Zdravko Pečar Collection

Izdavač Tekst predgovora Publisher Foreword by Muzej afričke umetnosti: zbirka Vede i dr Zdravka Pečara Emilia Epštajn The Museum of African Art: the Veda and Dr Zdravko Pečar Collection Lektura (srpski) Za izdavača Proofreading (Serbian) As publisher Miroslava Ružić Narcisa Knežević-Šijan, v.d. direktora / Acting Director Prevod na engleski English translatioN Urednik izdanja Ivan Epštajn (prevod autorskih tekstova) Publication Editor (translation of original articles) Emilia Epštajn Branislav Mišković (prevod „Uvoda”, „Foto-arhiva Pečar” i „Hronologija”) (translation of “Foreword”, “The Pečar Photo-Archive” Recenzenti and “Chronology”) REVIEWERS Lektura (engleski) dr Vera Vasiljević Proofreading (English) dr Miroslava Lukić-Krstanović dr Ana Sladojević Aleksandra Prodanović-Bojović Nataša Njegovanović-Ristić Emilia Epštajn Aleksandar Erdeljanović Ana Sladojević Grafički dizajn Autori tekstova Graphic Design Original articles by Ivana Bunuševac Uroš Matić Milica Naumov Fotografije Aleksandra Momčilović Jovanović Photographs Narcisa Knežević-Šijan Arhivske fotografije zbirke Pečar, fotoZ dravko Pečar Aleksandar Maričić Archival photographs from the Pečar collection by Zdravko Pečar Vladimir Popović (fotografije predmeta iz Muzeja istorije Jugoslavije) HRONOLOGIJA (photographs of objects from the Museum of Yugoslav History) CHRONOLOGY V. Ilić (fotografija: „Nesmin - Beogradska mumija”) Živojin Tomić (photographs of “Nesmin - The Belgrade Mummy”) Milica Naumov Emilia Epštajn ISBN 978-86-85249-18-1 Projekat „Egipat u sećanju Srbije” je finansiralo Ministarstvo kulture i The “Serbia Remembering Egypt” project was financed by the Ministry of informisanja Republike Srbije culture and information of the Republic of Serbia

Realizacija projekta Project realization Ministarstvo kulture i informisanja Republike Srbije, Ministarstvo kulture The Ministry of Culture and Information of the Republic of Serbia, the Republike Egipat, Ambasada Republike Srbije u Kairu i Muzej afričke Ministry of Culture of the Republic of Egypt, the Embassy of the Republic of umetnosti u Beogradu Serbia in Cairo and the Museum of African Art in Belgrade

Nosilac projekta Project supervisor Muzej afričke umetnosti: zbirka Vede i dr Zdravka Pečara The Museum of African Art: the Veda and Dr Zdravko Pečar Collection

Realizaciju projekta pomogli arhivskim materijalima: The realization of the project was made possible through the archival materials of: Arhiv Jugoslavije, Arhiv jugoslovenske kinoteke, Centralni dom vojske The Archives of Yugoslavia, the Yugoslav Film Archive, the Central House of Srbije (nekadašnji Dom JNA), Istorijski arhiv Beograda, Istorijski muzej the Army of Serbia, the Historical Archive of Belgrade, Historical Museum Srbije , Jevrejski istorijski muzej u Beogradu, Kulturni centar Beograda, of Serbia, the Jewish Historical Museum in Belgrade, the Belgrade Cultural Legat Jovana Dučića u Trebinju, Muzej afričke umetnosti: Zbirka Vede i dr Centre, the Legacy of Jovan Dučić in Trebinje, the Museum of African Art: Zdravka Pečara, Muzej istorije Jugoslavije, Muzej primenjene umetnosti u the Veda and Dr Zdravko Pečar collection, the Museum of Yugoslav History, Beogradu, Narodni Muzej u Beogradu, Novine „Politika”, Paviljon „Cvijeta the Museum of Applied Art in Belgrade, the National Museum in Belgrade, Zuzorić”, Programski arhiv Televizije Beograd “Politika” newspaper, the “Cvijeta Zuzorić” Art Pavilion and the Television Belgrade Programme Archive MUZEJ AFRIČKE UMETNOSTI: Zbirka Vede i dr Zdravka Pečara

THE MUSEUM OF AFRICAN ART: The Veda and Dr Zdravko Pečar Collection

Egipat u sećanju Srbije Egypt Remembered by Serbia

Beograd • Belgrade 2011/2013

Sadržaj Contents

Zahvalnica Acknowledgements 9

PREDGOVOR FOREWORD 13

FOTO-ARHIVA PEČAR THE PEČAR PHOTO-ARCHIVE 21

SLIKE FARAONSKE PROŠLOSTI IMAGES oF A PHARAONIC PAST 29 O razvoju i stanju egiptologije u Srbiji on the Development and Current State of Egyptology in Serbia Uroš Matić Uroš Matić

POTRAGA ZA ISTOKOM IN SEARCH OF THE EAST 47 Egipat u putopisima srpskih žena Egypt in the Travel Writing of Serbian Women in the First u prvoj polovini XX veka Half of the 20th Century Milica Naumov Milica Naumov darovi titu Gifts for Tito 65 Egipat u fondu muzeja istorije Jugoslavije Egypt in the Collections of the Museum of Yugoslav History Aleksandra Momčilović Jovanović Aleksandra Momčilović Jovanović

EGIPATSKA UMETNOST EGYPTIAN ART 81 Značajne beogradske izložbe egipatske likovne i Important Belgrade Exhibitions of Fine and Applied Arts in primenjene umetnosti u drugoj polovini XX veka the Second Half of the 20th Century Narcisa Knežević-Šijan Narcisa Knežević-Šijan

DO OSLOBOĐENJA... I NAZAD TO FREEDOM... AND BACK 99 Egipatska kinematografija u okviru Nedelje ARU filma Egyptian Cinematography at the Week of UAR Film Aleksandar Maričić Aleksandar Maričić

HRONOLOGIJA CHRONOLOGY 114

BELEŠKE i LITERATURA NOTES & BIBLIOGRAPHY 122

Zahvalnica Acknowledgement

Projekat „Egipat u sećanju Srbije” je ostvaren uz veliku podršku The “Serbia Remembers Egypt” project was made possible ambasadora Dragana Bisenića (Ambasada Srbije u Kairu). Ova thanks to the great support of Ambassador Dragan Bisenić (The publikacija ne bi bila ostvarena bez saradnje i velikodušne po- Embassy of Serbia in Cairo). The publication would not have moći stručnjaka u institucijama kulture, muzejima, arhivama i been completed without the cooperation and generous help bibliotekama. Posebnu zahvalnost dugujemo: dr Veri Vasiljević, from professionals in institutions of culture, museums, archives docentu Univerziteta u Beogradu (Filozofski fakultet, Odelje­ and libraries. Special thanks goes to Vera Vasiljević, assistant nje za arheologiju), na stručnoj pomoći, savetima i recenziji. professor at the University of Belgrade (the Faculty of Philoso- Dužna zahvalnost upućuje se i ostalim recenzentima autorskih phy, Department of Archeology), for her expertise, advice and tekstova: Aleksandru Erdeljanoviću (upravniku Arhiva Jugoslo­ review. Due thanks is also extended to other reviewers of the venske kinoteke u Beogradu), dr Miroslavi Lukić-Krstanović original articles: Aleksandar Erdeljanović (Head of the Yugoslav (iz Etnografskog instituta SANU), Nataši Njegovanović-Ristić Film Archive in Belgrade), Miroslava Lukić-Krstanović, PhD, (the (kustosu i istoričaru umetnosti), dr Ani Sladojević (kustosu i Ethnographic Institute – SASA), Nataša Njegovanović-Ristić teoretičaru umetnosti). Posebnu zahvalnost dugujemo i po- (curator and art historian), Ana Sladojević, PhD, (curator and art jedincima zaposlenim u arhivama i muzejima, koji su odvojili theoretician). Special thanks also go to individuals working in svoje dragoceno vreme i olakšali rad sa njihovim arhivskim ma- archives and museums who found the time to make our work in terijalima: Slobodanu Mandiću, načelniku Odeljenja za obradu their archives easier: Slobodan Mandić, Head of the Department i sređivanje u Istorijskom arhivu Beograda, i Srđanu Rakonjcu, for Classification at the Historical Archive of Belgrade and Srđan dokumentaristi iz Odseka centralne dokumentacije Muzeja pri- Rakonjac, documentarist from the Department of Central Docu- menjene umetnosti u Beogradu. Na kraju, ova publikacija ne bi mentation, the Museum of Applied Art in Belgrade. Finally, this bila moguća bez rada, truda i posvećenosti saradnika na projek- publication would not have been possible without the work, ef- tu – antropologa: Milice Naumov i Živojina Tomića. fort and de­dication of associates on the project, anthropologists: Milica Naumov and Živojin Tomić.

9

Predgovor Foreword

Sastavljanje publikacije koja bi trebalo da The task of compiling a publication with predstavi odnose između Srbije i Egipta, the aim to depict the relations between dve kulturno i istorijski, a i geopolitički Serbia and Egypt – two both culturally and relativno udaljene zemlje, predstavljalo je historically, and at the same time geo-po- poduhvat, ali i izazov. Ideja da se osvrnemo litically relatively distant countries, pre- na sećanja i kreiranje pamćenja u dugom sented both a venture and challenge. The periodu koji je prethodio sadašnjem­ tre- idea of reconsidering our recollections nutku, bila je istovremeno opravdana i and creation of memory, in a long peri- na neočekivan način puna nedoslednosti, od of time which preceded the present anahronizama i uzbudljivih obrta usled moment, was equally justifiable and full iznenadnih otkrića. Posebnu pozadinu of unexpected inconsistencies, anachro- čitavom poduhvatu svakako je dala činje­ nisms and exciting turns caused by sudden nica da se inicijativa za sastavljanje ove discoveries. The fact that the initiative for publikacije javila negde početkom 2011. go­ compiling this monograph occurred at the dine – u godini u kojoj je pokrenuta još uvek beginning of 2011 – the year the yet unfin- neokončana egipatska revolucija. Ideja da ished Egyptian revolution started – created zajedničkim radom na publikaciji obeleži- a certain setting for the entire enterprise. mo nastavak kulturne saradnje između The original intention of marking with this dve zemlje, time je odložena. publication, the continuation of cultural Šta je uopšte „sećanje” kada su u cooperation between the two countries pitanju dve zemlje? S jedne strane, s ute­ through joint work, was thus deferred. melje­­njem u arhivskom fotografskom i What is ‘memory’ after all when it con- dokumen­­­tar­nom materijalu kao okosnici cerns two countries? On the one hand, publikacije bilo je neophodno ustanoviti i grounded upon archival photographic and ponuditi javnosti svedočanstva istorijskog other documentary materials which cre- i političkog­ povezivanja dve zemlje. U tom ated the backbone of the publication, it smislu, „sećanje” je, pre svega, upućivalo was necessary to ascertain and present to na svet kakav je bio tokom 50-ih i 60-ih go­ the public, testimonies of the historic and dina XX veka kada je tadašnji predsednik political ties between the two countries. Jugoslavije Josip Broz Tito gajio veoma In this sense, ‘memory’ primarily indicat- bliske i na uzajamnoj podršci postavljene ed the world as it used to be back in the

13 odnose sa egipatskim predsednikom 1950s and 1960s, when the then President Gamalom Abdelom Naserom. S druge of Yugoslavia Josip Broz Tito nurtured very strane, međutim, pokazalo se da je close relations, founded on mutual sup- kolektivitet, koliko god se insistiralo na port, with the Egyptian President Gamal njemu, nešto neuhvatljivo i nešto što se Abdel Nasser. On the other hand, it proved uporno kreiralo kroz iskustvo pojedinaca, that the collective, however, no matter how a njih je (kao što će čitanjem publikacije much one insists upon it, is something postati jasno) bilo dovoljno i u vremenima elusive; something created persistently koja prevazilaze odnose Srbije (u okviru through the experiences of individuals, of Jugoslavije) i Egipta (u okrilju Ujedinjene whom, as it turned out, there was a suffi- arapske republike). cient number (as will become clear after Bavljenje Egiptom, tj. odnosima Srbije reading this publication) in times surpass- i Egipta – i to na ovom primeru odsustva ing the relations of Serbia (as part of Yu- druge strane postaje izrazito jasno kroz goslavia) and Egypt (a constituent of the tekstove i tematske celine koje čine struk- United Arab Republic). turu rada – govori mnogo više o nama The adopted approach towards Egypt, samima, nego direktno o onima koje opi- i.e. the relations between Egypt and Serbia sujemo i među kojima gradimo specifičan – particularly in the case of absence of the doživljaj stvarnosti. Naše iskustvo, štaviše, other party, which becomes particularly nije ništa drugo do pokušaj da svedemo, transparent in the articles and themat- time i esencijalizujemo ono što posma- ic units which make up the structure of tramo i ono što nam se dešava. Vrlo če­ this publication – is more telling of our- sto, zapravo uvek, naše iskustvo biće pre­ selves than those we aim to describe and dvođeno nekim opštim idejama, opštim among whom we construct our specific krilaticama, opštim, ali prepoznatljivim experience of reality. Furthermore, our ex- kulturološkim stereotipima. To nije nu­ perience is nothing more than an attempt žno loše, ukoliko se prihvatimo suočavanja to reduce and thus essentialize what we sa tim iskustvom na način koji je svestan perceive and what is happening to us. Our ograničenja okvira diskursa, jer time da- experience is frequently, in fact perpetu- jemo potvrdu trenutku i našoj poziciji u ally, commanded by certain general no- njenoj prolaznosti. tions, common catchwords, universal and Prvi primer susreta Srbije i Egipta može- recognizable cultural stereotypes. This is mo prepoznati u modernizacijskim pro- not necessarily bad if we are attempting cesima s kraja XIX i početka XX veka u to face that experience in a manner which Srbiji, koji su omogućili pojedinim intele­ makes us aware of the limited framework ktualcima tadašnjeg građanstva da putuju of discourse, for in that way we legitimize i istražuju svet. Oni su odlazili na ta puto- the moment and our place in its ephemer- vanja sa svom posvećenošću „duhovnog al nature. hodočašća”, a vraćali se sa utiscima koje su The first form of the Serbian and Egyp- entuzijastično, preko javnih medija, preno- tian encounter may be recognized in the sili svojim sunarodnicima. Postavljajući se modernization processes of the end of the u okvire zapadnog razumevanja „drugog”, 19th and the beginning of the 20th centu- oni su se kroz svoje mišljenje i ponaša­ ry, which enabled certain intellectual, mid- nje vrlo često identifikovali s iskustvom dle-class individuals of the period to trav- zapadnog putnika koji je nosio nasleđe el and explore the world. They embarked (breme) kolonijalnog i imperijalističkog. upon their journeys with all the devotion Sa tih putovanja srpski putnici su neretko of a ‘spiritual pilgrimage’, overwhelmed donosili različite suvenire u formi umet- with impressions upon their return, which nina kao potvrde svog putničkog iskustva they conveyed enthusiastically to their i savremenosti duha. U tekstu Slike fara- fellow countrymen through the public

14 onske prošlosti: o razvoju i stanju egiptologije media. Positioning themselves within the u Srbiji, arheolog Uroš Matić prati razvoj framework of the western view of ‘the oth- egipatskih studija krećući upravo od prvih er’, they often identified in their opinions kolekcionarskih poduhvata, posebno se and behaviour, with the experience of the osvrćući na čin Hadži Pavla Riđičkog koji je Western traveller who bore the legacy (in omogućio da Beograd dobije svoju sopst- some cases burden) of the colonial and venu „beogradsku” mumiju. odelje­nje za imperialistic. Very often, Serbian travellers arheologiju Filozofskog fakulteta u Beo- brought back from their voyages various gradu pokazuje da su, uprkos diskontinu- souvenirs in the form of works of art as an itetima, egipatske studije kroz stručnost affirmation of their travelling experience svog kadra, uspele da utemelje ovu di­ and proof of their modern spirit. In Images sciplinu ne samo u zemlji već i u okvirima of a Pharaonic Past: On the Development and svetske naučne javnosti. Current State of Egyptology in Serbia, archae- Činjenica koja se često zanemaruje, a ologist Uroš Matić investigates the pro- koja nam postaje jasna kroz rad antro- gress of Egyptian studies, starting precise- pologa Milice Naumov, jeste da je među ly with the earliest ventures of collectors, putnicima i naprednim građanima u peri- referring in particular to the extraordinary odu pre drugog svetskog rata bilo i put- deed achieved by Pavle Riđički, who in- nica-avanturistkinja i socijalno svesnih debted Belgrade with its own first ‘Bel- građanki. Opisujući putovanja Jelene grade Mummy’. What becomes apparent Dimitrijević i Dese Dugalić tekst Potraga za in this chronicle of the Department of Ar- Istokom: Egipat u putopisima srpskih žena u chaeology at the Belgrade Faculty of Phi-

15 prvoj polovini XX veka približava stanovište losophy is that, despite sporadic disconti- da dva stanovišta nikada ne mogu biti nuities, Egyptian studies, with their expert isto­vetna. Senzibilitet i osetljivost Jelene faculty staff, successfully established the Dimitrijević za duhom mesta i prema so- discipline not only in the country, but also cijalnoj nepravdi koju vidi stoji u jakom within the global scientific community. kontrastu sa nonšalantnim, bezbrižnim A frequently neglected fact, which be- i neupitnim impresijama glumice Dese comes evident through the work of anthro- Dugalić. Njihova mišljenja i otvorenost pologist Milica Naumov, is that among the da se izlože određenim uticajima i datom voyagers and progressive citizens of the pre „duhu vremena” dovoljno se razlikuju, da WWII period, there were also female trav- možemo da se poslužimo njima kao prim- ellers and adventurers, as well as socially erima dva načina bivanja u svetu: onog aware women. Describing the journeys of pojedinca koji je izdanak i refleksija svog Jelena Dimitrijević and Desa Dugalić, In okruženja – društva, istorijskog trenutka – Search of the East: Egypt in the Travel Writing i onog koji se ne razlikuje od ovog prvog ni of Serbian Women in the First Half of the 20th po čemu drugom do po tome što postavlja Century brings us closer to the fact that two pred sebe zadatak da sagleda samoga sebe standpoints are never identical. The sensi- u datom trenutku i bude kritičar svoga vre- bility and sensitivity of Jelena Dimitrijević mena. towards the spirit of a place and to social Iz tekstova Matića i Naumove može se injustice she witnessed are sharply con- prepoznati još jedna tendencija ljudi iz trasted with the nonchalant, carefree and naših krajeva da se u potrazi za modernim taken for granted impressions of actress često brzopleto i ne promišljajući sop­ Desa Dugalić. Their reasoning and open- stvenu lociranost i svoj legitimni istorijski ness in exposing themselves to certain značaj, bez nekog utemeljenja identifi- influences and the current ‘zeitgeist’ dif- kuju sa ciljevima koje zapad, uslovljen fer sufficiently so that their opinions may svojim kulturno-istorijskim kontekstom, be used to illustrate two ways of existing sebi postavlja. Tako smo svedoci da kada in the world: one of an individual who is entuzijastično ide ka nečemu „novom”, the offspring and reflection of one’s own putni(k)ca, putopisac, „svedok vremena”, surroundings – society and the historical često ne dozvoljava sebi slobodu da kreira moment – and the another, who does not autentično iskustvo, ili makar iskustvo koje differ from the former in any other respect nije kopija nečeg „već viđenog” (iako ono to except that they set upon themselves the nikada ne može da bude) i koje bi svojom task of knowing oneself in a given moment nezavisnošću makar doprinelo jednom and thus, becoming a critic of one’s own novom saznanju. time. Zadržavajući se na značaju predmeta za The essays by Matić and Naumov reveal odnose dve zemlje, kolekcioniranje pred- other traits found among people coming meta u formi zvaničnog darivanja među from these parts. In their search for the predstavnicima država, Srbije i Egipta, modern they often identify themselves, prati logiku antropološkog koncepta „dara rather impetuously and without realizing i uzdarja” u tekstu kustoskinje Aleksandre their own standpoint or their legitimate Momčilović ­Jovanović, Darovi Titu: Egipat historical significance, with the ideas that u fondu Muzeja istorije Jugoslavije. Kao što the West sets for itself as conditioned by autorka pažlji­vo percipira, materijalizacija its cultural and historic context. Therefore, (tj. opredmećenje) međunarodnih odnosa we can testify that whenever he (or she) koja se ostvaruje u formi predmeta ma- strives enthusiastically towards something terijalne kulture kao simboličkih apstra­ ‘new’, the traveller, chronicler, ‘witness of kta naroda, otkriva brojne (ne)doslednosti his/her time’, rarely gives him or herself the koje je Pokret nesvrstanih utemeljio, ali liberty to create an authentic experience

17 i čiju je zaostavštinu (u formi predmeta, or, at least, an experience which would not ideja i institucija) i danas neophodno pre- be a replica premised on a certain ‘déjà vu’ ispitivati. (regardless of the fact that this is an impos- Sa biografije predmeta koje su razme­ sibility), and which would, at any rate, in its njivali zvaničnici, kroz tekst istoričara umet- self-reliance contribute to a generally new nosti i kustosa Narcise Knežević-Šijan,­ insight. Egipatska umetnost: Značajne beogradske The significance of objects in the official izložbe egipatske likovne i primenjene umet- relations between the two countries, i.e. nosti u drugoj polovini XX veka, ulazimo u object collecting within the context of cere- najproduktivniji period kulturnih odnosa monial gift exchange among high officials Srbije i Egipta koji se jednim delom ogle­ of two states, Serbia and Egypt, follows the dao u izložbama savremenih egipatskih logic of the anthropological concept of ‘the umetnika koje su u tom periodu bile upri­ gift’ in Gifts for Tito: Egypt in the Collections of ličene u Beogradu. Kontinuirana ideološka the Museum of Yugoslav History, the essay by pozadina jugoslovenstva od sredine 50-ih curator Aleksandra Momčilović-Jovanović. do po­četka 80-ih godina XX veka kreirala As the authoress carefully notes, objecti- je okruženje koje je imalo sluha za izvesne fication, i.e. the materialization of inter- napredne duhove tog vremena. Tako je national relations realized in the form of poznati umetnik Taha Husein bio kustos objects of material culture as symbolic ab- izložbe koja je predstavila savremene ten- stracts of the people, reveals a multitude dencije u egipatskoj umetnosti. Mogu­ of (in)consistencies that the Non-Aligned ćnost Beograđana da se u kontinuitetu Movement established and whose legacy izlažu izrazima savremene likovne ume­ (in the form of objects, ideas or institu- tnosti prevazilazi svoje okvire i vreme jer se tions) requires continual reassessment. nastavlja i danas. Želja i otvorenost da se Departing from the biography of ob- prate egipatska filmska ostvarenja­ o koji- jects exchanged by statesmen, with the ma piše filmski režiser Aleksandar Maričić article by curator Narcisa Knežević-Šijan u tekstu Do oslobođenja...­ i nazad, upravo – Egyptian Art: Important Belgrade Exhibi- potvrđuju spremnost sredine da se izloži i tions of Fine and Applied Arts in the Second primi ono najbolje što jedna međunaro­ Half of the 20th Century, we enter the most dna kulturna saradnja ima da ponudi. productive period of cultural relations be- Danas, kada smo i dalje svedoci teškoća tween Serbia and Egypt, which are in part u kojima se nalazi egipatski narod, javlja reflected by exhibitions of contemporary se mogućnost za izražavanjem i potvrdom Egyptian artists that were held during that solidarnosti jer su političke turbulencije, period in Belgrade. The uninterrupted Yu- čini se ipak, neminovno pravilo istorije, a goslav identity from the mid-1950s up to ne izuzetne okolnosti koje nas stihi­j­s­ki i pe- the beginning of the 80s formed a firm riodično preplavljuju. Publikacija, u obli­ku backdrop that created an ambiance open u kojem se nudi čitaocu, na neki način su­ to certain progressive tendencies of the mira i odslikava odnos dve ze­mlje. Odno- time. Such an instance made it possible si Srbije i Egipta su istovremeno istorijski for the famous artist Taha Husein to curate utemeljeni i bliski, ali često osujećeni mo- the exhibition presenting modern trends gućnosti da u dužem vremenskom­ konti­ ­ in the Egyptian art. The opportunity for nuitetu temeljnije razviju parametre po the citizens of Belgrade to be persistently kojima bi se povezivali i doprinosili među- exposed to expressions of contemporary sobnom sazrevanju. Egyptian art transcends this framework Ova publikacija se, pre svega, razvila and epoch, for it continues even today. na ideji povezivanja materijalnog ostatka The desire and openness towards Egyp- „sećanja” u formi fotografije i njegovog tian cinema, as reviewed by film director sagledavanja davanjem komentara (kroz Aleksandar Maričić in his essay To Freedom

18 autorske tekstove). Imajući, dakle, u vidu ... and Back, confirms the willingness of the diskontinuitet odnosa Srbije i Egipta, ali i community to be exposed and to receive veru u potencijal pojedinca da deluje u svetu, the best of what is offered from beyond publikacija je prožeta fotografijama koje the local environment. je u Egiptu napravio osnivač Muzeja afričke Today, when we are witnessing the trou- umetnosti u Beogradu – Zdravko Pečar 50-ih bles of the Egyptian peoples, an oppor- godina prošlog veka. Tim postupkom se tunity arises to express and confirm our ne daje samo omaž osnivaču Muzeja, kao solidarity, since political turbulences seem nekom ko je bio svestan značaja bivanja to be an inevitable historical axiom, not istovremeno učesnikom i posmatračem some periodical exceptional circumstance svog vremena, već se podseća na obavezu that unexpectedly engulfs us. The publica- institucije poput muzeja da čuvanjem i tion presented to readers in this form in a zaštitom od zaborava omogućava kontinu- way summarizes and reflects the relations itet unutar svojih okvira. Shvaćeni bilo kao between the two countries. The relations idejni ili fizički prostor Muzeja, ovi okviri between Serbia and Egypt are at the same iščekuju inicijativu pojedinaca, istraživača. time historically founded and close, but on the other hand they are often thwarted Emilia Epštajn and deprived in longer periods of time of Muzej afričke umetnosti u Beogradu the possibility to fundamentally develop parameters for connecting and, through the process, of contributing to their mutu- al maturation. This publication was primarily devel- oped on the idea of connecting the mate- rial remnants of ‘memories’ in the shape of photographs, with their assessment through commentaries (i.e. original es- says). Thus bearing in mind the discontinui- ty of relations between Serbia and Egypt, but also trusting the potential of the individual to act in the world, the whole publication is complemented with photographs tak- en in Egypt in the 1950’s by Zdravko Pečar, founder of the Museum of African Art in Belgrade. The proposed manner does not only pay homage to the Museum’s forefa- ther as a person aware of the implications of being both an observer and actor in time, but it is also a way to recall the given promise and obligation of the museum as institution to facilitate continuity within its framework, through the act of constant preservation and safeguarding against oblivion. The museum framework in ques- tion is actual space – space as ideation and physicality, which relies on and awaits the initiative of the individual, researcher.

Emilia Epštajn The Museum of African Art in Belgrade

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Muzej afričke umetnosti The Museum of African Art FOTO-ARHIVA THE PEČAR PEČAR PHOTO ARCHIVE

Muzej afričke umetnosti već više od 35 go­ The Museum of African Art has maintained dina održava i unapređuje odnose sa afri­ and continued to further its relations with čkim državama. Razvijajući se u okvirima African countries for more than 35 years kulturno-političke ideje Pokreta nesvrsta­ now. As it developed in the framework of nih, Muzej je u izrazito promenjenim so- the cultural and political idea of the Non- ciopolitičkim okolnostima nastavio da Aligned Movement, and despite strikingly baštini saradnju sa jednom od država sa changed socio-political circumstances, the kojom je u određenom trenutku imao ve- Museum has sustained the legacy of co- oma bliske odnose – Egiptom. operating with one of the countries with Muzej afričke umetnosti u Beogradu which at a certain point it had extremely predstavlja jedan od potencijalnih okvira close relations – Egypt. za razmatranje egipatske umetnosti i ku­ The Museum of African Art in Belgrade lture, odnosno percepcije i reprezentacije presents a potential framework when con- egipatske kulture kod nas. U tom smislu sidering Egyptian art and culture, that is, posebno treba istaći foto-arhivu Pečar, for the perception and representation of koja je između ostalog sačinjena od serije Egyptian culture in our country. We should fotografija koje je tokom svojih putovanja emphasize in this respect the Pečar Photo po Egiptu snimio osnivač Muzeja afričke Archive. It consists of, among other docu- umetnosti u Beogradu – dr Zdravko Pečar. ments, a series of photographs taken while Zdravko Pečar bio je dopisnik iz Egipta travelling around Egypt, by ​​the founder između 1952. i 1956. godine i kroz njegove of the Museum of African Art – ­Dr. Zdra- fotografije, ali i tekstove koji su deo- ar vko Pečar, who was a correspondent from hive porodice Pečar, on pored aktuelnih Egypt between 1952 and 1956. Through his

21 22 23 političkih zbivanja o kojima izveštava, photographs, but also in his texts now part prenosi i utiske o okruženju i ljudima sa of the Pečar Family archive, he reported kojima stupa u kontakt. Neke od tema koje not only on current events in politics, but u tom periodu interesuju autora prepo­ he also conveyed his impressions of the znaju se u naslovima njegovih reportaža, surrounding milieu and of the people with tekstova i izveštaja: „Poslednji dani nubi­ whom he communicated. Certain topics j­skih sela na obalama Nila”, „Zaobilaznim the author was interested in at that time putem u Egipat”, „Ceo Egipat je uz Nasera”, can be recognized by the titles of covered „Buduću put revolucije”, itd. Važan je i po- events, texts and reports: “The Last Days of datak da je Zdravko Pečar zajedno sa, ta- Nubian Villages on the Banks of the Nile”, kođe osnivačem Muzeja, Vedom Zagorac “The Roundabout Route to Egypt”, “All of autor knjiga „Republikanski Egipat”(Beo- Egypt Backs Nasser”, “The Future Road grad: Politička biblioteka, 1955) i „Egipat: for the Revolution”, and so on. It is impor- zemlja, narod, revolucija” (Beograd: Kultu- tant to note that Zdravko Pečar, together ra, 1958), kao i da je sam potpisao značaj­ with the Museum’s co-founder Veda Zag- nu publikaciju „Buđenje Arapa” (Sarajevo: orac, is the author of “Republican Egypt” Narodna prosvjeta, 1958). (Beograd: Politička biblioteka /Political U okviru projekta „Egipat u sećanju Library/, 1955), and “Egypt: Land, People, Srbije” digitalizovano je i time zaštićeno Revolution” (Beograd: Kultura /Culture/, 66 filmova (negativa) sa fotografijama iz 1958), and he also authored independently Egipta, kao i više desetina jedinica materi- a significant work “The Awakening of the jala od dokumentarnog značaja. Arabs” (Sarajevo: Narodna prosvjeta /Na- tional Education/, 1958). There were 66 films (negatives) with photographs taken in Egypt, as well as sev- eral dozen documentary items digitalized and thus protected as part of the “Egypt Remembered by Serbia” Project.

24

Slike faraonske prošlosti O razvoju i stanju egiptologije u Srbiji

Images of a Pharaonic Past On the Development and Current State of Egyptology in Serbia

Uroš Matić, doktorant Uroš Matić, PhD candidate Vestfalijski Vilhelmov Univerzitet u Minsteru, Nemačka Westfälische Wilhelms-Universität Münster Institut za egiptologiju i koptologiju Institute for Egyptology and Coptology

Uvod Introduction Dešifrovanje egipatskog hijeroglifskog The decipherment of Egyptian hieroglyph- pisma 1822. godine u radu Žana Fransoa ic writing by Jean-François Champollion in Šampoliona najčešće se uzima za ključan 1822 is most often considered to be the key momenat i prekretnicu u evropskom pro- moment and turning point in European re- mišljanju starog Egipta, odnosno smatra flections on Ancient Egypt. In other words, se početkom egiptologije kao naučne di- this is taken as the beginning of Egyptol- scipline. Ovo između ostalog dobro ilu- ogy as a discipline. Among other things, struje i ključne istraživačke metode, pravce this is a good illustration of the most im- i teme u egiptologiji, neminovno skopčane portant research methods, directions and sa lingvističkom osnovom egiptološkog themes in Egyptology, which are inevitably istraživanja u XIX veku, a donekle i danas. linked with the linguistic basis of research Materijalna kultura bila je, a do danas u within this discipline in the 19th century, određenoj meri i ostala, sekundarna oblast and to a certain extent, today as well. Ma- istraživanja u egiptologiji (Hassan 2010, terial culture was, and has partly remained 266; Jeffreys 2003, 5–6; Васиљевић 1992, to this day, a secondary field of research 159). Nastanak i razvoj egiptologije uko- in Egyptology (Hassan 2010, 266; Jeffreys renjen je u imperijalizmu i kolonijalizmu 2003, 5–6; Васиљевић 1992, 159). zapadnoevropskih sila krajem XIX i počet- The establishment and development

29 kom XX veka. Posedovanje egipatskih sta- of Egyptology is rooted in Western-Eu- rina za kolonijalne sile značilo je kulturnu ropean imperialism and colonialism of hegemoniju, a Francuska i Velika Britani- the end of the 19th and beginning of the ja preuzele su na sebe ulogu naslednika 20th century. Owning Egyptian antiquities rimskog carstva (Hassan 2010, 265; Reid meant cultural hegemony for the colonial 2002, 142). Stari Egipat je na neki način powers, and France and Great Britain took kroz genezu egiptologije kao discipline upon themselves the role of successors otrgnut od Egipta savremenog Francuskoj of the Roman Empire (Hassan 2010, 265; i Velikoj Britaniji, što možda najbolje ilu- Reid 2002, 142). Through the genealogy of struje naslovna strana monumentalnog Egyptology as a discipline, Ancient Egypt dela Description de l’Égypte objavljivanog u was in a way cut off from Egypt contem- više tomova od 1809. do ­1829. godine.­ Na porary to France and Great Britain, which ovoj stranici predstavljena slika, uokvire- may be best illustrated by the cover page na bogato dekorisanim ramom, vodi po- of the monumental work Description de smatrača u nostalgični pejzaž doline Nila l’Égypte published in several volumes be- od Aleksandrije do Asuana sa potpunim tween 1809 and 1829. The cover shows an odsustvom islamskih spomenika i savre- illustration, with a richly decorated frame, menog stanovništva. Na vrhu rama nagi that leads the observer into the nostalgic Napoleon, predstavljen kao Apolon ili landscape of the Nile valley, from Alexan- Aleksandar u dvokolici, baca koplje na dria to Aswan, with the complete absence poražene Mameluke (Reid 2002, 2–3). of Islamic monuments and contemporary Ova slika kao da je najavila kasniju disci- inhabitants. At the top of the frame, a na- plinarnu viziju egiptologije kao discipline ked Napoleon, represented as Apollo or Al- koju baštini zapad, sa retkim egipatskim exander in a chariot, is throwing a spear on arheolozima početkom XX veka, kako je the defeated Mamluks (Reid 2002, 2–3). It stari Egipat diskurzivno odsečen od isla­ is as if this illustration heralded the later vi- mskog Egipta, a egiptologija obično defi- sion of Egyptology as a discipline fostered nisana kao izučavanje društva u dolini Nila by the west, with the rare occurrence of the od 3000 godina pre n. e. do dolaska Alek- Egyptian archaeologist at the beginning sandra (Jeffreys 2003, 4). Ovakva geneza of the 20th century, as Ancient Egypt was egiptologije kao discipline preispitana je discursively cut off from Islamic Egypt and u okviru struke u poslednjih dvadeset, ali Egyptology usually defined as the study izrazito u poslednjih deset godina (Reid of society in the Nile valley from the year 2002). Osvajajući Egipat, kako kao prostor 3000 B.C. until the arrival of Alexander i ljude, tako i kao pejzaž starina, moderne (Jeffreys 2003, 4). Such a genesis of Egyp- evropske sile nameravale su da ga vrate tology as a discipline has been the topic nekadašnjoj klasičnoj veličini, ostvarenoj of research within the field in the past navodno samo zahvaljujući kontaktima sa twenty, and particularly the last ten years evropskom prošlošću (Said 2008, 116–117). (Reid 2002). In conquering Egypt, both the Srbija krajem XIX veka nije bila među space and people, as well as the landscape evropskim državama koje bi se mogle of antiquities, modern European powers smestiti u domen imperijalnog i koloni- intended to bring it back to its former clas- jalnog. Štaviše, Srbija se u vreme prvih sical grandeur achieved, apparently, only početaka uspostavljanja egiptologije, kao thanks to its contact with European past akademske discipline u Zapadnoj Evro- (Said 2008, 116–117). pi, upravo oslobodila imperijalne vlasti It was not possible to place Serbia, at Osmanskog carstva. Država je naporno ra- the end of the 19th century, among those dila na konstruisanju svog novog, građan- countries which were included within skog i evropskog identiteta, odnosno na- the sphere of the imperial and colonial. cionalni identitet građen je na ruševina- Moreover, Serbia at the time of the first

30 ma Osmanske imperije. Takođe, uslovi u founding of Egyptology as an academ- kojima su proučavane starine u XIX veku u ic discipline in Western Europe, had just Srbiji bili su sasvim drugačiji od onih u ta- freed itself from the imperial control of the dašnjem Egiptu. Naime, razvoj arheologije Ottoman Empire. The country laboured to u Srbiji bio je ukorenjen u klasične studije, construe a new, civil and European identi- pošto su prvi akademski arheolozi u Srbiji ty, that is, a national identity built on the obrazovani na klasičnim studijama ne- remnants of the Ottoman Empire. In ad- mačkih univerziteta. Ujedno su i teorijske dition, the conditions in which antiquities osnove početaka arheologije u Srbiji bile were studied in 19th century Serbia were ukore­njene u kulturno-istorijskoj paradi­ completely different to those in Egypt of gmi (Babić 2002, 311–312; Babić 2006, 657). the time. Namely, the development of ar- U tom smislu je zanimljivo ali svakako na chaeology in Serbia was rooted in classical interpretativnom planu i provokativno pi- studies, because the first academic archae- tanje: Da li je upravo ovo jedan od razloga ologists in Serbia were educated in the opšte rane nezainteresovanosti za arheolo- field of classical studies in German-based giju Bliskog istoka, odnosno za sporadično universities. At the same time, the theoret- interesovanje za bliskoistočne starine ali ical foundations of the beginnings of ar- i Orijent uopšte? Treba naglasiti da se pre chaeology in Serbia were embedded in the Nikole Vulića i Dušana Glumca niko nije cultural-historical paradigm (Babić 2002, naučno interesovao za stari Egipat u Srbiji, 311–312; Babić 2006, 657). In such a sense mada ni ovi autori nisu bili egiptolozi. Stari an interesting question, though on the lev- Egipat je krajem XIX i u prvim decenijama el of interpretation also provocative, might XX veka u Srbiji bio predmet interesovanja be: Is precisely this one of the reasons for pre svega putnika i starinara. the relative, overall disinterest for Near East Archaeology in these early times, that is, for the sporadic interest in Near Eastern Starinari, državnici i antiquities, as well as the Orient in gener- al? It is necessary to emphasise that before „Ušabti” figurina egiptomanija u Srbiji Nikola Vulić and Dušan Glumac, no one Prvo interesovanje za egipatske starine u Krečnjak, dimenzije 14 x 4 cm, inv.br. 365, Legat Hinka showed interest for ancient Egypt in Ser- Lederera, Jevrejski istorijski muzej u Beogradu. Srbiji izrazili su istaknuti građani koji su bia, even though these authors were not na svojim putovanjima u Egiptu kupovali Hinko Lederer, rođen 1886. godine, bio je član Jevrej­ Egyptologists. Ancient Egypt at the end of ske zajednice i veliki kolekcionar umetnina. Veliki starine i potom ih darivali muzejima. Kako deo njegove kolekcije je nestao u II svetskom ratu. the 19th and beginning of the 20th century Nakon Holokausta nastavio je sa prikupljanjem i je već ranije istaknuto, egipatske starine u in Serbia, was primarily of interest to trav- Jevrejskom muzeju je poklonio brojne predmete ju­ Srbiji su odraz romantičarsko-prosvetitelj- daike, a takođe i figurinu „Ušabti” iz Egipta (vreme i ellers and antiquarians. mesto nepoznato). skog duha vremena završnih decenija XIX veka (Anđelković 2007, 227). Zbirka staro- egipatskih eksponata Gradskog muzeja u “Ushabti” figurine Antiquarians, Statesmen and Vršcu tako je na dar dobila predmete koje Limestone, dimensions: 14 x 4 cm, Inv.No. 365, Legacy Egyptomania in Serbia of Hinko Lederer, The Jewish Historical Museum in su na svojim putovanjima u Egiptu kupi- Belgrade. li štampar i izdavač Viljem Vetl, vršački The first interest in Egyptian antiquities

Hinko Lederer, born in 1886, was a member of the građanin Mikša Adler, koji je darovao in Serbia was expressed by prominent Jewish community and a great art collector. A large predmete koje je sa putovanja po Egiptu citizens who bought antiques on their part of his collection was lost during World War II. After the Holocaust he continued collecting and doneo njegov brat Jožef Adler 1869. go­­ travels in Egypt and then donated them donated to the Jewish Museum a number of Judaic dine, istaknuti srpski slikar Paja Jovanović items, as well as the “Ushabti” from Egypt (prove­ to museums in Serbia. As already men- nance unknown). 1887. godine1, ali i antikvar Leonard Bem tioned, Egyptian antiquities in Serbia are (Anđelković i Panić-Štorh 2002, 9–11). a reflection of the spirit of Romanticism Gradski muzej u Somboru je staroegi- and Enlightenment of the times, in the last patske predmete na dar dobio od Jovana decades of the 19th century (Anđelković Fermbaha 1899. godine posle njegovih pu- 2007, 227). The collection of Ancient Egyp- tovanja po Egiptu (Anđelković 2002b, 47). tian exhibits at the City Museum in Vršac,

31 Međutim, nema mnogo sačuvanih infor- thus, received as gifts, objects which were macija o putovanjima pomenutih daroda- bought by printer and publisher Vilmos vaca, naročito kada je u pitanju kupovina Wettl, Vršac citizen Miksa Adler who be- starina. U tom smislu najviše informacija queathed objects which were acquired sačuvano je o putovanjima istaknutog by his brother Joseph Adler on his trip to advokata i člana Matice srpske Hadži Pavla Egypt in 1869, the renowned Serbian paint- Riđičkog, plemenitog Skribešćanskog, ro­­ er Paja Jovanović in 18871, as well as the đe­nog 1804. godine u Mokrinu. Svoja pu- antiquarian Leonhard Böhm (Anđelković tovanja Hadži Pavle Riđički je započeo i Panić-Štorh 2002, 9–11). The City Muse- između 1885. i 1888. godine kada je imao um in Sombor received Ancient Egyptian između 81 i 83 godine. Na put je krenuo iz objects from Jovan Fernbach in 1899 after Budimpešte, da bi iz Napulja u Egipat pu- his travels across Egypt (Anđelković 2002b, tovao parobrodom „Austral”, koji je pristao 47). However, there is insufficient infor- u Port Saidu i nastavio dalje ka Suecu, oda- mation about the journeys of the above kle je železnicom stigao do Kaira. Obišao je mentioned benefactors, especially with Egipatski muzej2, piramide i sfingu u Gizi, reference to buying antiquities. In such džamije i koptske crkve Kaira, bazar Kan a sense most of the information that has el Kalili, a zatim nastavio Nilom i obišao been preserved is about the travels of em- Džoserovu piramidu, Tijevu mastabu i inent lawyer and member of the Matica Serapeum. U opisima sa svojih putovanja Srpska, Hadži Pavle Riđički, nobleman of pominje i rad istaknutog egiptologa Ogi- Skribešće, born in 1804 in Mokrin. Hadži sta Marijeta (1821–1881) (Anđelković 1995, Pavle Riđički started travelling between 329–333). Zatim je obišao Beni Hasan i 1885 and 1888 when he was between 81 grobnice u steni, Amarnu, Denderu, Kar- and 83 years old. He set off on his journey nak, Luksor, Ramaseum i Memnonove ko- from Budapest, boarded the Austral ship lose, Esnu, Edfu, Kom Ombo, Gebel el-Sil- to Egypt in Naples, disembarked in Port silu, Elefantinu, Asuan i File, kao najjužniju Said and continued further towards the tačku svog putovanja (Anđelković 1995, Suez, travelling to Cairo by rail. He visited 334–336). Hadži Pavle Riđički je u februaru the Egyptian Museum2, the pyramids and 1888. godine u Luksoru3 kupio mumiju sa The Sphinx in Giza, mosques and the Cop- namerom da je pokloni Narodnom muze- tic churches of Cairo, the bazaar in Khan ju u Beogradu. Mumija je u julu 1888. godi- el-Khalili, continuing down the Nile and ne preko Mediterana, Crnog mora i Duna- stopped at Djoser’s Pyramid, the Mastaba va stigla u Beograd, a u avgustu 1888. go- of Ti and the Serapeum. In the descriptions dine je i izložena (Anđelković and Harker of his travels he mentions also the work of 2011, 718). Riđički je u pismu Narodnom renowned Egyptologist Auguste ­Mari­ette muzeju istakao da je mumiju kupio „ne za (1821–1881) (Anđelković 1995, 329–333). He sebe, nego za srpski narod, kojemu mislim then went to see Beni Hassan and the cliff da će biti najpovoljnije, i za stvar najsigur- tombs Amarna, Dendera, Karnak, Luxor, nije ako istu mumiju predam na sahranu Ramaseum and the Colossi of Memnon, Beogradskog muzeja” (Anđelković 1995, Esna, Edfu, Kom Ombo, Gebel el-Silsila, 340). U to vreme upravnik muzeja bio je Elephantine, Aswan and File, as the south- Mihailo Valtrović, jedan od rodonačelnika ernmost point of his travels (Anđelković arheologije u Srbiji, a na pismo Riđičkog 1995, 334–336). In February 18883, Hadži odgovorio je: „Izvoleli ste Srpskom narod- Pavle Riđički bought a mummy in Lux- nom muzeju (...) poslati na dar dragocenu or intending to give it as a gift to the Na- starinu, misirsku mumiju (...) da je narod tional Museum in Belgrade. In July 1888, srpski gledi i njome stvarno se pouči o jed- across the Mediterranean, Black Sea and nom naročitom običaju starih Misiraca...” the Danube, it arrived in Belgrade, and in (Anđelković 2002a, 211). August 1888, it was exhibited (Anđelković

32 „Beogradska mumija” koju je Hadži Pavle Riđički kupio u Luksoru u februaru 1888. godine.

Inv.br. 13/IV, Narodni muzej u Beogradu, (Fotografija: V. Ilić)

“The Belgrade Mummy” purchased by Hadži Pavle Riđički in Luxor in February 1888.

Inv.No. 13/IV, The National Museum in Belgrade, (Photograph by V. Ilić)

„Beogradska mumija” (detalj)

Inv.br. 13/IV, Narodni muzej u Beogradu, (Fotografija: V. Ilić)

“The Belgrade Mummy” (detail)

Inv.No. 13/IV, The National Museum in Belgrade, (Photograph by V. Ilić)

33 Darivanja su nastavljena tako da je Na- and Harker 2011: 718). In his letter to the rodni muzej u Beogradu 1895. godine na National Museum Riđički claimed that he poklon od Jov. Šoraka s Rijeke preko Dra. bought the mummy “not for himself, but Jov. Jovanovića dobio dva skarabeja, ruku for the Serbian people, for whom I think it mumije i fragment papirusa, ali se ovim will be most appropriate and safest, if I of- nalazima u muzeju izgubio trag (Anđelko- fer the afore mentioned mummy for bur- vić 2002a, 212). Ernest Brumer je 1923. go­ ial in the Belgrade museum” (Anđelković dine Narodnom muzeju darovao dva kov­ 1995, 340). The director of the museum at čega poreklom iz Akhmima kupljena na the time was Mihailo Valtrović, one of the aukciji u Londonu 1921. godine, od kojih je founding fathers of archaeology in Serbia, danas ostao samo jedan, odnosno kovčeg and he replied to Riđički’s letter with the Nefer-renepet, igračice boga Mina, prema following: “You were kind enough to send novim rezultatima datovan u polovinu the Serbian national museum (...) as gift, četvrtog veka p.n.e, odnosno 30. dinasti- a valuable antiquity, a Misr mummy (...) ju. Drugi kovčeg pripadao je Ariju, sinu to be observed by the Serbian people and ­Unnefera, a darovan je Narodnom muzeju for them to be truly enlightened about a iste 1923. godine kada i kovčeg Nefer-re- particular custom of the ancient Misr peo- nepet. Ovom drugom kovčegu je do da- ple...” (Anđelković, 2002a: 211). nas izgubljen trag (Anđelković 2002a, 212; The gift donations continued and in Anđelković and Elias 2013). Treba pomenu- 1895 the National Museum in Belgrade ti i interesovanja za Egipat poznatog beo- received from J. Šorak of Rijeka via D. J. gradskog putopisca Milorada Rajčevića jer Jovanović two scarabs, a mummy limb su njegovi utisci i iskustva na putovanju and papyri fragments, however the mu- kroz Egipat 1921. godine značajan uvid u seum has lost record of these findings sliku kako starog tako i njemu savremenog (Anđelković 2002a: 212). In 1923 Ernest Egipta među srpskom građanskom klasom Brummer gave the National museum two druge decenije XX veka (Rajčević 1924). coffins originating from Akhmim, bought Egipatski i jugoslovenski državni zvaničnici­ ­ at an auction in London in 1921, of which only one remained to this day, that is, the coffin of Nefer-renepet, the dancer of the god Min, which has recently been dated to the half of the fourth century BC, i.e. the XXX dynasty. The second coffin belonged to Ari the son of Un-Nefer, and it was giv- en to the National museum the same year as the Nefer-renepet coffin, in 1923. All traces of this second coffin have been lost (Anđelković 2002a, 212; Anđelković and Elias 2013). It is worth mentioning the interest for Egypt shown by famous Bel- grade traveller Milorad Rajčević, because his impressions and experiences from his Egyptian travels in 1921, offer important in- Uspomene iz Egipta: Svetski putnik Milorad Rajčević sight into the perceptions of both ancient pozira ispred Velike Sfinge u Gizi. Egypt and its contemporary counterpart, (Iz njegovog putopisa: „Iz žarke Afrike”, Beograd 1924.) among Serbian middleclass intellectuals in the 1920s (Rajčević 1924). Egyptian and Memories from Egypt: World traveller Milorad Rajčević Yugoslav state officials during the 1960s posing in front of the Great Sphinx of Giza. and 1970s exchanged gifts, and therefore, (From his travel book: “From the Heat of Africa”, three alabaster vessels found upon archae- ­Belgrade, 1924)

34

su tokom 60-ih i 70-ih godina XX veka ra- ological digs of Djoser’s pyramid in Saqqa- zmenjivali poklone, pa su tako i tri alaba- ra, as well as a bronze statue of Osiris from sterne posude, pronađene prilikom isko- the Late Period which were given as gifts to pavanja Džoserove piramide u Sakari, kao i Josip Broz Tito (Anđelković 2002b, 42–43). bronzana statua Ozirisa iz Poznog perioda Under the UNESCO project for the res- stigli kao dar Josipu Brozu Titu (Anđelković cue of Nubian monuments during the 2002b, 42–43). construction of the Aswan dam, Yugoslav U okviru UNESCO projekta za spašavan- experts were also engaged. Yugoslav ex- je nubijskih spomenika prilikom izgrad- perts conducted a survey of the Temple nje asuanske brane bili su angažovani i of Ramses II from the Gerf Hussein site jugoslovenski stručnjaci. Jugoslovenski and the Egyptian government, as part of stručnjaci su rekognoscirali hram Ramze- the “Nubian Salvage Project” in the 1960s, sa II sa lokaliteta Gerf Husein, a egipatska hired a team of Yugoslav experts to move vlada je u okviru projekta „Nubian Salvage the Horemhab Temple from the Abahuda Project“ 1960ih unajmila tim jugosloven- site to the archaeological open-air park skih stručnjaka da premeste Horemhabov near Aswan. Unfortunately the local Nubi- hram sa lokaliteta Abahuda u arheološki an limestone due to its softness and insta- park na otvorenom u blizini Asuana. Na bility prevented the successful completion žalost lokalni nubijski krečnjak je zbog of the mission; therefore the preserved svoje mekoće i nestabilnosti sprečio pot- fragments may be seen today in the new pun uspeh misije, te se sačuvani fragmenti space of the Nubian Museum in Aswan. danas mogu videti u novom Nubijskom The Yugoslav expedition participated in muzeju u Asuanu. Jugoslovenska ekspe- the transfer, conservation and preserva- dicija učestvovala je u prenosu, konzerva- tion of the temple and church frescoes ciji i zaštiti fresaka iz hramova i crkava sa from different sites (Wadi es Sebua; Abu više lokaliteta (Vadi es Sebua; Abu Oda; Oda; Sheikh Abd el Gadir; Abdalah Nirki). Šeik abd el Gadir; Abdalah Nirki). Ove fre- These frescoes may be found today in the ske danas se nalaze u Egipatskom muzeju Egyptian Museum in Cairo, as well as the u Kairu kao i Koptskom muzeju u Kairu. Coptic Museum in Cairo. The Christian Hrišćanske freske spašene su posredstvom frescoes from the Abahuda site were also jugoslovenskih eksperata i sa lokaliteta saved due to the mediation of Yugoslav Abahuda (Emery 1965, 100; Larson 2006, experts (Emery 1965, 100; Larson 2006, 19; 19; Medić 1980, 45; Usick 1998, 150). Medić 1980, 45; Usick 1998, 150). Nažalost, egipatske starine u Srbiji go- Unfortunately, Egyptian antiquities in tovo da uopšte nisu dostupne javnosti. Serbia are almost completely inaccessible Naime, egipatska zbirka Gradskog muze- to the public. Namely, the last time that ja u Vršcu poslednji put bila je izložena u the Egyptian collection of the City Muse- Velikoj dvorani pre Drugog svetskog rata um in Vršac was exhibited in the Great Hall (Anđelković i Panić-Štorh 2002, 11), a iako occurred before the Second World War postoji katalog ovih nalaza, na web-strani (Anđelković i Panić-Štorh 2002, 11), and muzeja nema pomena o njima, a ista situ- even though there is a catalogue of these acija, ali bez kataloga, je i sa Gradskim mu- findings, there is no information about zejem u Somboru. Prelaskom Narodnog them on the museum’s web-page and the muzeja u Beogradu u zgradu nekadašnje same situation, however without an exist- Uprave fondova i Hipotekarne banke, gde se ing catalogue, can be observed at the City i danas nalazi, u novoj postavci su 1952. go­ Museum of Sombor. With the move of the dine bili izloženi i egipatski nalazi, ali je National Museum into the buildings of the 1962. za vreme Lazara Trifunovića egipat- State Treasury and Mortgage Bank, where ska zbirka skinuta sa postavke i uklo­njena it stands today, the new display from u depo (Anđelković 2002a, 212–213). U 1952 exhibited Egyptian findings, howev-

37 srpskoj nauci je već predloženo da se na- er in 1962 at the time of Lazar Trifunović lazi iz različitih muzejskih zbirki (Narodni the Egyptian collection was taken down muzej u Beogradu, Muzej istorije Jugosla- and placed in the Museum storage space vije, Jevrejski istorijski muzej, Gradski (Anđelković 2002a, 212–213). There have muzej u Vršcu, Gradski muzej u Somboru) already been proposals within the serbian objedine u jednu muzejsku zbirku i da se scientific community to gather findings njima pristupi u skladu sa savremenim from different museum collections (the muzeološkim tendencijama (Anđelković National Museum in Belgrade, Museum of 2002b). Yugoslav History, Jewish historical Muse- um, City Museum in Vršac, City Museum in Sombor) into one museum collection and Jedna disciplina na dve katedre to approach them in accordance with cur- Nastava iz arheologije Bliskog istoka, a u rent museological tendencies (Anđelković okviru nje arheologije starog Egipta, javi- 2002b). la se u Srbiji relativno kasno u odnosu na osnivanje katedre za arheologiju uopšte. One Discipline within Two Prvi je „misirsku istoriju” predavao Nikola Vulić, istoričar, klasični filolog i arheolog, Departments još 1898/1899. godine na Velikoj školi u Lectures in Near East archaeology, and Beogradu u okviru Opšte istorije starog within it the archaeology of Ancient Egypt, veka4. Na katedri za arheologiju Filozo- appeared relatively late in Serbia in com- fskog fakulteta u Beogradu prvi predavač parison to the founding of the department u ovoj oblasti bio je Dušan Glumac, koji of archaeology in general. The first to hold je 1955–1956. godine sa Bogoslovskog fa- lectures in “Misr history” was Nikola Vulić kulteta prešao na Filozofski fakultet i svo- historian, classical philologist and archae- ja predavanja otpočeo u okviru klasične ologist, as early as 1898/1899 at the Higher arheologije. Glumac je doktorirao u Lajpci- School in Belgrade, as part of the General gu 1925. godine, a od 1926. do 1955. godine History of Antiquity4. The first lecturer in predavao je starojevrejski jezik i biblijsku this field, at the department of archaeolo- istoriju i arheologiju na Bogoslovskom gy of the Faculty of Philosophy, was Dušan fakultetu Srpske pravoslavne crkve. Orga- Glumac, who transferred in 1955-1956 from nizator ovog prelaza bio je Branko Gavela, the Faculty of Theology to the Faculty of profesor na katedri za praistorijsku arhe- Philosophy and started his lectures within ologiju, a nastojanje da se uvede arheolo- the field of classical archaeology. Glumac gija Bliskog istoka podržao je pored Gavele received his doctorate in Leipzig in 1925, i Miloje Vasić (Anđelković 1999–2000, and from 1926 to 1955 he taught ancient 407–408; Milinković 1998, 436). Prema Hebrew, biblical history and archaeology mišljenju Milutina Garašanina, jednog od at the Theological Faculty of the Serbian istaknutih srpskih praistoričara, Glumac u Orthodox Church. The organizer of this je, u stvari, predavao kulturnu istoriju Bli- transition was Branko Gavela, professor skog istoka (Babić i Tomović 1996, 51). Na of prehistoric archaeology, and efforts to odeljenju za istoriju Nikola Vulić i dalje je introduce archaeology of the Near East držao predavanja o starom Egiptu (Anđel- were supported besides Gavela, by Miloje ković 1999–2000, 409). Sava Tutundžić je Vasić (Andjelković 1999-2000, 407-408; ukazao na to da je na odeljenju za arhe- Milinković 1998, 436). According to Milutin ologiju već u vreme kada je Glumac počeo Garašanin, a prominent Serbian prehisto- sa nastavom iz oblasti arheologije Bliskog rian, Glumac, in fact, taught the cultural istoka postojao otpor prema uvođenju history of the Near East (Babić i Tomović arheologije Bliskog istoka u nastavu i pre- 1996, 51). Nikola Vulić continued to lecture ma naučnom radu iz ove oblasti (Anđel- on Ancient Egypt (Anđelković 1999–2000,

38 ković 1999–2000, 407). Prema informaci- 409). Sava Tutundžić pointed out that, at jama dostupnim autoru ovog rada, jedino the time when Glumac started teaching in je Milutin Garašanin zvanično izneo da je the field of archaeology of the Near East, skeptičan prema „orijentalnoj arheologiji” there was resistance at the department of kako se nastava ograničila na samo jednu archaeology towards introducing archae- oblast i jedan uži period (Babić i Tomović ology of the Near East to the syllabus and 1996, 51). Nakon što je prestala aktivna to scholarly work in this field (Anđelković služba Dušana Glumca za docenta, na ka- 1999–2000, 407). According to the data tedri se bira Vidosava Nedomački, a za available to the author of this paper, only naučnog saradnika Sava Tutundžić. Nedo- Milutin Garašanin officially expressed mački je Glumca zamenila već 1971. godi- that he was sceptical towards “oriental ar- ne, a rukovodila je katedrom između 1978. chaeology” because lectures were limited i 1983. godine (Anđelković 1999–2000, to merely one area and one specific pe- 409; Milinković 1998, 137). Sava Tutundžić riod (Babić i Tomović 1996: 51). After the je na osnovu kulturne konvencije između active engagement of Dušan Glumac as Ujedinjene arapske republike Egipat i SFRJ docent, Vidosava Nedomački was chosen otpočeo postdiplomske studije na Filozo- by the department and Sava Tutundžić as fskom fakultetu Univerziteta u Kairu 1959. research associate. Nedomački took the godine (Anđelković 1999–2000, 408), ali je position of Glumac in 1971 and was head svoje studije završio na Filozofskom fakul- of the department between 1978 and 1983 tetu Univerziteta u Beogradu, gde je i dok- (Anđelković 1999–2000, 409; Milinković torirao. Pored Save Tutundžića, na Filozo- 1998, 137). Based on the cultural convention fskom fakultetu Univerziteta u Kairu stu- between the United Arab Republic of Egypt dijski je boravila i Miroslava Panić-Štorh and Yugoslavia, Sava Tutundžić started (1963–1965). Na inicijativu Fanule Papazo- graduate studies at the Faculty of Philoso- glu, Miroslava Panić-Štorh je angažovana phy at Cairo University in 1959 (Anđelković 1969. godine kao asistent na odeljenju za 1999–2000, 408), however he finished istoriju, 1980. godine dobila je zvanje višeg his studies at the Faculty of Philosohy, at stručnog saradnika i 1988. godine mesto Belgrade University where he earned his docenta na istom odeljenju (Anđelković doctorate. Besides Sava Tutundžić, Miro- 1999–2000, 408). Miroslava Panić-Štorh slava Panić-Štorh also spent time at the dr Vidosava Neda Nedomački je 1987. godine doktorirala na Filozofskom Cairo University (1963–1965). Due to the fakultetu u Beogradu sa temom Uprava u initiative of Fanula Papazoglu, Miroslava Rukovodila je katedrom za arheologiju na Filozofskom fakultetu u Beogradu između 1978. i Egiptu u doba Amenhotepa III. Panić-Štorh was hired in 1969 as assistant 1983. godine. Takođe je zanimljivo, a svakako slabo at the department of history, in 1980 she Foto arhiva Jevrejskog istorijskog muzeja u poznato, da je posle dvogodišnje pripreme received the title of senior associate and in Beogradu. 1970. godine u Kairu formulisana i potpisa- 1988 she became associate professor at the na prosvetna i kulturna kooperacija između same department (Anđelković 1999–2000, Vidosava Neda Nedomački (PhD) Egipta i SFRJ za 1970. i 1971. godinu.­ Njen 408). In 1987 Miroslava Panić-Štorh gained paragraf 33. odredio je da jugoslovenska her doctorate at the Faculty of Philosophy Head of the Department of Archaeology, Faculty of Philosophy in Belgrade between 1978 and 1983. strana otpočne iskopavanja u Egiptu sa in Belgrade on the topic Administration in

Photo archive of the Jewish Historical Museum in Savom Tutundžićem kao realizatorom pro- Egypt in the time of Amenhotep III. Belgrade. jekta. Bilo je dogovoreno da Arheološka It is also interesting, at the same time zbirka Filozofskog fakulteta dobije 50% not widely known, that after two-years neunikatnog materijala, a preko Save­zne of preparation, in 1970, educational and komisije za kulturne veze sa inostran- cultural cooperation between Egypt and stvom odobrena su i sredstva za realiza- Yugoslavia was formulated and signed in ciju projekta. Međutim, najviša instanca Cairo for the years 1970 and 1971. Its par- u vladi je odlazak prolongirala do isteka agraph 33 determined that the Yugoslav roka potpisane kooperacije, nakon čega side was to conduct archaeological digs

39 projekat nikada, nažalost, nije realizovan in Egypt with Sava Tutundžić as project (Anđelković 1999–2000, 410). implementer. It was agreed that the Ar- Kratkotrajnu saradnju sa katedrom za chaeological Collection of the Faculty of arheologiju Bliskog istoka odeljenja za Philosophy was to receive 50% of the seri- arheologiju ostvarila je i Bojana Mojsov na ally produced materials, and through the mestu asistenta 1982. godine, a 1984. godi- Federal Commission for Cultural Relations ne na tom mestu je menja Vera Vasiljević with Foreign Countries, funding for the (Milinković 1998, 437), koja je magistrira- project was awarded. However, the highest la na Filozofskom fakultetu u Beogradu authority in the government postponed sa temom Svedočanstva o patuljcima u sta- the departure until the expiration date of rom Egiptu, a doktorirala na Univerzitetu the signed co-operation, after which the u Hamburgu sa temom Untersuchungen project was, unfortunately, never to be re- zum Gefolge der Grabherrn in den Gräbern des alized (Anđelković 1999–2000, 410). Alten Reiches. Na mesto šefa katedre Vera The short-term collaboration with the Vasiljević dolazi 1997–1998. godine. Kao department for Near-Eastern Archaeolo- što se može primetiti, počeci egiptologije u gy at the Department of Archaeology, was Srbiji ukorenjeni su u osnivanje katedre za achieved by Bojana Mojsov as assistant in arheologiju Bliskog istoka na odeljenju za 1982, and in 1984 she was replaced by Vera arheologiju, iako je nastava o starom Egip- Vasiljević (Milinković 1998, 437), who re- tu bila u određenoj meri držana i na ode­ ceived her master’s degree at the Universi- ljenju za istoriju. Angažovanje Miroslave ty of Belgrade with the topic Testimonies of Panić-Štorh na odeljenju za istoriju i Vere Dwarfs in Ancient Egypt, and Ph.D. from the Vasiljević na odeljenju za arheologiju, University of Hamburg with the theme Un- kao prvih školovanih egiptologa, označilo tersuchungen zum Gefolge der Grabherrn in je novu fazu razvoja egiptologije u Srbiji. den Gräbern des Alten Reiches. Vera Vasiljević Uskoro je na odeljenju za arheologiju kao became head of department in 1997-1998. asistent-pripravnik angažovan i Branislav What is made obvious is that the begin- Anđelković, a kasnije na odelje­nju za isto- nings of Egyptology in Serbia are rooted in riju Danijela Stefanović. Branislav Anđel- the establishment of the Department of ković je sa temom Odnosi između Kana- Near Eastern archaeology at the Depart- anaca i Egipćana do kraja vladavine Narmera ment of Archaeology, even though lessons magistrirao, a sa temom Evolucija gerzeške on ancient Egypt were to a certain extent kulture: unutrašnji i spoljni činioci doktorirao held at the History Department. Appoint- na Filozofskom fakultetu u Beogradu. Da- ing Miroslava Panić-Štorh at the History nijela Stefanović je sa temom Titula imy-r Department and Vera Vasiljević at the Ar- tA mhw u dokumentima Srednjeg carstva chaeology Department, as the first edu- magistrirala, a sa temom Vojska faraonskog cated Egyptologists, marked a new phase Egipta u vreme srednjeg carstva doktorirala in the development of Egyptology in Ser- takođe na Filozofskom fakultetu u Beogra- bia. Not long after, Branislav Anđelković du. Egiptologija se stoga na Filozofskom was appointed teaching assistant at the fakultetu u Beogradu uporedo razvija na Archaeology Department, followed by the odeljenju za arheologiju i odeljenju za hiring of Danijela Stefanović at the History istoriju sa različitim, ali u određenoj meri Department. Branislav Anđelković earned podudarnim nastavnim programima. his master thesis with the topic The Rela- Osnovne razlike su u akcentu odeljenja tionships between the Ancient Canaanites and za arheologiju na materijalnoj kulturi i Egyptians Until the End of Narmer’s Rule, and odeljenja za istoriju na pisanim izvorima. earned his Ph.D. at the Faculty of Philos- Neophodna komplementarnost ovih pri- ophy with the topic The Evolution of Gerzeh stupa prošlosti starog Egipta ostvarena Culture: Inside and Outside Factors. Danijela je posle bolonjske reforme i mogućnošću Stefanović mastered with the topic The

40 Title imy-r tA mhw in Middle Kingdom Docu- ments and earned her doctorate also at the Faculty of Philosophy in Belgrade with the topic The Army of Pharaonic Egypt During the Middle Kingdom. Therefore, at the Faculty of Philosophy in Belgrade Egyptology devel- oped concomitantly at the Department of Archaeology and Department of History, with differing, however, to an extent con- current syllabus. The primary difference is placing emphasis on material culture at the Department of Archaeology and on written sources at the Department of History. The necessity of making these ap- proaches to Ancient Egypt’s past comple- mentary was made following the Bologna educational reforms and the possibility of attending classes in both departments Uroš Matić na terenskom istraživanju u Tell el- za pohađanjem nastave na oba odeljenja Daba, lokalitet Ezbet Rušdi III (2012. godine). through chosen subjects. During the 1980s (odnosno obe katedre) kroz izborne pred- on several occasions Aristid Teodorides Uroš Matić on field research work in Tell el-Daba, mete. U Beogradu je osamdesetih godi- the Ezbet Rushdi III site (in 2012). from the University of Brussels, held lec- na XX veka u više navrata predavanja na tures at the Faculty of Law in Belgrade, at Pravnom fakultetu u Beogradu, na poziv the invitation of the Club for Roman His- kluba za rimsku istoriju Forum Romanum, tory, the Forum Romanum.5 Throughout održao Aristid Teodorides sa Univerziteta its short history lessons in archaeology of u Briselu5. U svojoj kratkoj istoriji nastava Ancient Egypt were enhanced with vis- iz oblasti arheologije starog Egipta obo- iting lectures by Helmut Satzinger, from gaćena je i gostujućim boravkom Helmuta the University in Vienna, in the summer Zacingera sa Univerziteta u Beču tokom semester 2004/2005 and 2006, as well letnjeg semestra 2004/2005. godine i as the visiting lecture by Hartwig Alten- 2006. godine ali i gostujućim predavanji- müller from the university in Hamburg (in ma Hartviga Altenmilera sa Univerziteta u 2004) and Emily Teeter from the Oriental Hamburgu (2004. godine), kao i Emili Titer Institute in Chicago during the summer se- sa Orijentalnog instituta u Čikagu tokom mester 2008. A visiting lecture at the Fac- letnjeg semestra 2008. godine. Gostujuće ulty of Philosophy, University of Belgrade, predavanje na Filozofskom fakultetu, Uni- was held in April 2014 also by Julia Budka verziteta u Beogradu održala je u aprilu (The Institute for Oriental and European 2014. godine i Julia Budka (Institut za ori- Archaeology, the Austrian Academy of jentalnu i evropsku arheologiju, Austrijska Sciences). akademija nauka).

Zaključak Conclusion Finally, the question to “Egyptology in Ser- Na kraju, na pitanje „Egiptologija kod nas bia – a luxury or necessity” put forward in – luksuz ili potreba?” postavljeno 1998. 1998 at the annual gathering of the Ser- godine na godišnjem skupu Srpskog arhe- bian Archaeological Society in Subotica ološkog društva u Subotici (Васиљевић (Васиљевић 1999–2000, 297), has only 1999–2000: 297), danas imamo samo je- one answer today, which is that without dan odgovor, a to je da bez akademskog an academic approach to Ancient Egypt’s pristupa prošlosti starog Egipta Srbija past Serbia is not able to nurture artefacts ne može baštiniti artefakte starog Egipta

41 ali ni razumeti reference na stari Egipat from ancient Egypt, neither can it under- arheologa kojima njegova prošlost nije stand Ancient Egyptian reference points osnova istraživačkog rada. Dodatno treba of archaeologists to whom its past is not ponovo istaći problem diletantske litera- the basis of research work. Additionally it ture i nedovoljan broj stručnih publikacija, is necessary to emphasise the problem of na šta je već ukazano u stručnoj javnosti dilettante literature and the insufficient (Васиљевић 1992). number of specialized publications, which Stanje egiptologije u Srbiji danas poka- has already been put forth to the public zuje značajne pomake, što kroz zbližava­ (Васиљевић 1992). nje dveju katedri (arheologija i istorija) na The state of Egyptology in Serbia today kojima je stari Egipat deo nastavnog plana shows significant progress in the joining i programa, što kroz saradnju sa egipto- of the two departments (archaeology and loškim zajednicama u regionu i kolegama history) that have Egypt as part of their iz regiona koji se bave recepcijom starog syllabus, as well as the collaboration with Egipta (Austrija, Hrvatska, Slovenija), ali i Egyptian studies communities in the re- kroz saradnju sa egiptološkim zajednica- gion and colleagues from the region who ma van regiona i internacionalnim arhe- engage in the reception of ancient Egypt ološkim timovima u Egiptu 6. Međutim, u (Austria, Croatia, Slovenia) and the coop- cilju daljeg razvoja i napretka egiptologije eration with Egyptian studies communi- u Srbiji potrebno je ponovo promisliti za- ties outside the region and international boravljenu egiptomaniju u Srbiji 7, učiniti archaeological teams in Egypt.6 However, vidljivost nalaza staroegipatskog pore- with the aim to develop and further Egyp- kla u srpskim muzejima većom 8, ostvariti tology in Serbia it is necessary to rethink istraživački dijalog sa drugim oblastima the forgotten Egyptomania in Serbia7, istraživanja ali i pokrenuti bližu saradnju make the ancient-Egyptian findings in sa kulturnim institucijama u Egiptu. Serbian museums more visible 8, create re- search-based dialogue with other areas of research and to initiate closer cooperation with cultural institutions in Egypt.

42

Potraga za Istokom Egipat u putopisima srpskih žena u prvoj polovini XX veka

In Search of the East Egypt in the Travel Writing of Serbian Women in the First Half of the 20th Century

Milica Naumov Milica Naumov antropolog Anthropologist

današnjoj eri razvijenih, novih he present era of new communica- načina komunikacije nudi nam se tions offers numerous testimonies Ubezbroj svedočanstava o manje ili Tabout more or less distant places. It više udaljenim predelima. Za „putovanje” may seem that “travelling” is merely a click je danas možda i dovoljan jedan „klik”, ali away; however things were not always so nije uvek bilo tako jednostavno. simple. Na samo putovanje se nekada gledalo, At one time, travelling was considered pre svega, kao na vrstu obrazovanja. Puto- a form of education above all. Travelling vati je značilo steći neprocenjivo iskustvo i meant gaining priceless experience and zaokružiti svoju ličnost. Čuveni mislioci su shaping one’s personality. Famous think- već u XVII veku isticali da putnici treba da ers of the seventeenth century empha- koriste svoj boravak u stranim zemljama sised that travellers should use their time za upoznavanje naroda i njihovih običaja, spent in foreign countries to learn about kao i za sticanje iskustava koja će im biti the peoples and customs, and to gain ex- od dragocene pomoći kasnije u životu, bilo periences that would be beneficial to them da se spremaju za trgovačku, diplomatsku in later life, whether they were preparing karijeru, bilo jednostavno za život kulti- for a career in trade, diplomacy, or in order visanog, učenog čoveka (Kostić 1989, 16). to lead the life of a cultured, learned man Sam cilj putovanja bio bi doprinos jednog (Kostić 1989, 16). The aim of such travel ex-

47 takvog iskustva izgradnji i obrazovanju periences was to contribute to the growth pojedinca. I veliki francuski mislilac, Mišel and education of the individual. The great Montenj je isticao da je cilj putovanja u French thinker Michel de Montaigne also samospoznaji, jer istražujući svet, mi poni­ stressed that the goal of travelling was remo u dubine vlastitog bića (Todorov self-knowledge, because by exploring the 1994, 335). world we delve into the depths of our own Industrijsko doba donelo je drugačije being (Todorov 1994, 335). shvatanje vremena, te podelu na radno i The industrial age brought with it a slobodno vreme1, što je uslovilo promene different understanding of time, thus the u navikama i uopšte stilu života ljudi division into work time and leisure1, result- (Stojanović 2008, 313). Putovanja su do ing in a change in habits and the overall tada bila privilegija manjeg broja lju- lifestyle of people (Stojanović 2008, 313). di, uglavnom rezervisana za pripadnike Up to that point, travelling was the privi- više klase, trgovce, hodočasnike ili pu­ lege of a select few and reserved predom- stolove. Krajem XIX i početkom XX veka, inantly for members of the upper class, sa tehnološkim napretkom i stvaranjem merchants, pilgrims and adventurers. By mreže puteva koji će doprineti homoge- the end of the nineteenth and beginning nizaciji prostora i dostupnosti udaljenih of the twentieth century, with the tech- krajeva, sve više ljudi će svoje slobodno nological advancement and creation of a vreme provoditi na putovanjima. Neka network of roads that would contribute to od najstarijih vidova putovanja jesu ona the homogenization of space and ease ac- pokloničke prirode. Istorijat pokloničkih cess to remote places, all the more people putovanja sa ovih prostora može kon- started spending their free time travelling. tinuirano da se prati od vremena Svetog Some of the oldest forms of travelling are Save i razvija se pod osmanskom vlašću, pilgrimages. The history of pilgrimage in kao i u Habzburškoj monarhiji (Makuljević this part of the Balkans may be traced with 2006, 808). Poklonička putovanja često su continuity from the times of Saint Sava vodila i ka Egiptu. Jedan takav primer je i (Sveti Sava) becoming more prominent putovanje Pavla Riđičkog, koji se sa njega under Ottoman rule and within the Haps- vratio sa posebnim „suvenirom” – mumi- burg monarchy (Makuljević 2006, 808). jom. Pilgrimages often led towards Egypt. One Ponekad su utisci i doživljaji putni- such example is the travel of Pavle Riđički ka pretvarani u putopise. Koliko god da who returned from his trip with a special je putovanje pre svega intimni, privatni “souvenir” - a mummy. čin i doživljaj samog putnika, toliko su Sometimes the impressions and ex- zapažanja i motivi, pretočeni u putopise, ploits of travellers were transformed into uticali u manjoj ili većoj meri na stvara­ travel writing. As much as the journey is nje slike dalekih, neistraženih oblasti kod an intimate, private act and personal ex- samih čitalaca. Ovi zapisi su bili tu da nam, perience of the traveller, the observations poput današnjih internet foruma, dočara- and motives transposed into travel writing ju određene predele i kreiraju određene also, to a greater or lesser extent, had an predstave čime su, zapravo, stvarali pose- influence on creating images of distant, bnu stvarnost. Putopisi jesu ogledalo vre- unexplored places, among readers. These mena i u njima se mogu prepoznati i tekuće writings were, much like present day inter- književne i istorijske prilike, ali i sam autor, net forums, there to recreate certain places jer putopis kao mimikričan i intiman oblik and images, thus producing a special kind jeste vrsta autobiografije, kazivanje o sebi of reality. Travel writings are a mirror of a (Peković 2008, 119). Putopis je dobra osno- certain time and it is possible to recognise va za sagledavanje slike sopstvenog sveta i in them current literary and historical ten- epohe koja izranja iz slike Drugog; putopis dencies, yet the author as well, because

48 travel writing as a mimicry and intimate form is a type of autobiography – a telling of oneself (Peković 2008, 119). Travel writ- ing is a sound basis for insight into one’s own world and epoch, which springs from the image of the Other; travel writing is a story about the point from which the travel writer sets of on his journey, and not sole- ly a narrative about the regions through which he has travelled (Vučetić 2005, 67). Perhaps less known but certainly impor- tant are the courageous journeys to Egypt tak- en by writer Jelena Dimitrijević (1862–1945) and actress Desa Dugalić2 (1897–1972), in the first half of the twentieth century. How did they see this country? What were they in search of and what image of the Other did they offer? Their testimonies are texts which “inscribe” meaning both into the Portret Jelene Dimitrijević je priča o tački iz koje putopisac kreće na culture that they are describing – the cul- Iz putopisa: „Sedam mora i tri okeana. Putem oko putovanje, a ne samo narativ o predelima ture of the Other, and the culture to which sveta” kroz koje je putovao (Vučetić 2005, 67). they belong. Možda manje poznata, ali svakako The journeys of Jelena Dimitrijević Portrait of Jelena Dimitrijević značajna su putovanja u Egipat na koja su were recorded in the travel writing Seven se, u prvoj polovini XX veka, odvažile knji­ From the travel book: “Seven Seas and Three Oceans. Seas and Three Oceans. Travelling Around the Travelling Around the World” ževnica Jelena Dimitrijević (1862–1945) World (Sedam mora i tri okeana. Putem oko i glumica Desa Dugalić2 (1897–1972). Na sveta), published in 1940, fourteen years af- koji način su one „videle” ovu zemlju? Za ter the journey. She set off on her journey čime su tragale i kakvu sliku o Drugom su to the East on November 17, 1926, board- nam ponudile? Njihova svedočanstva jesu ing a ship in Genoa. Writing about the mo- tekstovi koji se „upisuju” i u kulturu koju tives which moved her, Jelena Dimitrijević opisuju – kulturu Drugog, ali i u kulturu stated that the journey was her “spiritual kojoj same pripadaju. quest” (Dimitrijević 1940, 14), and that her Putovanje Jelene Dimitrijević zabe- age and sex, as well as the fact that she is leženo je u putopisu Sedam mora i tri okea- travelling alone, are not an impediment of na. Putem oko sveta, koji je izašao iz štampe any sort for this adventure she is undertak- 1940. godine, odnosno štampan četrnaest ing. For her, going to Egypt is an unfulfilled godina nakon putovanja. Ona svoj put dream: “So, there, I set off for Misr. One of na Istok počinje 17. novembra 1926. go- my most beautiful dreams will become re- dine, polazeći brodom iz Đenove. Pišući ality tomorrow... I set sail from Genoa, the o moti­vima koji su je pokrenuli, Jelena birthplace of the one who discovered the Dimitrijević ističe da je ovo putovanje za New World. However, I am not attempting nju „duhovna pečelba” (Dimitrijević 1940, to find some other New World, but an Old 14), a da godine i njen pol, kao i činjenica World; to see the East which has for as long da putuje sama, nisu posebna prepreka u as I know held a captivating charm. To see ovoj avanturi. Za nju je poseta Egiptu ne- Misr!” (Dimitrijević 1940, 12). ostvaren san : „I, eto, sutra, polazim u Misir. Fascination with the East and the his- San jedan od najlepših mojih snova sutra tory of contemplating the Orient are very će postati java... Polazim iz Đenove, rodno- old. Edward Said defines orientalism as a ga mesta onoga koji je pronašao Novi Svet. system of representation and interpreta-

49 Ali ja ne idem da pronađem neki drugi Novi tion of the Orient, its civilisations, peoples Svet, nego da nađem Stari, da vidim Istok and localities (Said 2000, 271). It is less a koji je za mene vazda imao neobično pri­ question of a real place, and more one of vlačne draži. Da vidim Misir!” (Dimitrijević a state of mind and way of thinking. The 1940, 12). Orient and the West as well, as symbol- Fascinacija Istokom i istorija bavlje­nja ic representations, are not homogenous Orijentom veoma je duga. Edvard Said wholes. An orientalist approach is based orijentalizam definiše kao sistem repre­ on an essentialist position towards a het- zentacija i interpretacija Orijenta, njegove erogonous, complex, changing historical civilizacije, ljudi i lokaliteta (Said 2000, reality, aiming to discern the existence of 271). Ovde je manje reč o stvarnom me­ a timeless, permanent, unchanging reality stu, već više o stanju duha i načinu razmi­ (Đorđević 2008, 36). As a result of colonial šljanja. Orijent, ali i Zapad, kao simboličke rule, a continuum was created with the Ori- predstave, nisu homogene celine. Orijen- ent on one side and the West on the other. talizam pristupa heterogenoj, složenoj, The distinct binary opposition implies that promenljivoj istorijskoj stvarnosti sa esen­ the value systems of the West and its per- cijalističkog stanovišta, pokušavajući da ception of the level of “development” and otkrije postojanje vanvremenske, trajne, “civilisation” become the standard of val- nepromenljive stvarnosti (Đorđević 2008, ue for what is different or distinct from it 36). Kao posledica kolonijalne vladavine (Đorđević 2008, 32). stvoren je kontinuum gde je sa jedne However the position of female writers strane stajao Orijent, a sa druge Zapadna from the Balkans is somewhat different. civilizacija. Istaknuta binarna opozicija po- As a separate cultural and geographic en- drazumeva da merila Zapada i njegovog tity the Balkans are perceived as “the other pogleda na stepen „razvijenosti” ili „civi- within”, as “unfinished”E urope.3 It is “some- lizovanosti” postaju merila za sve ono što thing in between”, a place that both is and je drugačije ili različito od njega (Đorđević is not Oriental and European. Aware of this 2008, 32). duality, Jelena Dimitrijević indicates to the Međutim, pozicija spisateljica koje specific nature of her position, stating that dolaze sa Balkana je pomalo drugačija. she separates the Balkans from the East: Balkan je kao poseban kulturni i geograf- “because it is at the same time slightly the ski entitet sagledavan kao „drugost iznu- East and slightly the West” (Dimitrijević tra”, kao „nedovršena” Evropa3. On je sam 1940, 44), and she sees herself as “slightly po sebi „nešto između”, mesto koje istovre- Oriental” (Dimitrijević 1940, 32). meno jeste i nije orijentalno i evropsko. The arrival of the traveller to his destina- Svesna ove dvojnosti Jelena Dimitrijević tion is, at the same time, crossing the bor- ukazuje na specifičnost svoje pozicije na- der that separates two worlds, and travel vodeći da Balkan odvaja od Istoka: „pošto writing often points towards these im- je on isto malo Istok, kao što je malo Za- aginary, symbolic lines that separate two pad” (Dimitrijević 1940, 44), a sebe takođe worlds (Živković 2001, 76). In a way, Jele- vidi kao „pomalo Orientalku” (Dimitrijević na Dimitrijević is disappointed at her first 1940, 32). impressions of Alexandria: “Ah, how hard Dolazak putnika na svoje odredište jeste it is for the foreigner-traveller to roam the Egipćanke – na raskršću Istoka i Zapada ujedno i prelazak granice koja raz­dvaja streets of Alexandria only to realise that he Iz putopisa: „Sedam mora i tri okeana. Putem oko dva sveta, a putopisi nam često ukazuju will not find anything that he was search- sveta” na te zamišljene, simbolične linije razdva­ ing for in this unknown, distant land! Es- janja dva sveta (Živković 2001, 76). Jele- pecially for the one who, seeking the East, Egyptian Women – at the crossroads of the East na Dimitrijević biva pomalo razočarana finds the West” (Dimitrijević 1940, 43). She and West prvim utiscima iz Aleksandrije: „Ah kako finds the West in the way women dress, in From the travel book: “Seven Seas and Three Oceans. je teško strancu-putniku kad uzme da luta the imported goods of downtown Alexan- Travelling Around the World”

50

aleksandrijskim ulicama i kad mu se učini dria and its bazaars, in the posters of Glo- da neće naći ništa od onoga zbog čega ria Swanson in front of Cairo cinemas, jazz je došao u ovaj tuđi daleki svet! Naroči- resonating from the coffee-houses, thus, to onome koji traži Istok, a nalazi Zapad” in her own words: “forgetting what part of (Dimitrijević 1940, 43). Ona Zapad nalazi u the world this is: Africa, Europe or Ameri- odevanju žena, u uvoznoj robi po aleksan- ca” (Dimitrijević 1940, 52). drijskoj čaršiji i bazarima, u posterima Glo- Observing an Arab resting on his mat: rije Svenson ispred kairskih bioskopa, dže- “dreaming the magical dream of the East” zu koji dopire iz kafana, te kako sama kaže: – and smoking a hookah, this traveller „zaboravlja u kome je delu sveta: u Africi, u contemplates: “Lucky them! The bless- Evropi ili u Americi” (Dimitrijević 1940, 52). ed peoples of the East, far from the rustle Posmatrajući prizor Arapina koji na svo- and bustle of the West” (Dimitrijević 1940, joj asuri uživa: „sanja čarobni san Istoka” 300). In this scene the author contrasts – i puši nargile, putnica pomišlja: „Blago different conceptions of time in which the njima! Blagosloveni ljudi Istoka, daleko od West “looses” time in its race for progress huke i jurnjave Zapada” (Dimitrijević 1940, and modernisation. 300). U ovom prizoru autorka suprotsta­vlja As opposed to this, Desa Dugalić sees različita shvatanja vremena, gde Zapad Africa in the bustle and sultry air of Alexan- „gubi” vreme u svojoj trci za progresom i dria: “Looking from my balcony at all this modernizacijom. chaos, I have seen Africa, Africa and only Nasuprot tome, Desa Dugalić u gradskoj Africa” (Dugalić 1931, 107). Her perspective vrevi i sparnom vazduhu Aleksandrije vidi is different, it stems from a wider, Europe- Afriku: „Gledajući s balkona na ovaj rusvaj, an tradition, thus her observations of the ja sam videla Afriku, Afriku i samo Afriku” East are from a European vantage point, (Dugalić 1931, 107). Njena pozicija je dru- that is, the West (Rakić 2006, 575). Her gačija, ugao posmatranja ide iz šire, evrop- journey is described in the book Notes from ske tradicije, te je pogled na Istok, pogled the Journey to Palestine, Syria and Egypt in the sa stanovišta Evrope, odnosno Zapada Summer of 1931 (Zabeleške s puta kroz Pal- (Rakić 2006, 575). Njeno putovanje opisa- estinu, Siriju i Egipat u leto 1931). She reached no je u knjizi Zabeleške s puta kroz Palestinu, Egypt by the Palestinian railway and her Siriju i Egipat u leto 1931. Do Egipta dolazi first encounter with this country was the palestinskom železnicom, a prvi susret sa encounter with its deserts. Travelling by ovom zemljom je susret sa njenom pusti­ train through this region, Desa Dugalić njom. Prolazeći vozom kroz ovu oblast, reflects: “it is impossible to describe the Desa Dugalić ističe da je: „nemoguće opi- charm of those backshores and waves with sati šarm tih peščanih sprudova i talasa po the occasional camel or Bedouin, here and kojima se ovde onde ugleda po neka kami- there” (Dugalić 1931, 73). Her journey takes la ili beduin” (Dugalić 1931, 73). Put je dalje her further across the Suez Channel, that: vodi preko Sueckog kanala, tog: „uzanog “narrow area that separates Asia and Afri- dela koji razdvaja Aziju i Afriku, i spaja dva ca, and joins the two kingdoms, England carstva, Englesku i Indiju” (Dugalić 1931, 75). and India” (Dugalić 1931, 75). Tokom boravka u Kairu Desa Dugalić During her stay in Cairo, Desa Dugalić posećuje Egipatski muzej, a poredeći ga sa visits the Egyptian Museum, and compar- Egipćanka sa detetom evropskim muzejima u kojima je već imala ing it to European museums in which she Iz putopisa: „Sedam mora i tri okeana. Putem oko prilike da vidi neke od egipatskih starina, has had the opportunity to see certain sveta” ona ostaje nema pred: „remek delima koja Egyptian antiquities, she finds herself as- su stvorili i ovekovečili Umetnost, Moć i Bo- tounded by the: “masterpieces created and Egyptian Woman with Child gatstvo tog doba” (Dugalić 1931, 79). Sličan eternalised by the Art, Power and Wealth utisak na nju ostavljaju i kairske džamije, of the times” (Dugalić 1931, 79). A similar From the travel book: “Seven Seas and Three Oceans. Travelling Around the World” a posebno Muhamed Alijeva džamija. Div- impression is imprinted on her regarding

53 Pustolovine Dese Dugalić

Iz časopisa „Pozorište”

The Adventures of Desa Dugalić

From the magazine “Theatre” ljenje zaslužuju i Velike piramide u Gizi, Cairo’s mosques, especially the Mosque of svedoci minulih vremena, koje su: „gledale Muhammad Ali. Also deserving of her ad- gospodarski i nemarno na ovaj život koji miration are the Great pyramids of Giza, šest hiljada godina svakodnevno vri ispod witnesses of past times, which: “looked njihovih podnožja” (Dugalić 1931, 84). Desa down with authority and indifference at this Dugalić će tokom svog boravka u Egiptu life that has been simmering at its feet for six posetiti i Memfis, Sarapeum – groblje sve- hundred years” (Dugalić 1931, 84).­ During her tih bikova, Heliopolis, grad mrtvih u Kairu, stay in Egypt, Desa Dugalić visited the Se- zoološki vrt, Aleksandriju. Gledajući slike rapeum in Memphis – the graveyard of sa- na zidovima hramova i grobnica, ona zak- cred bulls, Heliopolis, the City of the Dead ljučuje da je: „mnogo više saznala o životu in Cairo, the Zoo and Alexandria. Looking ovog starog naroda nego iz mojih debelih at the images on the walls of temples and knjiga” (Dugalić 1931, 92). tombs, she concludes that she: “found out Impresije koje nam Desa Dugalić nudi u more about the land of this ancient people svom spisu, pre svega otkrivaju zanimanje than from my big books” (Dugalić 1931, 92). za daleku prošlost Egipta, bez preteranog The impressions Desa Dugalić offers in osvrtanja na savremeni, svakodnevni način her writing show us, primarily, her interest života stanovništva ove države. Pozicija je in Egypt’s ancient past, without particular pasivna i ona kroz svoje putovanje prolazi reflection on the contemporary, everyday poput posmatrača koji nema preteranu life of the people of this country. The posi- želju da učestvuje u dešavanjima. U opi- tion is passive; she travels like an observer sima širokih i elegantnih ulica i bulevara who has no particular wish to engage in u Kairu, s jedne strane, i gužve i vreve neu- events. In her descriptions of wide and el- ređenih arapskih kvartova, sa druge, u pri- egant streets and boulevards in Cairo, on kazu Dese Dugalić nalazimo utvrđenu di- the one hand, and the crowds thronging hotomiju Evrope i Azije, Zapada i Orijenta. the Arab quarters on the other, we find in Putopis Jelene Dimitrijević nije samo Desa Dugalić’s writing the established di- opis arhitekture, prirode, ljudi koje sreće chotomy of Europe and Asia, the West and već se autorka osvrće i na položaj žena u the Orient.

54 Egiptu, seljaka – felaha, političku situaci- The travel writing of Jelena Dimitrijević ju u prvim godinama nezavisnog Egipta. is not solely a description of architecture, Ona nije pasivni posmatrač događaja: „Jer nature and the people that she meets; in it nema većeg uživanja nego po stranim gra- the author reflects on the position of wom- dovima tumarati sam samcit i zastajkiva- en in Egypt, and of the peasants – the fellah, ti, zagledati, razmišljati, ponekad s nekim as well as the political situation in Egypt’s razgovarati, raspitivati i doznati ono od first years of independence. She is not a nekog meštanina što nikad ne bi doznao passive observer of events: “For there is no ni od jednog profesionalnog vođe, niti iz greater joy than to meander through for- ijedne putničke knjige, pa čak ni iz Bede- eign cities, all alone, to stop, watch, think, kera koji ’sve zna’... ” (Dimitrijević 1940, 63). sometimes to talk to someone, inquire Iz njenih redova, nastalih tokom lutanja­ and learn from one of the locals things ulicama Aleksandrije, saznajemo kakvu we never would have learnt from a pro- odeću nose muškarci i žene. Obučene u fessional guide, or from any travel book, crno i sa crnim velovima žene šminkaju not even from the Baedeker that ‘knows oči poput žena faraona. Autorka ističe da everything’...” (Dimitrijević 1940, 63). nije reč o modi koja je prolazni fenomen, From her lines written during her wan- jer: „vekovi prolaze, a taj običaj se održa- derings through the streets of Alexandria, va” (Dimitrijević 1940, 47). Takođe, zapaža we learn of the type of clothes worn by da su ovakav način ulepšavanja usvojile i men and women. Dressed in black, with žene sa Zapada, koje žive tamo. Odeća je black veils, the women paint their eyes to materijalizacija susreta Istoka i Zapada resemble the wives of pharaohs. The au- jer: „muškarci u Aleksandriji, i oni u šeši- thor states that it is not a matter of fash- ru i oni u fesu, mnogi su u građanskom ion which is a fleeting phenomenon, for: odelu. Žene su jedne ’šik’ i podsećaju na “centuries pass, and this custom persists” one po velikim pariskim bulevarima; dru- (Dimitrijević 1940, 47). Also, she perceives ge u modernim suknjama, sa ’pelerinom’, that such forms of beatification have been pokrivalom na glavi, velom na licu, ne i na adopted by women from the West living očima” (Dimitrijević 1940, 53). there. Clothes are the materialisation of Jelena Dimitrijević se u svom putopisu the encounter of East and West, because: posebno osvrće na težak položaj egipat- “men in Alexandria, those wearing a hat or skog seljaka. Ona opisuje kuće koje su od a fez are, most of them, in civilian outfits. naboja, bez ikakvog zaklona, sa ravnim Women are, some of them, ‘chic’ and like krovovima i rupama umesto prozora. Pri- those seen in Parisian boulevards; others zori ovih naselja na trenutke je podseća- are in modern skirts, with ‘cloaks’, a head ju na neka sela ili zaseoke u Južnoj Srbiji cover, veil on their face, but not on their (Dimitrijević 1940, 73). U takvim uslovima eyes” (Dimitrijević 1940, 53). život ovih ljudi kao da ne izlazi iz srednjeg In her travel writing Jelena Dimitrije- veka ili doba faraona. I dok kolima odlazi vić pays special attention to the difficult ka Aleksandriji, a vodič se raduje očekiva- position of the Egyptian peasant. She de- nom bakšišu, autorka ističe kako je tu­ scribes the earthen houses, without en- žna zbog ljudske bede koju je videla: „Ko closure, with flat roofs and holes instead hoće da vidi Misir – neka dođe u njegove of windows. Scenes of such settlements gradove, ali ni po što u njegova sela: da remind her on occasion, of certain villag- se duboko ne rastuži zbog ljudske bede i es and hamlets in South Serbia (Dimitri- strašno ne razgnevi na ljudsku nepravdu” jević 1940, 73). In such circumstances, the (Dimitrijević 1940, 104). lives of these people seem to be trapped Putovanje se nastavlja dolinom Nila in the Middle Ages, or the age of the phar- ka Kairu. Nil, taj „starac, a večno mlad” aohs. Leaving Alexandria by car, the author ­(Dimitrijević 1940, 79), ostavlja veliki uti- claims how sad she is because of the hu-

55 sak na autorku, kakav nije doživela ugle­ man misery she has seen: “Who wants to davši Atlantski okean, Nijagarine vodo- see Misr – let them come to its cities, but by pade, pa čak ni Misisipi. To je reka pored no means its villages: so that they may not koje promiču vekovi, gde „rastinje se jedno be deeply saddened because of the human suši, a drugo raste... sve večito kao osveće- misery and be filled with rage for all the na reka Nil” (Dimitrijević 1940, 79). Poput human injustice” (Dimitrijević 1940, 104). nje i piramide su svedoci prošlih vremena, The journey continues down the Nile čija je sudbina srećnija od grčkih starina valley towards Cairo. The Nile, that “old koje su izmeštene iz svojih staništa, kao man, forever young” (Dimitrijević 1940, što je slučaj sa karijatidama u Britanskom 79), leaves a great impression on the au- muzeju. Tokom svog boravka u Luksoru thor, one that she has not experienced Jelena Dimitrijević navodi da su obelisci, upon seeing the Atlantic Ocean, Niagara poput mnogih drugih značajnih egipat- Falls, not even the Mississippi. It is a river skih spomenika i predmeta, iznošeni iz down which centuries flow, where “certain Egipta i raznošeni po svetu. Njena osuda growth dies away, while other grows... all ovakve sudbine je jasna. Obilazivši grob- eternal, like the consecrated Nile river” „Šetnje po Kairu”. nicu Tutankamona, samo četiri godine (Dimitrijević 1940, 79). Like her, the pyra- Vrač i moderne Egipćanke pošto je otkrivena, spisateljica žali zbog mids are also witnesses of past times the Iz putopisa: „Sedam mora i tri okeana. Putem oko praznine koja je ostala, s obzirom na to da fate of which is more fortunate than Greek sveta” je sve preneto u Egipatski muzej u Kairu. antiquities that are displaced from their “Wandering through Cairo”. Muzeji su prolazni: „ako ih ne uništi nepri- habitat, as is the case with the caryatides A fortuneteller and modern Egyptian women jatelj, ili ga ne sruši zemljotres – srušiće ga in the British Museum. During her stay in From the travel book: “Seven Seas and Three Oceans. vreme” (Dimitrijević1940, 163). Luxor Jelena Dimitrijević states that the Travelling Around the World”

56 Znamenitosti Egipta U vremenu u kojem posećuje Egipat, obelisks, like many other important Egyp- Iz putopisa: „Sedam mora i tri okeana. Putem oko država je nezavisna, a autorka se susreće tian monuments and objects, are taken out sveta” sa drugačijim viđenjima trenutne situaci- of Egypt and scattered across the world. je u zemlji: stavovima predstavnika bivše Her condemnation of such a fate is clear.

Sightseeing through Egypt kolonijalne vlasti oličenih u liku jednog Touring the tomb of Tutankhamen, just Engleza, i stavovima Egipćanina. S jedne four years after it was discovered, the writ- From the travel book: “Seven Seas and Three Oceans. Travelling Around the World” strane, prepoznaju se etnocentrični stere- er laments the emptiness that remains, otipi o egipatskoj naciji kao neprosvećenoj, given that everything has been moved to neradnoj, gde se neznanje smatra srećom, the Egyptian Museum in Cairo. Museums a, sa druge, tvrdnje da je nezavisnost ironi- are transient: “if they are not destroyed by ja gde su progres i razvoj vođeni idejom o the enemy, or collapse in an earthquake – što jednostavnijoj eksploataciji stanov­ time will be their downfall” (Dimitrijević ništva. Slabo razvijen obrazovni sistem je 1940, 163). nameran jer su na taj način šanse za otpor At the time of her visit, Egypt is an inde- takođe umanjene. Spisateljica ove suprot- pendent state and the author is met with stavljene stavove vidi kao sudar, gde „zvuk different opinions regarding the current jednog zvona zaglušuje uši, drugoga cepa situation: attitudes of the former colonial srce” (Dimitrijević 1940, 145). rule embodied in the figure of an English- Položaj žena u egipatskom društvu je man, and the attitudes of an Egyptian. On značajna tema putopisa Jelene Dimitrije- the one hand, there are ethnocentric ste- vić. Autorka sama istupa iz patrijarhalnog reotypes about the Egyptian nation as un- sistema, potpuno negirajući vladajući educated, lazy, where ignorance is consid- stereotip o ženi kao pasivnoj konstrukciji, ered to be good fortune and, on the other, zavisnoj od muškarca i domaćeg ognji­ statements that independence is an irony šta, fizički i duhovno nemoćnoj da seiz- in which progress and development are razi u muškim domenima – umetničkom governed by the idea of the simplest way i naučnom stvaralaštvu, kao i u aktivnom to exploit the people. The poorly devel- činu putovanja (Dimitrijević 1940, 213). oped educational system is intentional be- Osvrćući se na pitanje žena u egipatskom cause it lessens the chances for revolt. The društvu, Jelena Dimitrijević ističe da su author sees these conflicting opinions as a one u veoma lošem položaju, što je poseb- clash in which “the sound of one bell deaf- no utisak u opisima seoskih žena: „U svakoj ens hearing, the other tearing the heart” pojedinoj misirskoj seljanci žalile smo sve (Dimitrijević 1940, 145). žene...” (Dimitrijević 1940, 191). Razmatra- The position of women in Egyptian so- jući moguće razloge za takvu situaciju, au- ciety is an important topic in Jelena Dimi- torka se priseća razgovora o zatvaranju­ ško- trijević’s travel writing. The author herself la, sa pogubnim posledicama po čitav na­ steps out of the patriarchal system, totally rod, ali i žene. Ovo će biti i tema razgo­vora rejecting the dominant stereotype of wom- prilikom susreta putnice i Hude Šaraui, an as a passive construction, dependant on a koliko je taj susret za autorku važan, the male and domestic hearth, physical- svedoče i njene reči: „Da sam otišla iz Egi­ ly and spiritually incapable of expressing pta, a da nisam imala sreću i čast da vidim herself in the male domain – artistic and Gospođu Šaraui-Pašicu, bilo bi mi isto tako scientific work, and the active action of kao da sam otišla iz Španije a da nisam vi- travel (Dimitrijević 1940, 213). Reflecting dela Alhambru” (Reba Kulauzov 2010, 213). on the issue of women in Egyptian society, Razmatrajući pitanja poput obrazova­ Jelena Dimitrijević states that they are in a nja, siromaštva i kolonijalnog nasleđa, u very unfortunate position, an impression razgovoru sa Hudom Šaraui, Jelena Dimi­ especially strong in descriptions of village trijević pravi paralelu između egipatskih i women: “In each Misr peasant woman, we srpskih žena, naglašavajući važnu ulogu grieved all women...” (Dimitrijević 1940, njihovog aktivizma u konstituisanju novih 191). Contemplating the reasons for such država, samostalnog Egipta i Kraljevine a state of affairs, the author reflects on a Jugoslavije: „Mi žene srpske nismo manje talk about closing down a school, which patriotke od žena egipatskih [...] jedan ve- has devastating consequences for the en- liki deo zasluge što je od male Srbije posta- tire nation, and women as well. This was a la velika Jugoslavija – ne pripada li ženama topic of conversation between the traveller srpskim?” (Dimitrijević1940, 191). and Huda Shaarawi. Just how important Huda Šaraui (1879–1947) bila je jedna od vodećih Nastavljajući putovanje dalje ka istoku, this meeting was for the author is evident feministkinja u Egiptu, u prvoj polovini XX veka. Osim što je zastupala prava žena i zahtevala bolji ka Palestini i Siriji, autorka se poslednjim in her own words: “If I had left Egypt with- društveni i obrazovni status za svoje sunarodnice, bila je i veliki borac protiv kolonijalne vlasti. Šaraui je pasusom oprašta od Egipta: „Ostavljajući out the fortune of meeting Mrs. Shaara- 1918. godine pomogla organizovanje uličnih protesta Egipat koji možda neću videti nikad više, wi-Pasha, it would have been as if upon protiv britanske okupacije, gde su žene prvi put javno iskazale svoje stavove i ravnopravno učestvovale sa ja odlazim sa srcem punim uspomena: od visiting Spain I did not see the Alhambra” muškarcima u borbi za nezavisnost. ljudi iz Starog Veka, i od žene iz Novijeg: (Reba Kulauzov 2010, 213). Iz putopisa: „Sedam mora i tri okeana. Putem oko one žene koja je obdarena svim vrlinama Considering education, poverty and co- sveta” što krase ženu, i koja se sva posvetila, za lonial heritage issues in her conversation dobro svoje otadžbine – svojim sunarod- with Huda Shaarawi, Jelena Dimitrijević Huda Shaarawi (1879–1947) was one of Egypt’s nicima, egipatskim ženama” (Dimitrijević draws parallels between Egyptian and Ser- leading feminists in the first half of the 20th centu­ 1940, 234). bian women, emphasizing the important ry. Besides advocating the rights of women and de­ manding better social and educational status for her Iako nastali u istom periodu, iako su ih role of their activism in the constitution of compatriots, she was a great fighter against colonial pisale žene, ova dva putopisa na drugači- the new state, independent Egypt and the rule. In 1918 Sharawi helped to organize street pro­ tests against the British occupation and it was then je načine stvaraju i prenose sliku o zami­ Kingdom of Yugoslavia: “We Serbian wom- that women for the first time publicly expressed their views and participated equally with men in the šljenom Drugom. S jedne strane, u puto- en are no less patriots than Egyptian wom- struggle for independence. pisu Dese Dugalić malo toga saznajemo en [...] if credit is due for making small From the travel book: “Seven Seas and Three Oceans. o savremenom Egiptu, o njegovim društ- Serbia a great Yugoslavia - should not a Travelling Around the World”

58 veno-političkim ili socijalnim prilikama, portion of it be given to Serbian Women?” dok nam, s druge strane, Jelena Dimitri- (Dimitrijević 1940, 191). jević, opirući se kolonijalnom i orijentali­ Continuing further on her journey east, stičkom diskursu, nudi drugačiju sliku towards Palestine and Syria, in the last stvarnosti. Nasuprot pukim nabrajanjima paragraph the author bids Egypt farewell: lokaliteta i pohodu ka unapred određe­nim, “Leaving Egypt that I may never see again, kulturnim i turističkim tačkama, onako I leave with a heart full of memories: of kako su navedene u nekom Bedekeru, ona people from Antiquity, and the woman of želi da osluškuje neprimetne i tihe glasove the New Century: that woman who, en- Drugih, ne svodeći ih na puke objekte in- dowed with all the virtues which adorn teresovanja. a woman and who has wholly dedicated Čitajući svedočanstva sa putova­nja herself to the good of her homeland – her Jelene Dimitrijević i Dese Dugalić, mi compatriots, Egyptian women” (Dimitrije- kao čitaoci gradimo, poput samih pisaca, vić 1940, 234). određene stavove, vrednosne sudove i pre- Although created in the same period drasude. Prisvajajući ili opirući se ovim opi- and even though written by women, these sima, kroz njih stvaramo sliku o Drugom, two travel writings create and convey the ali i sliku o Sebi, te stoga putopisi imaju image of the imagined Other, in two very značajnu ulogu u prenošenju, stvaranju different ways. On the one hand, Desa ili dekonstrukciji stereotipa i predstava o Dugalić reveals little in her travel writing udaljenim nacijama i kulturama. Ove dve about contemporary Egypt, its socio-polit- putnice, Jelena Dimitrijević i Desa Duga­lić, ical or social circumstances, while, on the svaka na svoj način doživljavaju Egipat, i other hand, resisting colonial and Orien- pozivaju čitaoce da tragom ispisanih reči u talist discourse, Jelena Dimitrijević offers sebe utisnu sopstveno viđenje Drugog. a different image of reality. In contrast to only listing sites and her quest of prede- termined, cultural and tourist locations, as they were mentioned in the Baedeker, she wishes to hear the unnoticeable and quiet voices of Others, not reducing them to mere objects of interest. Reading the travel testimonies of Jele- na Dimitrijević and Desa Dugalić, we as readers create, just like the writers them- selves, certain attitudes, value judgments and prejudices. Appropriating or resisting these descriptions, through them we cre- ate an image of the Other, but also an im- age of Ourselves, and therefore travel writ- ing plays an important role in transferring, creating or deconstructing stereotypes and images about distant nations and cul- tures. These two women travellers, Jelena Dimitrijević and Desa Dugalić, having each in their own way experienced Egypt, invite readers to, by following the lead of the printed word, imprint within themselves their own vision of the Other.

60

DAROVI TITU Egipat u fondu Muzeja istorije Jugoslavije1

Gifts for Tito Egypt in the Collections of the Museum of Yugoslav History1

Aleksandra Momčilović Jovanović Aleksandra Momčilović Jovanović kustos, Muzej istorije Jugoslavije Curator, Museum of Yugoslav History

Uvodna razmatranja Preliminary Thoughts Iz perspektive istorije dugog trajanja2 može From the perspective of long-term histo- izgledati neobično što su Balkansko polu- ry2 it might seem unusual that the Balkan ostrvo i severna obala Afrike, iako deo peninsula and the northern coast of Africa, mediteranskog kulturnog područja, naj­ despite the fact that they are part of the intezivniju komunikaciju imali tek polovi- Mediterranean cultural sphere, developed nom XX veka. Iako su trgovački brodovi the most intense communication as late cirkulisali Sredozemljem tokom srednjeg as the mid-twentieth century. Although veka prevozeći skupocene tkanine sa Dale­ merchant ships circulated the Mediterra- kog i Bliskog istoka, a rudu, med, stoku sa nean all through the Middle Ages, carrying Balkana na Istok (Pečar 1958, 316–317), tek valuable textiles from the Far and Near 1955. godine na brodu Galeb započeo je East, as well as ore, honey and livestock dijalog dvojice vođa progresivne političke from the Balkans to the East (Pečar 1958, misli koji će u narednih nekoliko decenija 316–317), it was not before 1955 on the ship zbližiti jadransku obalu i deltu Nila, kako named Seagull that two leaders of progres- se tada mislilo, zajedničkom vizijom budu- sive political thought engaged in dialogue, ćnosti. Deo odgovora je svakako i u speci- which would bring together the Adriatic fičnoj dinamici istorijskih kretanja prošlog Coast and the Nile Delta through the idea veka, no tadašnjom zvaničnom retorikom of, as was presumed at the time, a vision of

65 dominirala je ideja o bliskosti egipatskog a joint future. Part of the answer may sure i jugoslovenskog naroda, o sličnom istorij­ be found in the specific dynamic of histori- skom iskustvu, zajedničkoj želji za oslobođen- cal events of the last century; however, the jem i uspostavljanjem novog druš­tvenog dominant rhetoric of the time was based poretka. on the idea of closeness of the Egyptian and Pristupila sam temi sa idejom da kroz Yugoslav peoples, their related historical materijalne tragove u Muzeju istorije Ju- experience, shared desire for freedom and goslavije, kao i fototeku i arhiv Josipa Bro- the establishment of a new social order. za Tita ispitam da li se kod nas čuvaju sve- My research approach is based on the dočanstva o tome koliko su narodi zapravo idea that the Museum of Yugoslav Histo- komunicirali i da u tom kontekstu pred- ry’s objects, photo-archive and the archive stavim ove fondove. of Josip Broz Tito, offer material testimony Diplomatska aktivnost Josipa Broza which might support the notion of the ex- tokom gotovo četiri decenije bila je toliko tent to which the peoples actually commu- plodna da bi se o odnosu Jugoslavije s nicated and to present the collections in mnogim zemljama sveta mogla napraviti such a light. zasebna monografija. Ipak, nema mnogo The diplomatic activity of Tito over the zemalja s kojima je bilaterala bila toliko course of four decades was so illustrious intentzivna kao sa Egiptom. Uz Nehrua, that there is sufficient enough material Naser i Tito su idejni tvorci Pokreta nesvr- to make a separate monograph for each stanih, koji se početkom šezdesetih godina country. However, there are few countries XX veka pojavljuje na svetskoj političkoj that stand in line Egypt when it comes to sceni kao alternativa blokovskoj podeli bilateral relations. Besides Nehru, Nas- sveta. Lideri Indije i Egipta imali su i u sim- ser and Tito are the founders of the Non- boličkom i u praktičnom smislu poseban Aligned Movement, which appeared on status u dijalogu s Jugoslavijom, koji je od the world political scene in the early 1960s pedesetih do kraja sedamdesetih godi- as an alternative to the block division of na prošlog veka regulisan tripartitnom the world. In both symbolic and practical saradnjom. Bliskost stavova i međusob- terms the leaders of India and Egypt had no razumevanje ova tri lidera, naročito u special status in their dialogue with Yu- početnim susretima, posebno se isticala. goslavia, which was regulated through tri- Simbolički oni su predstavljali i tri konti- partite cooperation from the 1950s to the nenta – Aziju, Afriku i Evropu. late 1970s. The political views and mutual Iako sa vizijom i ambicijom da po­ understanding between the three leaders stane više od memorijala Josipa Broza, particularly stood out in their early en- fond Muzeja istorije Jugoslavije još uvek counters. Symbolically, they represented presudno definišu upravo svedočanstva three continents – Asia, Africa and Europe. Brozove diplomatije – pokloni iz zemlje Besides its vision and ambition to be- i sveta: vredni primerci svetske kulturne come more than a memorial centre for baštine, umetnička dela, predmeti vrhun- Josip Broz Tito, the collections of the Mu- ske zanatske izrade, skupoceni nakit i seum of Yugoslav History are still crucial dekorativni predmeti za enterijer, razne in defining the testimonies of Tito’s diplo- rukotvorine itd. Prikupljanje i objedinja- macy. These include gifts from the country vanje podataka o okolnostima u kojima and the world: valuable examples of the su pokloni uručeni, među desetinama world’s cultural heritage, art works, mas- predmeta iz Egipta, u Muzeju s ovako hete­ terfully crafted objects, precious jewellery rogenim i obimnim fondom3 za nas je bio and decorative objects, a variety of hand- mali istraživački poduhvat4. made objects, etc. Collecting and unifying Bez obzira na širinu i važnost ove teme data about the circumstances in which a za regionalnu istoriju, njome se relativno certain gift is given, among dozens of ob-

67 malo bavilo. Mnogo je uglova iz kojih bi ova jects from Egypt, within a museum with priča mogla da se ispriča, a za ovu priliku such a heterogeneous and extensive col- izabrala sam osim najreprezentativnijih, lection,3 presented a small research enter- u protokolarnom smislu, i predmete koji prise of sorts.4 možda predstavljaju trag produbljivanja Regardless of the breadth and impor- veza između dva naroda i korak dalje od tance of this topic for regional history, it zvaničnog nivoa komunikacije. has not received adequate attention. There are many angles from which this story can be told; however for this occasion besides Darovi iz Egipta choosing the most representative muse- U antropologiji je poznato da je razmena um pieces except in terms of protocol, I darova jedan od fundamentalnih vidova also included items that might represent komunikacije kroz koju se reprodukuju traces of deepening ties between the two moralne vrednosti zajednice (Mos 1982). nations and a step beyond the official level Institucija protokola i razmena poklo- of communication. na kao kodifikovano ponašanje pred- stavljaju univerzalan obrazac kojim se u komunikaciji neutrališu kulturološke Gifts from Egypt razlike. Gestovni razgovor između pred- It is commonly accepted in anthropolo- stavnika dve strane na međunarodnom / gy that the exchange of gifts is a funda- međudržavnom nivou prilagođava se pri­ mental form of communication through lici i nivou zvaničnika, a odnos predstavni- which moral values of a community are ka odslikava odnos dve zemlje. Razmena reproduced (Mos 1982). The institutions of poklona ne mora da bude sastavni deo protocol and the exchange of gifts as cod- protokola i nije obavezna prilikom svakog ified behaviour form a universal pattern susreta. Prilikom razmene veoma se vodi that neutralises cultural difference in the računa o tome da se uzajamni pokloni usk- communication process. Gestural conver- lade prema vrednosti i simbolici. Program sations between representatives from two posete planira se unapred – obično jedna different sides on an international / in- strana predlaže, druga odobrava ili pri- ter-state level accommodate to the specific lagodi i koriguje, a na kraju se odobrenje circumstances and the rank of the officials, traži i od samog predsednika. while the relationship between the repre- Dinamika odnosa Jugoslavije i Egipta sentatives is a reflection of the relations pojačava se pedesetih godina XX veka. Prvi between the two countries. The exchange susret Tita i Nasera u Suecu na brodu Galeb of gifts does not necessarily have to be part prilikom Titovog povratka iz Indije febru­ of the protocol and is not required upon ara 1955. godine otvorio je vrata budu- every meeting. During the exchange much ćoj intenzivnoj saradnji na političkom, care is taken that the gifts are equal in val- ekonomskom i kulturnom planu. Već u ue ​​and symbolic content. The program of decembru iste godine Tito dolazi u prvu the visit is planned in advance – usually zvaničnu posetu Egiptu. Tada je za 10 dana one party makes the proposal, the other obišao zemlju od Asuana do Aleksandrije i grants or modifies it, and finally the ap- dočekao Novu godinu u Luksoru. proval of the president is requested. Na kraju posete, 5. januara 1956, u The dynamics in the relationship be- Palati Koubbeh, jednoj od tri rezidencije5, tween Yugoslavia and Egypt intensified Naser je poklonio Titu srebrni servis za during the 1950s. Tito’s first encounter čaj i koverat sa opisom drugog poklona with Nasser took place on the Seagull in the koji, zbog velike težine, nije lično uručen Suez, upon Tito’s return journey from India već je trebalo da bude utovaren na Galeb. in February 1955, and it was this meeting Međutim, kako u šifrovanom telegramu which opened the door to intense future

68 upućenom 13. januara jugoslovenskoj cooperations on a political, economic and ambasadi u Kairu piše šef protokola Pred- cultural level. Already in December of the sednika Republike Sloven Smodlaka, ovaj same year, Tito made his first official vis- predmet „antičke vrednosti”6 nije dosta­ it to Egypt. Over the course of 10 days, he vljen. Naime, „po povratku druga Prets- travelled the country from Aswan to Al- ednika u Beograd, utvrđeno je da Egipćani exandria and celebrated the New Year in nisu predali tu veliku kamenu vazu.”7 Luxor. Krajem februara u Rijeku stiže sanduk At the end of the visit, on January 5, 1956 u kome je jedna vaza od alabastera i tu bi in the Koubbeh Palace, one of the three res- trebalo da je priči kraj. Međutim, prilikom idences5, Nasser gave Tito a silver tea service primopredaje u Kairu „Veliki Chambellan” and an envelope with a description of the (šef kabineta) je rekao da poklonjena vaza other gift which due to its excessive weight teži šest stotina kilograma, dok ova ima was not personally handed, but was to be oko šezdeset! Takođe, trebalo bi da je prva loaded onto the Seagull. However, as an en- okrugla i od kamena, dok je ova duguljasta crypted telegram, addressed to the Yugoslav i od alabastera. Slučaj dodatno komplikuje Embassy in Cairo on January 13, by the Chief i to što osim natpisa na sanduku „Cabinet of Protocol of the President of the Republic du President” i broja 5618 na predmetu, Mr. Sloven Smodlaka stated, this object “val- nije stiglo nikakvo propratno pismo. Šef ued as antiquity”6 was not delivered. Namely: protokola po izgledu vaze i broju ceni da “upon the return of Comrade the President to je reč o muzejskom predmetu i pretposta­ Belgrade, it was noted that the Egyptians did vljajući da je, uprkos nepodudarnostima, not submit the large stone vase.”7 ipak reč o vazi koju je Naser poklonio, šalje In late February, a chest enclosing an ala- hitan telegram Ambasadi u Kairu s mol- baster vase reached Rijeka and that should bom da razjasne stvar. U roku od nedelju have been the end of the story. However, dana jugoslovenski ambasador Marko Ni- during the official gift-giving in Cairo, the kezić šalje odgovor da se „Veliki Chambel- “Great Chamberlain” (chief of staff) said

Posuda od alabastera (detalj) Egipat

Datirana na oko 2750. godine pre n. e. Pronađena je 1935. godine u Džoserovoj piramidi u Sakari. Visina: 69,3 cm, maksimalni prečnik 22,5 cm. Inv. br. 2132 M.

Poklon Gamala Abdel Nasera 1956. godine.

Alabaster jar (detail) Egypt

Circa 2750. B.C. It was found in 1935 in Djoser’s Pyramid in Saqqara. Height: 69,3 cm, maximum diameter 22,5 cm. Inv. No. 2132 M.

Gift from Gamal Abdel Nasser in 1956.

69 Posuda od alabastera Egipat

Datirana na oko 2750. godine pre n.e. Pronađena je 1935. godine u Džoserovoj piramidi u Sakari. Visina: 69,3 cm, maksimalni prečnik 22,5 cm. Inv. br. 2132 M.

Poklon Gamala Abdel Nasera 1956. godine.

Alabaster jar Egypt

Circa 2750. B.C. It was found in 1935 in Djoser’s Pyramid in Saqqara. Height: 69,3 cm, maximum diameter 22,5 cm. Inv. No. 2132 M.

Gift from Gamal Abdel Nasser in 1956. lan” ne seća da je sa bilo kim razgovarao o the vase was supposed to weigh six hun- težini, obliku i materijalu od koga je vaza dred kilograms, not sixty! Also, the vase i potvrđuje identitet poslatog predmeta. was supposed to be round and of stone, Početkom aprila 1956. u Kabinetu Predsed- not an alabaster elongated one. The case nika napravljena je službena beleška o sve- was further complicated by the fact that mu ovome čime je slučaj zatvoren, a Tito o apart from the label on the box “Cabinet svemu dva dana kasnije obavešten.8 du President” and the number 5618 on the Uz vazu u Muzeju se čuva i sertifikat iz object, there was no accompanying cover Muzeja u Kairu, čiji prevod glasi: „Posu- letter. The Chief of Protocol judged that, da od alabastera kupastog oblika. Visina: according to the appearance and number 69,3 cm. Maksimalan prečnik: 22,5 cm. on the vase, it was a museum object and Pronađena 5. maja 1935. godine u ste- assuming that, despite the discrepancies, penastoj piramidi u Sakari, u kojoj je bio the vase was in fact a gift from Nasser, he sahranjen kralj Džoser (treća dinastija­ – sent an urgent telegram to the Embassy oko 2750. g. pre n. e.). Ova posuda je jedan in Cairo, requesting the clarification of the od više hiljada sličnih komada, a svi oni matter. Within a week, the Yugoslav am- su predstavljali posuđe namenjeno upo- bassador Marko Nikezić sent a response trebi od strane Kralja u zagrobnom živo- that the “Great Chamberlain” did not tu. Iskopavanje izvršilo Ministarstvo za remember talking to anyone about the starine.” weight, shape or material of the vase, thus Osim toga što svaka naznaka ljudskosti confirming the origin of the sent item. In u moru prepiske o pripremi i toku susre- early April 1956, the Office of the Presi- ta dele­gacija, spiskova zvanica, predloga dent made an official note with which the poklona i tako dalje, obraduje istraživača, whole case was closed, and Tito informed ovaj nesporazum indirektno nudi nekoliko about two days later.8 dragocenih informacija. S aspekta antro- The vase is accompanied with a certif- pologije posebno je zanimljivo preuveliča- icate from the Museum in Cairo, which vanje dimenzija poklona. Iako ne možemo reads: “Conical alabaster vessel. Height: tačno utvrditi odakle podaci o vazi od ­600 69.3 cm. Maximum diameter: 22.5 cm. kg,­ ovo predstavlja dragocenu informaciju Found May 5, 1935 in the step pyramid at koja može da ukaže na tendenciju mistifik- Saqqara, where King Djoser was buried acije predmeta razmenjenih na ovako vi- (Third Dynasty – around 2750 BC). This ves- sokom nivou, pogotovo poreklom iz Egipta, sel is one of a thousand similar pieces, all što posebno može sugerisati grandioznost .9 of which were vessels intended for use by Priča o vazi dobija epilog gotovo šezde- the king in his afterlife. The excavation was set godina kasnije kada smo u Muzeju iz- conducted by ​​the Ministry of Antiquities.” merivši je, utvrdili da teži 27 kg !10 Aside from the occasional hint of hu- Oružje zanatske izrade spada u jednu man contact found in a sea of ​​correspond- od najvrednijih kolekcija u Muzeju. Kao ence consisting of notes on the preparation vrhunski primer zanatskog umeća i tradi- and course of meetings between delega- cionalni simbol hrabrosti i junaštva, oružje tions, guest lists, gift suggestions, etc. – all je veoma čest protokolarni poklon. U kol- of which sincerely gladdens the researcher ekciji ima vatrenog i hladnog, lovačkog – this misunderstanding indirectly offers i oružja za borbu, kao i ceremonijalnog valuable information. What is particularly oružja. Najviše ima predmeta iz Afrike, interesting from an anthropological point zatim Azije, a od evropskog najviše je zas- is the extent to which the dimensions of tupljeno oružje sa Balkana korišćeno u the gift were exaggerated. Even if we are vreme Osmanlijskog carstva. not able to discern where the idea about a Jedini predmet u kolekciji oružja zanat- six hundred kilogram vase came from, the ske izrade iz Egipta je zlatna sablja koju je fact in itself is valuable because it implies

71 Josipu Brozu Titu poklonio Anvar el Sadat the tendency towards the mystification of 1961. godine dok je bio Predsednik skupš- objects exchanged on such a high official tine Ujedinjene arapske republike (UAR).11 level, especially if it is from Egypt, which Nakon posete parlamentarne delega­cije, might in itself imply grandeur.9 ambasador UAR je „došao da preda poklon The story about the vase reached its ep- za druga Predsjednika i drugaricu Jovanku. ilogue almost sixty years later when we, Ovo čini u ime predsjednika njihove Par- at the Museum of Yugoslav History, upon lamentarne delegacije Anvara el Sadata. weighing it determined that it weighed 27 Za druga Predsjednika predaje mač za kilos!10 koji misli da je od umetničke i hi­storijske Handcrafted weapons constitute one of vrednosti kao stari rad. Za drugaricu Broz the most valuable collections in the Muse- predaje kutiju, sirijski nacionalni rad, i um. As a prime example of craftsmanship tepih, egipatski nacionalni rad” .12 and a traditional symbol of courage and U predmetnom kartonu stoji da sablja bravery, weapons are a common official ima blago povijeno jednoseklo sečivo iz- gift. The collection holds firearms and cold rađeno od visokopoliranog čelika, a dr­ weapons, fighting and hunting weapons, ška, persijskog tipa, obložena je navojima as well as ceremonial weaponry. Most of zlatne žice, livenjem, graviranjem, zum- them are from Africa, followed by those banjem i filigranom. Krsnica sa kratkim from Asia, while European weapons main- kracima i višestranim piramidalnim dug- ly include those used in the Balkans during metom je od zlata. Drška je gravirana ge- the Ottoman Empire. ometrijskim motivima. Na koricama od The only object in the handcrafted drveta obloženim zlatom sa graviranim weapons collection from Egypt is a golden floralnim geometrijskim motivima nalaze sabre given to Josip Broz Tito by Anwar El se dva zlatna pokretna prstena. Upotre- Sadat in 1961, while he was President of the bljen je oko jedan i po kilogram četrnaest- United Arab Republic (UAR) Assembly.11 karatnih zlatnih obloga. Sablja je smešte- After the visit of the parliamentary delega- na u drvenu kutiju presvučenu crvenim tion, the UAR Ambassador “came to hand plišem, a unutrašnja strana poklopca over the gift to Comrade Tito the President postavljena je belom svilom. Bravice na and Comrade Jovanka. He does so in the kutiji su od zlata. name of the president of their Parliamen- Čitalac bi bio uskraćen za bitan aspekt tary delegation Anwar el Sadat. He gives ove komunikacije ako ne bi bio upoznat s the sabre to Comrade the President, be- tim šta se još našlo među darovima na re­ lieving it is of artistic and historical value laciji Tito ­­– Naser i Tito ­­– El Sadat. S Egipća­ as an old craft object. To Comrade Jovanka nima se ustalila praksa da se razmenjuju he delivers a box, a Syrian national craft voće, povrće, sokovi i piće.13 Bilo je takvih and carpet, and an example of Egyptian slučajeva i sa drugim zemljama, ali ne to- national craftwork.”12 liko često. Tako je u jednoj turi 1966. godine The object’s fact-sheet states that the Naser poslao šesnaest sanduka manga. sabre has a slightly curved, single-edged Uzvraćeno je sa šesnest sanduka suvih šlji­ blade made from highly polished steel va.14 Naser je za Novu 1970. godinu pos- and that the Persian type handle is coated lao pomorandže, a uzvraćeno je jonatan with gold thread wire, by casting, engrav- jabukama i šljivama.15 Običaj je nastavljen ing, hole-punching and filigree. The hilt’s i kada je El Sadat došao na čelo države, guard has short points and a pyramid-like a voće je slato i Naserovoj udovici.16 Pri- button made of gold. The handle is en- likom posete 1972. godine Anvar el Sadat graved with geometric motifs. The wood- je poklonio Titu tri sanduka konjaka, dva- en casement is covered in gold with en- naest sanduka vina i dvadeset pet sanduka graved floral, geometric designs and two raznog povrća koje je zbog niskih tempe­ golden movable rings. One and a half kilo,

72 Sablja (zlato, srebro, čelik, drvo) fourteen carat gold lining was used. The Egipat sabre is kept in a wooden box covered in Predmet nije datiran. D.s. 91 cm, D.d. 11,5 cm; red velvet, and the inside of the lid is lined D.k. 93 cm. Inv. br. 73 OZP. with white silk. The small locks on the case

Poklon Anvara el Sadata 1961. godine. are made of gold. Without knowing what other objects were part of the mutual exchange of gifts Sabre (gold, silver, steel, wood) Egypt between Tito and Nasser, and Tito and El Sadat, the reader would be deprived of an The object has not been dated. D.s. 91 cm, D.h. 11,5 cm; important aspect of their communication. D.c. 93 cm. Inv. No. 73 OZP. With the Egyptians it became a customary Gift from Anwar El Sadat in 1961. practice to exchange fruits, vegetables, juices and beverages.13 Such cases were recorded with other countries, but not to such an extent and with such regularity. Upon one such delivery in 1966, Nasser sent sixteen containers of mango. Sixteen boxes of prunes were sent in return.14 For New Year 1970, Nasser sent oranges, for which he received Jonathan apples and plums15 This habit continued when Al Sa- dat became the head of state, and fruit was received even by Nasser’s widow.16 Upon his visit in 1972 Anwar El Sadat brought Tito three cases of brandy, twelve cases of wine and twenty-five containers with var- ious vegetables which froze, due to low temperatures in the USSR where the Egyp- tian president was on a previous visit. Tito reciprocated with fifty pounds of Golden Delicious apples.17 In addition, a particular investigative piquancy is most certainly the tent which Nasser’s children received from the Broz couple upon their visit to Brioni.

Instead of a Conclusion In comparison to the number of official gifts, it was only from certain countries that citizens, ordinary folk sent gifts to the president of Yugoslavia. In November 2010, we were conducting the revision of the former Ethnographic Collection in the Old Museum building. A three-member committee in jackets and woollen jump- ers worked on a Monday when the exhi- bition spaces are closed to the public and not heated. Out of deep metal drawers, in small storage spaces, with white gloves on,

73 ratura u SSSR-u, gde je egipatski pred­ we drew hundreds of textiles, one by one, Tekstilni predmeti za enterijer (dezenirani cvilih) Egipat sednik prethodno boravio, bilo promrzlo. carefully inspecting them and returning Druga polovina XX veka. Tito je uzvratio sa pedeset kilograma jabu- them with even more care. Among the cos- Dimenzije stolnjaka 265 x 192cm; ka zlatni delišes.17 Osim ovoga, istraživačku tumes, towels, pillowcases and tablecloths dimenzije salveta 64 x 66,5 cm. Inv.br. 1657 E. pikanteriju predstavlja i podatak da su na often carrying dedications to Tito and/or primer Naserova deca od Brozovih, pri- with a five-pointed star, we occasionally Darodavac nepoznat. likom posete Brionima, dobila šator. came across a piece of Indian silk, Ethiopi-

an gauze, royal fabrics from Ghana, cloaks Textiles for interior decoration (patterned ticking) worn by nomadic tribes of North Africa. Egypt Umesto zaključka These are mainly “second-rate” gifts sent Second half of the twentieth century. Tablecloth dimensions 265 x 192cm; U odnosu na količinu protokolarnih poklo- by lower ranking officials, aficionados, work Napkins dimensions 64 x 66,5 cm. na, svega je nekoliko zemalja sveta čiji su collectives, organisations, associations, etc. Inv.No. 1657 E. građani, običan svet, slali darove predsedni- Even though my colleague an archaeolo- Unknown benefactor. ku Novembra 2010. radili smo reviziju tada gist, often loses his patience among such Etnografske zbirke u objektu Stari muzej. bric-a-brac, occasionally his enthusiasm Tročlana komisija u jaknama i gunjevi- rises. Surprised, we conclude that the fac- ma radi ponedeljkom kada su izložbene tory-made table-set and bed-set, which are sale zatvorene za publiku i ne greju se. Iz very similar to what might have been found dubokih metalnih fioka u malim depoi- in the average Yugoslav household in the ma belim rukavicama izvlačimo­ stotine 1970s and 1980s, are in fact from Egypt. tekstilnih predmeta, jedan po jedan, pažl- The inventory number 2947/E includes jivo ih pregledamo i još pa­žljivije vraća- a tablecloth and four mats from Cairo, of mo na mesto. Među nošnjama, peškiri- contemporary production, made from

74 Stoljnjak i podmetači (panama platno) ma, jastučnicama i stolnjacima često sa greenish-blue Panama cloth woven with Kairo, Egipat posvetama Titu i/ili petokrakom, nađe se a colourful weft in the form of stylized Druga polovina XX veka. Dimenzije stolnjaka 93x42 cm; i poneki komad indijske svile, etiopskih branches with tasselled edges. The second dimenzije podmetača 43x32 cm. gaza, kraljevskih tkanina iz Gane, ogrtača group under the inventory number 1657/E Inv. br. 2947. nomadskih plemena severne Afrike. Tu consists of two bedspreads, a tablecloth Darodavac nepoznat. su, uglavnom, pokloni „drugog reda” koje and twelve coasters made from strong and su poslali niži zvaničnici, poštovaoci, radni thick patterned ticking.

Tablecloth and napkins (Panama cloth) kolektivi, organizacije, udruženja... Iako These pieces are only at first glance Cairo, Egypt kolega arheolog ponekad izgubi strpljenje of lesser importance. Official gifts, when Second half of the twentieth century. sa svim tim krpicama, desi se da ga ponešto they are a form of cultural heritage, are a Tablecloth dimensions 93x42 cm; Napkins dimensions 43x32 cm. obraduje. Sа čuđenjem konstatujemo da gift to humanity. They are consciously and Inv. No. 2947. su komplet za sto i krevet fabričke izrade forever alienated through the gesture of

Unknown benefactor. koji se ne razlikuju od nečega što bi moglo goodwill in order to communicate culture. da se nađe u prosečnom jugo­slovenskom­ However, there is a chance bordering the domaćinstvu sedamdesetih i osamdesetih ephemeral that we may find traces of cul- godina prošlog veka, zapravo iz Egipta. tural merging of a more profound nature. By Predmeti pod inventarnim brojem merely opening the door of a small world, 2947/E su stolnjak i četiri podmetača iz the pieces will tell us that living in Egypt Kaira savremene izrade, od rezeda pa­ in the second half of the twentieth centu- name, pretkane raznobojnom potkom u ry meant having something in common vidu stilizovanih grančica sa resama po ivi- with people from the other side of the cama. Drugu grupu pod inventarnim bro- Mediterranean, in Yugoslavia. Great (ar- jem 1657/E čine dva prekrivača za krevet, tefacts) without the small ones would end

75 stoljnjak i dvanaest podmetača od deze- up being self-explanatory and would not niranog cviliha. convey whether all those encounters bore Ovi predmeti su samo na prvi pogled meaning for the people due to whom and manje značajni. Zvanični pokloni, kada su in whose name they functioned as gifts. predmeti kulturne baštine, predstavlja- Objects kept at the Museum of Yugoslav ju dar čovečanstvu. Oni su svesno zauvek History are in themselves not, after all, ev- otuđeni gestom dobre volje da bi komu- idence enough of the extent of cultural ex- nicirali kulturu. Međutim, postoji šansa da change and established contacts between na granici efemernog pronađemo tragove the Serbian and Egyptian people. In order dubljeg prožimanja kultura. Samo otvorivši to gain a more complete picture it is neces- vrata malog sveta, predmeti će nam reći da li sary to include empirical research of a wid- je živeti u Egiptu u drugoj polovini XX ve­ka er scope. This work lies ahead of us and it is značilo imati nešto zajedničko sa ljudima my hope that this monograph is a crucial sa druge strane Mediterana, u Jugoslaviji. step towards future research. Veliki (predmeti) bez malih ostali bi da ob- jašnjavaju sami sebe i ne bi rekli da li su i šta svi ti susreti značili ljudima zbog kojih i u ime kojih su i darovani. Predmeti koji se čuvaju u Muzeju istorije Jugoslavije ipak ne mogu sami posvedočiti domete kulturne razmene i kontakte srp- skog i egipatskog naroda. Da bi se slika o tome upotpunila, neophodno je uključiti i empirijsko istraživanje širih razmera. Taj deo posla nam tek predstoji, a nadam se da će ova monografija biti jedan od ključnih koraka u pokretanju daljih istra­živanja.

Gamal Abdel Nasser (1918-1970) predvodio je revoluciju 1952. go­ dine kojom je zbačena egipatska monarhija. Bio je pukovnik u egipatskoj vojsci i predsednik Egipta od 1956. do smrti 1970. go- dine. Revolucija je dovela do perioda modernizacije i socijalističkih reformi, zajedno sa temeljnim unapređenjem pan-arapskog na- cionalizma. Ostaće najmarkantnija politička figura u savremenom arapskom svetu, a zajedno sa Josipom Brozom Titom i indijskim premijerom Džavarhalal Nehruom smatra se jednim od osnivača Pokreta nesvrstanih.

Gamal Abdel Nasser (1918-1970) was the leader of the 1952 Revolu- tion which dethroned the Egyptian monarchy. He was a colonel in the Egyptian Army and president of Egypt from 1956 until his death in 1970. The Revolution brought on a period modernization and so- cialist reform, along with the fundamental promotion of pan-Arab nationalism. He remains the most remarkable political figure in the modern Arab world, considered to be one of the founders of the Non-Aligned Movement together with Josip Broz Tito and Indian Prime Minister Jawaharlal Nehru.

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EGIPATSKA UMETNOST Značajne beogradske izložbe egipatske likovne i primenjene umetnosti u drugoj polovini XX veka

EGYPTIAN ART Important Belgrade Exhibitions of Fine and Applied Arts in the Second Half of the 20th Century

Narcisa Knežević-Šijan Narcisa Knežević-Šijan istoričar umetnosti, muzejski savetnik Art historian, Museum counselor

zuzetan razvojni put moderne egipatske he extraordinary development of umetnosti formalno je započeo 1908. go­­ Egyptian modern art officially com- Idine, osnivanjem Škole za likovnu umet- Tmenced in 1908 with the founding nost u Kairu. Političari i intelektualci, koji od of The School of Fine Arts in Cairo. Politicians 20-ih godina prošlog veka predvode­ anti­ and intellectuals, who led the anticoloni- kolonijalni proces i izgradnju nezavisne al process and were among the builders države-nacije, pružili su značajnu­ podršku of the independent state-nation during umetničkim institucijama i stvaraocima, the 1920s, were important supporters of dok su dela pionira, poput Mahmuda Mu- art institutions and artists. At the same htara, Mohameda Nagija, Rageba Ajada i time, works of pioneers such as Mahmoud drugih, dala važan doprinos potvrđivanju Mukhtar, Mohamed Nagi, Ragheb Ayad državne samobitnosti i oblikovanju na- and others, made an important contribu- cionalnog identiteta u projektu svestrane tion to the affirmation of state independ- emancipacije. ence and formation of national identity, Faraonska, islamska i evropska umet- part of the overall project of emancipation. nost, arapsko, koptsko, afričko i mediteran- The art of the Pharaohs, Islamic and Eu- sko nasleđe predstavljaju izvore inspiracije ropean art, as well as the Arabian, Coptic, i uticaja koji doprinose, u nejednakoj meri African and Mediterranean heritage are u pojedinim razdobljima, stvaranju jedin- all sources of inspiration and influence,

81 stvenog kreativnog okruženja. Prisutni su which add to the development, albeit in i stalni izazovi dihotomije između tradi- an unequal extent depending on the his- cionalnih vrednosti i modernih shvatanja torical periods, of a unique background for (pored zahteva za nacionalnom utilizaci- creativity. Also evident are the persistent jom). challenges brought on by the dichotomy Izgrađen odnos prema nacionalnom of traditional values and modern concepts identitetu i kulturi objedinjuje sve pravce (besides the needs for utilization for na- dinamičnog razvitka egipatske umetnos- tional purposes). ti u XX veku. Raznolika strujanja i ten- A formed approach to national iden- dencije tokom stotinak godina njenog tity and culture is the link between all slobodnog razvitka teško se mogu opisati movements in the dynamic development i sistematizovati uobičajenim terminima of Egyptian art in the twentieth century. i možda je uputnije govoriti o naročitim Different art movements and tendencies modelima razmišljanja i reakcijama u in art over the course of a hundred years specifičnom socijalnom, političkom i ver- of its free growth are difficult to describe skom kontekstu. and systematise by employing tradition- Generacije umetnika, stalno u istra­ al terms and it may be more appropriate, živačkom i generativnom procesu, na­ perhaps, to speak of particular models of stavljaju da neguju stvaralačke načine thought and reactions in a specific social, interpretacije društvene realnosti i arti- political and religious context. kulišu različite tradicije i uticaje prisutne Generations of artists, in a constant in- u zajednici.­ Tragajući za optimalnom me­ vestigative and generative process, con- rom transformacije elemenata koje bašti- tinue to nurture creative interpretations ni istorijom bogato i slojevito egipatsko of social circumstances and to articulate društvo, dosežu do autentičnih hibridnih different traditions and influences present kreacija s aktivnom socijalnom funkcijom. in the community. In search of the optimal Novija politička istorija Egipta obeleže- transformation of elements, which are na je, pored ostalog, učešćem u Pokretu the legacy of a historically rich and multi- nesvrstanih zemalja. Na principima miro­ layered Egyptian society, authentic hybrid ljubive koegzistencije, tokom izazovnog peri- creations with an active social function are oda u razvitku savremene države, od poče­ achieved. tka 60-ih godina proteklog stoleća, raz- The more recent political history of vijani su i bliski politički odnosi i savezni­ Egypt is marked, among other things, by štvo sa Jugoslavijom i Srbijom, najvećom its participation in the Movement of Non- republikom bivše balkanske zajednice. Aligned Countries. Founded on the princi- Nije neobično da pored postojećih pute- ples of peaceful coexistence, throughout the va kulturne razmene i nezavisno od stvar- challenging age of the development of nih umetničkih tokova, državni interesi i the contemporary state, from the begin- mogućnosti određuju ili omoguće veze sa ning of the 1960s, close political ties and različitim centrima stvaralaštva i usposta­ allegiance were cultivated with Yugosla- vljanje novih pravaca prožimanja. Intenzi- via and Serbia as the largest republic of viranje političke, pratila su i nastojanja na the former Balkan confederation. It is not proširenju kulturne saradnje između Ju- unusual that alongside existing paths goslavije i Egipta. U širokim okvirima anti­ of cultural exchange and independently kolonijalne i revolucionarne motivacije za from actual artistic currents, state inter- prestrukturiranjem uobičajenih i okošta- ests and potentials decide upon and allow lih kanala uticaja i kreativnih strujanja, te ties with different centres of art and create njihovom globalizacijom u politički novoj the ground for new amalgamations. The dimenziji, što danas možemo posmatrati intensification of political cooperation was i kao anticipaciju savremenog fenomena followed by efforts to expand cultural co-

82 operation between Yugoslavia and Egypt. Within the wider framework of anticolo- nial and revolutionary motivations, which instigated the restructuring of accepted and stagnant channels of influence and creative flow, consequnetly their globali- zation into a politically new dimension (which may be observed today as the an- ticipation of the contemporary phenom- enon of transnational creativity), we may find the foundations of cultural and artis- tic cooperation between Egypt and Serbia of our time. In contemporary political cir- cumstances, devoid of strategic incentives, these ties become even more valuable and more necessary and the more so as it seems that the experiences and messages of Egyptian artists are important for the constituents of the Serbian cultural space.

The Fine Arts During the seventh and eighth decade of the last century, there were several impor- tant exhibitions of contemporary Egyptian art. The first occurred in the spring of 1962, at the “Cvijeta Zuzorić” Art Pavilion, per- haps the most beautiful exhibiting space transnacionalne kreativnosti, nalaze se i in the centre of town. It left a strong and temelji kulturno-umetničke saradnje iz- very positive impression amongst local među Egipta i Srbije našeg doba. U savre- audiences who up to that point were not menim političkim okolnostima, lišene offered a similar opportunity to discover strateškog podsticaja, ove veze postaju još the wealth of Egyptian artistic treasures. dragocenije i potrebnije, tim pre što se čini In this stunning panorama of contempo- da su iskustva i poruke egipatskih umet- rary art of a country, Egypt presented the nika značajni i za pripadnike srpskog kul- works of recognized masters such as Salah turnog prostora. Taher and Ramses Yunan, however, also younger artists who had just embarked on the journey of self-assertion and the artis- Likovna umetnost tic expansion of their talent and notions Klovn demonstrating the inexhaustible creative U Beogradu, tokom sedme i osme decenije resources of the population of the Nile Abdel-Aziz Darviš prošlog veka, održano je nekoliko značaj­ state, as well as the vitality of the process Izložba savremene egipatske umetnosti u Paviljonu nih izložbi savremene egipatske umetnos- of art education and promotion in the new „Cvijeta Zuzorić”, 1962. ti. Prva u tom nizu, s proleća davne 1962. go­ historical conditions after the revolution dine, u Paviljonu „Cvijeta Zuzorić”, možda of 1952. Among the artists who were yet to The Clown najlepšem izložbenom prostoru u centru contribute significantly to the global - rec Abdel-Aziz Darwish grada, načinila je izvanredno pozitivan i ognition of Egyptian art were Abd El Wa- snažan utisak kod domaće publike, koja do hab Morsi, Nagy Kamel, Salah Abdel-Ker- Exhibition of contemporary Egyptian art in the “Cvijeta Zuzorić” Art Pavillion, 1962. tada nije imala sličnu priliku da se uveri u im, Taha Hussein and Sami Rafi.

83 bogatstvo egipatske umetničke riznice. Na One of the participants of the above ovoj zadivljujućoj panorami savremenog mentioned exhibition was Abdel-Aziz stvaralaštva jedne zemlje Egipat se pred- Darwish (1918–1981), well known for his stavio radovima priznatih majstora poput large-format artworks in public spaces, Salaha Tahera ili Ramzesa Junana, ali i portraits and postimpressionistic land- onih mlađih, koji su skoro krenuli na put scapes reminiscent of Cézanne. We may potvrđivanja i svestranog razvitka svog ta­ thematically link his painting The Clown, lenta i zamisli, pokazujući nepresušne iz- which was presented to the Belgrade pub- vore kreativnosti stanovnika nilske države lic, with Cézanne’s Harlequin. However, i vitalnost procesa umetničkog obrazova­ Darwish was focused on the hidden life nja i afirmacije u novonastalim istorijskim of public entertainers which, being pri- uslovima, posle revolucije 1952. godine. vate, intimate, is inaccessible to the eye Među stvaraocima koji će tek u budućnosti and thoughts of their audience. Unlike the značajno doprineti svetskoj slavi egipat- Harlequin who is standing on the podium ske umetnosti nalazili su se i Abd El Vahab in a superior stage-like posture, in front Morsi, Nagi Kamel, Salah Abdel-Kerim, of a presumed audience, Darwish’s Clown Taha Husein, Sami Rafi... is in his dressing room, leaning his elbow Jedan od učesnika bio je i Abdel-Aziz on the chair, looking very tired. The play of Darviš (1918–1981), poznat po radovima light and shadows emphasizes his facial velikih formata u javnim prostorima, por- expression, staring into empty space, set tretima i postimpresionističkim pejzažima in a gloomy atmosphere and with a bottle sezanovskog stila. Delo Klovn, predsta­ of wine on the floor, in stark discrepancy vljeno beogradskoj publici, možemo i with his colourful costume and the public te­matski dovesti u vezu sa Sezanom i performance. This dichotomy suggests ex- njegovim Harlekinom. Darviš je, međutim, istential angst on a personal level; howev- usmeren na obradu skrivene strane živo- er, such an inspired emotion outlines also ta javnog zabavljača, privatne, intimne, forms of coercion and connotes the occur- nedostupne oku i razmišljanjima njegove rence of mimicry as an unpleasant but, as publike. Dok Harlekin stoji na podiju- the Clown suggests, rational response of mu u superiornoj scenskoj pozi, ispred the individual. pretpostavljenog auditorijuma, Darvišov The artist Salah Abdel-Kerim (1925–1988), Klovn je u garderobi, oslonjen laktom na who was consequently to develop a promi- naslon stolice, i deluje veoma umorno. nent pedagogical career, was also engaged Igra svetlosti i senki ističe izraz njegovog in interior design, stage-design and cos- lica koje se nalazi, zajedno sa odsutnim tume, ceramics, drawing, painting and pogledom u prazan prostor, sumornim sculpture. Back in the late 1950s he start- ambijentom i buteljkom vina na podu, u ed creating objects out of scrap metal, by izrazitom neskladu sa šarenim kostimom i reusing and reassembling discarded parts javnim nastupom. Ta podvojenost izaziva and by partially reshaping and assembling utisak egzistencijalne teskobe na ličnom them into different formations in order to planu, ali tako nadahnuta emocija ocrtava represent real and abstract forms. A par- i obrasce prinude i konotira pojavu mimi­ ticularly notable series of bestiary crea- krije kao neprijatnog ali, kako nam Klovn tures is his sculpture of The Bull, displayed sugeriše, racionalnog odgovora pojedinca. at the Pavilion set in Kalemegdan. The Salah Abdel-Kerim (1925–1988), umet- works from this series appear solid, firm nik koji će ostvariti i veliku pedagošku and almost aggressive, and this is achieved karijeru, bavio se dizajnom enterijera, through the use of sharp metal parts, scenografijom i kostimom, keramikom, which are fitted into the anatomy of the crtežom, slikarstvom i skulpturom. Još kra- represented animals. Abdel-Kerim’s magi- jem 50-ih godina prošlog veka počinje da cal skill is able to purify the aura of the very

84 Bik izrađuje predmete od starog gvožđa, teh- threatening potential of these mythologi- Salah Abdel-Kerim nikom prenamene i uklapanja odbačenih cal beings. The raw, powerful and uninhib-

Izložba savremene egipatske umetnosti u Paviljonu delova, njihovim delimičnim oblikova­ ited nature of these works, inspired by in- „Cvijeta Zuzorić”, 1962. njem i sklapanjem u celine koje prikazuju sights into ancient Mediterranean culture, različite realne i apstraktne forme. African sculptural heritage and traditional craftsmanship, may be associated with the The Bull Naročito je zapažena serija njegovih bestijarijumskih stvorenja, među koje industrialization and political tensions of Salah Abdel-Kerim spada i figura pod nazivom Bik, izložena the time. Exhibition of contemporary Egyptian art in the u kalemegdanskom paviljonu. Radovi iz Another important artist was featured “Cvijeta Zuzorić” Art Pavillion, 1962. ovog ciklusa deluju solidno, čvrsto i gotovo in Belgrade through his sculptural work. agresivno, što se postiže upotrebom oštrih The recently deceased painter and carica- metalnih delova koji se, ipak, uklapaju u turist Nagy Kamel Abdel Megid (1934–2013) anatomiju predstavljenih životinja. Može who displayed his touching composition se reći da ih upravo taj preteći potencijal, titled Prayer. The rich heritage of the region čarobnom veštinom Abdel-Kerima, ople- is reflected in Megid’s dealings with space. menjuje aurom mitoloških bića. Sirova, The figure of a woman, kneeling, her head snažna i nesputana priroda ovih radova, compliantly bowed, is a manifestation of a inspirisana uvidima u stare mediteranske spiritual being’s personal piety. The mono- kulture, povezana s afričkim skulptorskim lithic, cubist, geometric simplicity of form nasleđem i tradicionalnim zanatstvom, and line reveals a certain moral superiority, može se dovesti u vezu s tadašnjom in- as well as an almost inexhaustible capacity dustrijalizacijom i napetostima političkog for endurance and benevolence. This leads života. us to considerations about the position of Još jedan veliki umetnik predstavio se women in modern Egyptian society and u Beogradu svojim skulptorskim stvarala­ the perception of the scene’s diachronic štvom. Nagy Kamel Abdel Megid (1934– immutability, which transcends the pres- 2013), skulptor, slikar i karikaturista, prika- ent moment, as well as local and regional zao je dirljivu kompoziciju pod nazivom realities. Molitva. U Megidovom osećanju prostora The creativity of this benevolent country i rešenjima koja pronalazi oblikujući svoj was shown in the “Cvijeta Zuzorić” Pavillion

85

doživljaj prepoznajemo bogato nasleđe through the works of Seif Wanly (1906-1979), podneblja. Figura žene u klečećem položa- who was at the time a renowned artist of a ju, pokorno oborene glave, predstavlja slightly older generation. In the Mahmoud trenutke ispoljavanja lične pobožno­ Said Museum in Alexandria there is a sti jednog duhovno samosvojnog bića. whole floor dedicated to Seif Wanly and Mono­litnost, kubistička geometrijska his brother Adam Wanly, two pioneers jednostavnost oblika i svedenost linija of modern Egyptian painting, who were iska­zuju moralnu nadmoć, ali i neiscrpne attached to this Mediterranean city and kapacitete trpljenja i blagonaklonosti. its multicultural heritage by birth and To nas vodi ka promišljanjima o položaju through work. žene u savremenom egipatskom društvu Wanly produced a number of first-rate i opažanju dijahronijske nepromenljivosti portraits and representations of everyday prizora, čime se prevazilazi aktuelni trenu- life, however it is through the titles of his tak, ali i lokalna i regionalna stvarnost. work that we reveal his fascination with Kreativno stvaralaštvo prijateljske ze­ music and dance: The Violinist, The Accor- mlje u Paviljonu „Cvijeta Zuzorić” predsta­ dion Player, The Cellist, Bolero, Dancers.., and vljali su i radovi Seifa Vanleja (1906–1979), The Mandolin Player, which was exhibited in još tada veoma cenjenog autora nešto Belgrade. With an open and curious mind, Molitva starije generacije. U aleksandrijskom Seif Wanly examined the different con- Nagi Kamel Abdel Megid Muzejskom centru „Mahmoud Said” danas cepts of European Progressivism created je čitav jedan sprat posvećen Seifu Vanleju since the early twentieth century, pushing Izložba savremene egipatske umetnosti u Paviljonu „Cvijeta Zuzorić”, 1962. i njegovom bratu Adamu Vanleju, dvojici the limits of his expressive possibilities pionira modernog egipatskog slikarstva, through suggestive elaborations of Fauvist Prayer rođenjem i karijerom vezanim za ovaj sre- and Cubist ideas. His works were instruc- Nagy Kamel Abdel Megid dozemni grad i njegovo multikulturalno tive and exciting records of reflections on nasleđe. the inherent nature of a chosen subject, Exhibition of contemporary Egyptian art in the “Cvijeta Zuzorić” Art Pavillion, 1962. Vanli je uradio veliki broj prvoklasnih the discovery and emphasis of a neglected portreta i predstava iz svakodnevnog živo- aspect of reality, the comprehension of re- ta, ali već spisak naziva njegovih dela ot- ality lost in everyday life. A multi-angular kriva opčinjenost muzikom i plesom: Vio- synthesizing of the surface, the creative linista, Harmonikaš, Čelista, Bolero, Igračice.., limitation of artistic expression and the kao i Svirač na mandolini koji je izložen u fairytale-like use of colour is, with Seif, Beogradu. Otvorenog i radoznalog duha, always a way to encourage and direct the Seif Vanlej ispituje različite evropske search for essential meaning. (Ten years progresističke koncepte uobličavane od after this exhibition, we had the privilege početka XX veka, pomerajući granice svo- to witness this artist’s works in Serbia a jih izražajnih mogućnosti sugestivnim second time.) razradama fovističkih i kubističkih ide- ja. Njegovi radovi su poučni i uzbudljivi zapisi o promišljanju imanentne prirode Applied Arts odabranog subjekta, o otkrivanju i na- Egypt has a unique position in today’s glašavanju nekog zapuštenog aspekta re- world and its rich tradition dates to the alnosti, o spoznaji stvarnosti koja se gubi Pharaonic and Coptic period. Different cul- u svakodnevici. Višeugaona sintetizacija tures have with continuity influenced con- površina, stvaralačko ograničavanje izraza, temporary artists and their works contain bajkovita upotreba boja, uvek su kod Sei- obvious reminders of this complex past. fa način da se podstakne i usmeri potraga The Yugoslav audience received insight za suštinom. (Desetak godina nakon ove into Egyptian applied arts through two izložbe imali smo privilegiju da dela ovog major exhibitions at the Museum of Ap- umetnika ponovo vidimo u Srbiji.) plied Arts in Belgrade in 1967 and 1979.

87 Izložba „Egipatska keramika” u Muzeju primenjene umetnosti u Beogradu, 1967–1968.

The “Egyptian Ceramics” exhibition at the Museum of Applied Art in Belgrade, 1967-1968 Primenjena umetnost ­The Belgrade press of the time recorded the events with reviews and reproductions Egipat ima jedinstvenu poziciju unutar of works of art, which were to pose as sam- današnjeg sveta, a bogata tradicija datira ples of a known, but coveted world that još od faraonskog i koptskog perioda: ra- the Balkan capital wanted to learn about. zličite kulture sa kontinuitetom utiču na Indeed, in the domain of artistic genres, savremene umetnike i njihova dela sadrže styles and aesthetics this was a complete očigledne podsetnike na ovu kompleksnu novelty for observers in a geographically prošlost. distant land. However, historical ties and Jugoslovenska publika je dobila uvid u close political contacts between the two egipatsku primenjenu umetnost putem countries encouraged both communities dve značajne izložbe u Muzeju primenjene Keramički tanjir to learn about, understand and appreciate umetnosti u Beogradu, 1967. i 1979. godine. Nabil Darviš the other side, which ultimately result- Tadašnja beogradska štampa to beleži pri- ed in the local perception of the Egyptian Izložba „Egipatska keramika” u Muzeju primenjene kazima i reprodukcijama umetničkih rado- umetnosti u Beogradu, 1967–1968. specificum through representative exhibi- va, kao uzorak malo poznatog, a priželjki­ vanog sveta koji je balkanska prestonica tions of applied arts. Visiting exhibitions of Egyptian applied art across the world Ceramic plate želela da upozna. Svakako, u domenu and in Yugoslavia at the time, displayed Nabil Darwish umetničkih pravaca, stilova i estetike bila je to potpuna novina za posmatrače u geo- masterpieces of applied art presenting the The “Egyptian Ceramics” exhibition at the Museum most important current techniques. of Applied Art in Belgrade, 1967-1968. grafski udaljenoj zemlji. Ali istorijske veze i bliski politički kontakti između dveju The first of a series of presentations of zemalja ohrabrivali su obe sredine da bolje applied art from the United Arab Repub- upoznaju, razumeju i uvažavaju onu dru- lic was the exhibition “Egyptian Ceramics” gu stranu, što je u krajnjem ishodu ima­lo opened in 1967 at the Museum of Applied za rezultat i ovdašnje sagledavanje egi- Art in Belgrade. Exhibits came from the patskog specifikuma kroz reprezentativne Coptic Museum in Cairo, the Greco-Roman izložbe primenjenih umetnosti. Gostujuće Museum in Alexandria and the Museum izložbe egipatske primenjene umetnosti of Islamic Art in Cairo, and the exhibition širom sveta, pa i u tadašnjoj Jugoslaviji, also included ceramic works of 19 contem- prikazivale su remek-dela primenjenih porary artists. Such a curatorial approach, umetnosti sa najznačajnijim zastupljenim the counterposition of old and new using tehnikama. a comparative museum display, enabled Prva u nizu prezentacija primenjenih a parallel analysis of cultural heritage and umetnosti tadašnje Ujedinjene Arapske contemporaneity as one inevitable ele- Republike bila je izložba „Egipatska kera­ ment in the process of understanding the mika” otvorena u Muzeju primenjene totality of Egyptian culture.

Dekorativni sud iz Egipatskog muzeja umetnosti u Beogradu 1967. godine. Ek- As the Introduction of the Egyptian Ce- sponati su bili iz Koptskog muzeja u Kai- ramics exhibition catalogue states: “Ancient Izložba „Egipatska keramika” u Muzeju primenjene umetnosti u Beogradu, 1967–1968. ru, Grčko-rimskog muzeja u Aleksandriji Egypt from the times of the pharaohs laid i Muzeja islamske umetnosti u Kairu, ali the foundations of ceramic art. The temple i keramički radovi 19 savremenih autora. walls [...] carry to this day the characters Decorative vessel from the Egyptian Museum Taj pristup autora izložbe, protivstavlja­ and painted pictures that represent differ- The “Egyptian Ceramics” exhibition at the Museum nje starog i novog kroz muzejski uporedni ent periods in the process of production of of Applied Art in Belgrade, 1967-1968. prikaz je omogućio jasno paralelno sagle- a variety of ceramic objects, as well as the davanje kulturne baštine i savremenosti tools used. [...] The United Arab Republic is kao jednog nezaobilaznog elementa u ra- enriched in this field by the historical her- zumevanju totaliteta egipatske kulture. itage of three great civilisations that have U uvodu kataloga izložbe Egipatska kera­ left their lasting mark along the banks mika navodi se: „Drevni Egipat iz vreme- of the Nile. Each is a bright ray of science na faraona položio je temelje keramičke and profound knowledge, characterized

89 umetnosti. Na zidovima hramova [...] na- by a high sense of spirituality and beauty. laze se i danas likovi i obojene slike koje [...] Ceramic artists from the United Arab predstavljaju razne etape procesa proiz- Republic inspire with their new life, their vodnje najrazličitijih keramičkih predme- contemporary surroundings and nature, ta kao i alat koji se koristio. [...] Ujedinjena exploring concurrently the ancient art of Arapska Republika je obogaćena na ovom the Nile valley, adding science to their tal- polju istorijskim nasleđem triju velikih ent and thus creating remarkably beauti- civilizacija koje su ostavile svoje trajne ful objects of ceramic art. Examples of the tragove duž obale Nila. Svaka od njih works of these artists are exhibited here predstavlja svetao zrak nauke i dubokog alongside objects of old ceramists. This saznanja, kojeg kara­kteriše velika pro- offers the opportunity to observe the way duhovljenost i osećanje lepote. [...] Kera­ in which the talent of contemporary Egyp- mičari u Ujedinjenoj Arapskoj Republici tian artists and folk masters was passed nadahnjuju se svojim novim životom, svo- on across eternal generations and over the jom savremenom sredinom i prirodom, centuries signifies the transmission of a proučavajući istovremeno i staru umet- gift that was born five thousand years ago nost u dolini Nila, dodajući svom talentu in the Nile valley” (1967). nauku, poznavanje i veštinu koja proističe Ceramists, graphic artists, weavers sa tla njihove zemlje, i tako stvaraju van- and tapestry makers passed on the old redno lepe predmete keramičke umet- tradition, which in Islamic art was based nosti. Primerci predmeta izrađenih od on converting objects into sophisticated strane tih umetnika izloženi su ovde pored works of art. Egyptian applied art had by primeraka starih keramičara. To daje mo- then moved from the tradition of produc- gućnost da se vidi kako se talenat savre- ing ordinary oil lamps, vessels and pots, to menih egipatskih umetnika i narodnih the refined, genuine and individual artistic majstora prenosio preko beskrajno dugog expression of the artists who in the twen- lanca generacija i tokom vekova označava tieth century, by summarizing the inherit- prenošenje dara koji se rodio pre pet hilja- ed knowledge of anonymous masters into da godina u nilskoj dolini.” (1967) a new form, provided foreign audiences Keramičari, grafičari, tkači, tapiseri­ with the possibility of evaluating the par- sti, prenosioci su duge tradicije koja je u ticular historical moment. This was to be islamskoj umetnosti bila u pretvaranju presented in a more encompassing display korisnih predmeta u prefinjena umetnič- in the next Belgrade exhibition, organized ka dela. Egipatska primenjena umetnost 12 years later. već je do tada prešla put od tradicije najo­ University professor, erudite and re- bičnijih uljanih lampi, posuda i ćupova, nowned artist Taha Hussein conceptu- do pročišćenog, samosvojnog i individu- alised the exhibition at the Museum of alnog umetničkog izraza umetnika koji Applied Art in Belgrade in 1979, by com- u XX veku, sažimajući nasleđeno znanje paring different types of applied arts. anonimnih majstora u novu formu, pruža- He displayed batiks and printed textiles, ju inostranoj publici mogućnost sagleda- graphics and ceramics, art photography, vanja konkretnog istorijskog trenutka. To metal and enamel, of 50 artists. So, dif- će se u obimnijem prikazu sagledati na ferent techniques of a relatively related narednoj beogradskoj izložbi organizova- artistic approach – for, as the homeland noj 12 godina kasnije. of the arabesque, abstract stylisation in Profesor Univerziteta, erudita i istaknuti thousands of artefacts, since the eleventh umetnik Taha Husein koncipirao je izlo­ century – Egypt had a lot to offer through žbu u Muzeju primenjene umetnosti u Be- its exhibitions organised across the world. ogradu 1979. godine, upravo kroz poređe­ About the exhibition itself, Taha Hussein nje različitih vidova primenjene umet­ said: “We may trace the roots of applied

90 Na otvaranju izložbe „Savremena umetnost Egipta” u nosti. Prikazani su batik i štampani tekstil, arts in Egypt to prehistory. Generations of Muzeju primenjene umetnosti u Beogradu 1979. go­ dine, govor su održali gospodin Kamal El Din Bakr, grafika i keramika, umetnička fotografija, anonymous applied artists from pharaon- savetnik pri Ambasadi Egipta i Taha Husein, dekan Akademije primenjenih umetnosti Helwan univer­ metal i emajl, od ukupno 50 autora. Da- ic times, the golden age of Islamic art and ziteta u Kairu. kle, različite tehnike donekle srodnog others, have left behind them works that umetničkog pristupa, jer kao domovina influenced the development of applied arabeske, apstraktne stilizacije u hiljada­ arts the results of which we see today. [...] At the opening of the “Contemporary Art of Egypt” ex­ hibition at the Museum of Applied Arts in Belgrade ma artefakata, još od XI veka, Egipat je Artists have tried and succeeded to fur- in 1979, speeches were delivered by Mr. Kamal El Din imao mnogo da ponudi svojim izložbama ther the continuation of tradition in the Bakr, Counsellor of the Embassy of Egypt and Taha Hussein, Dean of the Academy of Applied Arts, Hel­ koje je priređivao širom sveta. O samoj be- most natural way and in accordance with wan University in Cairo. ogradskoj izložbi autor je rekao: „Korene the aesthetic requirements of our times. primenjene umetnosti Egipta možemo In 1835 the first institution representing tražiti u periodu praistorije. Pokoljenja the beginnings of applied arts in Egypt nepoznatih primenjenih umetnika faraon- was established and it was also the first in skog vremena, zlatnog doba islamske East Africa. A hundred years later, passing umetnosti i drugi ostavili su dela koja su through many metamorphoses, this insti- uticala na razvoj primenjene umetnosti tution merged as the Faculty of Applied Arts čije rezultate mi danas vidimo. [...] Umet- with the Helwan University in Cairo. The pi- nici su pokušali i uspeli da na najprirod- oneers of the applied arts of Egypt are for- niji način produže tradiciju, a u skladu sa mer graduates from various old or new ap- estetskim zahtevima našeg vremena. Go- plied arts groups at this University” (1979, 5). dine 1835. osniva se prva institucija koja The latest developments in Egyptian predstavlja početak primenjene umetno­ applied arts are inspired by earlier eras

91 sti u Egiptu, a ujedno je bila prva Istočne in art, architecture and applied arts and „Savremena umetnost Egipta” u Muzeju primenjene umetnosti u Beogradu, 1979. Afrike. Sto godina kasnije, prolazeći kroz crafts – this is apparent in the works of mnoge metamorfoze, ta ista institucija se numerous artists. Varieties of figural dec- pripaja kao Fakultet primenjenih umet- oration in the form of murals and mosaic “Contemporary Art of Egypt” nosti Helvan univerzitetu u Kairu. Pioniri decoration on the ceilings of palaces are an at the Museum of Applied Art in Belgrade, 1979. savremene primenjene umetnosti Egipta obvious source of inspiration. The legacy su bivši diplomci raznih grupa bilo stare of abstraction and arabesques is most evi- ili moderne primenjene umetnosti ovog dent regarding two-dimensional solutions fakulteta” (1979, 5). within contemporary textile arts, graphics U savremenim tokovima primenjene and paintings. Rich calligraphic art is also a umetnosti u Egiptu inspiracija potiče od source of inspiration; miniatures are so to ranijih epoha umetnosti, arhitekture, pri- a lesser extent, however, they appear as an menjenih umetnosti i zanata – to je više important source of inspiration in certain nego očigledno u radovima mnogih auto- works where there is a combination of cal- ra. Varijeteti figuralnih dekoracija u formi ligraphy and figurative expression. murala i mozaičkih dekoracija na tavani- The central theme of this exhibition at cama palata su evidentan izvor inspiracije. the Museum of Applied Art in Belgrade Nasleđe apstrakcije i arabeske je najuoč­ was, again, ceramics: ceramics as a tech- ljivije kada se govori o dvodimenzional- nique, an opportunity to encompass a liv- nim rešenjima, u savremenim umetnos- ing, illustrious and stylistically complex tima tekstila, grafike i slikarstva. Bogata genre of applied art; ceramics in which kaligrafska umetnost je takođe među iz- twentieth century modernism reached

92 vorima inspiracije. Minijature su to u ma­ such heights in the Islamic world. The Štampani tekstil njoj meri, ali se pojavljuju kao bitan izvor graphics technique is a continuation of Sabri El Said inspiracije u nekim delima gde ima kom- the tradition of calligraphy and calligra- „Savremena umetnost Egipta” u Muzeju primenjene binacija kaligrafije i figurativne ekspresije. phers in the Islamic world as well as the umetnosti u Beogradu, 1979. Centralno mesto na izložbi u Muzeju art of writing, which meant in all skills of primenjene umetnosti u Beogradu zau­ bookmaking too. In the Islamic civilization

Printed textile zimala je i ovoga puta keramika: kerami- great importance was attributed to mas- ka kao tehnika, mogućnost sagledavanja ter-calligraphers because, in the long pe- Sabry El Said jednog živog, veoma plodnog i stilski kom­ riods before the invention of printing, all “Contemporary Art of Egypt” at the Museum of p­leksnog žanra primenjene umetnosti; scripts, from copies of the Koran to popular Applied Art in Belgrade, 1979. ke­ramika u kojoj je modernizam XX veka tales and scientific works, required pains- kroz baš ovu tehniku u islamskom svetu taking transcribing by hand, first on papy- imao visoke domete. Tehnika grafike se na- rus and parchment, and later on paper. The dovezuje na tradiciju kaligrafije i kaligrafa tradition of the art of fabric making is also u islamskom svetu i umetnosti pisanja – centuries-old, and the production of tents, što je značilo i u svim veštinama prav­ljenja carpets and elements for the interior led knjiga. U islamskoj civilizaciji maj­storima- to the maturation of textiles and the func- -kaligrafima pripisivan je izuzetan značaj, tional side was often complemented with jer su u dugim periodima pre pronalaska their luxurious elaboration and the intro- štamparije svi spisi, od kopija Kurana do duction of the finest and most expensive popularnih priča i naučnih dela, zahtevali materials. mukotrpno prepisivanje rukom, najpre na One of Yugoslavia’s preeminent art crit- listovima papirusa i pergamenta, a kasnije ics, Zoran Markuš wrote the following lines na papiru. Tradicija umetničke izrade tka- in “Borba”, the daily paper of the times, nina takođe je viševekovna, a izrada šato- about the 1979 exhibition “Contemporary ra, ćilima i drugih delova enterijera učinili Applied Art of Egypt” at the Belgrade Mu- su da se tekstil usavršava i da se često funk- seum of Applied Art: “Regardless of the cionalna strana dopunjuje luksuznom iz- fact that the creative output of the Egyp- radom i uvođenjem najfinijih i najskupljih tian artist moves within the parameter of materijala. modern and universal plastic formulas, Jedan od najznačajnijih umetničkih the strong link with tradition gives it a spe- kritičara Jugoslavije Zoran Markuš u cific trademark through which it is able to tadašnjem dnevnom listu „Borba” svedoči reach an authentic expression. This is par- o izložbi „Savremena primenjena umetnost ticularly emphasized in textile ornamental Egipta” u beogradskom MPU 1979. go­dine: designs (Abdel Rahman Ammar), in which „Bez obzira što se stvaralaštvo egipatskih the distant echo of Coptic and Arab art is umetnika kreće u okviru modernih a uni- joint with modern expressions. Also, we verzalnih plastičnih formula, snažan dodir might highlight the collection of modern sa tradicijom daje joj specifičan pečat čime Egyptian ceramics (the vase of Laila Soli- se postiže autentičnost izraza. To je pose- man) that impose themselves with a sculp- bno naglašeno u tekstilnoj ornamentici tural feel for shape and refined colouring. (Abdel Rahman Amar), gde se daleki eho Where is the true boundary between ‘pure’ koptske i arapske umetnosti spaja sa mo­ and ‘applied’ paintings and graphics? This dernim izrazom. Takođe bismo istakli ko­ question may rightly be put before a cer- lekciju moderne egipatske keramike (vaze tain number of exhibits whose function is Laile Soliman), koje se nameću skulptor- ‘non-applied’, and expression is ‘pure’ and skim osećanjem oblika i rafiniranom kolo- ‘plastic’. They spring from the artists who racijom. Gde je prava granica između ,čis- only formally belong to applied arts cate- tog’ i ,primenjenog’ slikarstva i grafike? To gory but may be, in their visual expression pitanje bi se s pravom moglo postaviti pred (representation, symbolism, coloured ge-

93 jednim brojem eksponata čija je funkcija ometrism and optical-kinetic expression) ,neprimenjena’, a izraz ,čist’ i ,plastičan’. included as part of any painting selection Potiču od autora koji samo po formaciji of ‘pure’ art (Magda Abdel Azis, Mona El pripadaju primenjenoj umetnosti, a po Marzuki, Amin Šaban)”. (1979) likovnosti (simbolika predstave, kolorisan Finally, browsing through reproduc- geometrizam i optičko-kinetički izraz) tions and testimonies of the times, today mogli bi da uđu u svaku slikarsku selekciju in 2013 at the Centre for Documentation ,čiste’ umetnosti (Magda Abdel Azis, Mona of the Museum of Applied Arts in Bel- El Marzuki, Amin Šaban).” (1979) grade, the question put forward is that of I prelistavajući reprodukcije i svedoče­ the unequivocal aesthetic pluralism and nja onog vremena, danas 2013. godine u approach. The cultural diversity of this art Centru za dokumentaciju Muzeja prime­ comes from the fact that Egypt, through- njene umetnosti u Beogradu, nameće se out history, has been a conglomerate of pitanje nesumnjivog pluralizma estetika i various dynasties, religions and rulers, be pristupa. Kulturni diverzitet ove umetnosti they Christians or Muslims. The Islamic potiče od činjenice da je Egipat, kroz isto­ aspect has two dimensions, national – be- riju, konglomerat različitih dinastija, re- cause it acts in relation to Western culture, ligija i vladara, bili oni hrišćani ili muslima- and international– having greater ties with ni. Islamski aspekt ima dve važne dimenzi- the Islamic context, because modern Egyp- je: nacionalnu – jer deluje u odnosu na za- tian intellectuals, filmmakers, musicians padnu kulturu, i internacionalnu – imajući and artists rapport with the entire Arab veće veze sa islamskim kontekstom, jer se world, not just Egypt. By transmitting such savremeni egipatski intelektualci, filmski an important element of the continuity of stvaraoci, muzičari i slikari obraćaju ce- ancient civilizations, such as that of an- lom arapskom svetu, ne samo Egiptu. A cient pharaonic times, Egypt has become prenoseći tako značajan kontinuitet starih perhaps the most intriguing modern state civilizacija kao što je ona drevna faraonska, that has, somehow, naturally acquired a Egipat je postao možda najintrigantnija culturally distinctive position as leader savremena država koja je nekako prirod- within the Arab world and North Africa. no stekla kulturno prepoznatljiv liderski The dichotomy between modernity and položaj unutar arapskog sveta i severne traditional values has always been present Afrike. in Egypt and Egyptian artists look upon Dihotomija između modernizma i tradi- themselves as artists who stand at the cionalnih vrednosti uvek je bila prisutna u crossroads of more or less multiple, more Egiptu, a sami egipatski umetnici na sebe or less contradictory sources and influenc- gledaju kao na stvaraoce koji stoje na ra­ es. They all fought for different ideas of zmeđi više ili manje mnogostrukih, više creating a modern Egyptian nation. This ili manje kontradiktornih izvora ili uticaja. brief review of Egyptian artists should re- Svi oni su se borili za različite ideje stvara­ mind of inherent values ​​and opportunities nja moderne egipatske nacije. Ovaj kratki for collaboration, but also imply the re- osvrt na egipatske stvaraoce treba da pod- sponsibility of finding and implementing seti na nasleđene vrednosti i mogućnosti new forms of exchange of ideas, adapted saradnje, ali ukazuje i na odgovornost pre- to modern circumstances, between artists ma pronalaženju i primeni novih oblika and their audiences in both countries. razmene ideja, prilagođenih savremenim okolnostima, između umetnika i njihove publike u obe zemlje.

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Do oslobođenja...i nazad Egipatska kinematografija u okviru Nedelje ARU filma To Freedom...and Back Egyptian Cinematography at the Week of UAR Film

Aleksandar Maričić Aleksandar Maričić filmski reditelj Film director

ao prvi kontakt srpske kine- he first contact between Serbian matografije i Egipta, i kao fenomen cinematography and Egypt and a Kvredan pažnje, stoji filmski zapis Tcurious phenomenon worth noting, pod imenom „Gospođa Loreta”, koji je u is the film titled “Mrs Loretta”, taken in the leto 1918. u Egiptu snimio Srbin, gospo- summer of 1918 by a certain Serb Mr. Lakić. din Lakić. O tome piše slovenački izvor – This was reported on by the Slovene news- list „Delo” novembra 1960. godine, kada paper The Act (Delo) in November 1960 je na prostorima FNRJ, i u Beogradu, ret- when the FPRY (the Federal Peoples Re- rospektivu filma imala još jedna zemlja public of Yugoslavia) and Belgrade, hosted koje više nema – UAR (Ujedinjena Arap- a film retrospective from another country ska Republika).­ that does not exist anymore – the UAR Promene društvenog karaktera, kao što (United Arab Republic). je to bila socijalistička revolucija 1952. go­ Social changes, such as the socialist rev- dine, neminovno se odražavaju na svim olution of 1952, inevitably led to changes nivoima, te u raznim vidovima društva on all levels, and in different forms of so- angažovanja. Do pojave naserizma u egi- cial engagement. Before the occurrence of patskoj kinematografiji su uglavnom pre- Nasserism, Egyptian cinematography was ovlađivale melodrame s jakim uticajem strongly influenced by the Italian “white italijanskog podžanra „Beli telefoni”, te telephone” sub-genre, as well as musical

99 muzički film koji se paralelno razvijao sa films which developed simultaneously stilskim konstantama Bolivuda. Odjed- with the stylistic constants of Bollywood. nom su se na stolu sudarile sve teme koje All at once, the themes that troubled the su tištile egipatskog pojedinca: Drugi Egyptian individual collided: the Second svetski rat i njegove posledice, put oslo- World War and its aftermath, the road to bođenja od francuskog i britanskog im- independence from French and British perijalizma, nemački antiimperijalizam, imperialism, German anti-imperialism, sovjetski marksizam i sl. Sve te teme su se Soviet Marxism, etc. All these themes našle u romanima erudite Nagiba Mahfu- could be found in the novels of the eru- za, tad još uvek nedovoljno filmski obrazo- dite Naguib Mahfouz, at that moment vanog, te i u njegovom delu „Miramar”, koji still not learned in the art of film, and his je uključivao dakako i osvrt na razračuna- work “Miramar”, which also included ref- vanje sa novom „feudo-buržoazijom” – erence to the settling of accounts with the njene pozitivne aspekte, ali i nedostatke. new “feudo-bourgeoisie” – its positive and Jedan od negativnih aspekata naserizma negative aspects, as well as its deficiencies. je svakako pojava cenzure, koja iskreno go- Censorship was certainly one of the nega- voreći u ranijem periodu nije postojala, jer tive aspects of Nasserism which, in all hon- su film u smislu uticaja na široke narodne esty, did not exist in the past because film, mase potcenili tada najveći finansijeri egi- in terms of its impact on the masses was patskog tla – princ Omar Tusum Paša i kralj underestimated by the largest financiers Fuad I. of the Egyptian land at the time – Prince Film koji je 1960. godine otvorio prvu Omar Toussoum Pasha and King Fuad I. nedelju egipatskog (UAR) filma u Beogra- The film which opened the first week du je „Slavujeva priča”, jednog od najza- of Egyptian (UAR) film in Belgrade, was nimljivijih režisera te ere uopšte, čoveka “The Nightingale’s Prayer” by one of the koga slobodno mogu nazvati Satjadžit most interesting film directors of the era, Rejem transarapskog filma, ne samo zbog a man who may without restraint be called odabira tema i načina na koji se kretao “the Satyajit Ray of trans-Arab film” not kroz njih već prevashodno zbog neuhva­­t­lji­ solely for his choice of topics and the way vo lepog slikovnog izraza – reč je o Henriju he dealt with them, but primarily for the Barakatu. elusive beauty of his imagery – the man in „Slavujeva priča” utiče i na poneki vizu- question is Henry Barakat. elni izraz naših filmova tog vremena, na “The Nightingale’s Prayer” influenced primer na film „Hasanaginica” (1967; reži- the visual expression of certain Serbian ja: Mića Popović), ali je umnogome reali­ films of the time, such as “Hasanaginica” stičnija, a opet začarana crno-belim kon- (1967; directed by Mića Popović), however trastom, svetlom i senkom, prirodom i pat- it is more realistic, yet at the same time en- njom. Junakinja Barakatovog remek-dela chanted by black and white contrasts, light ponire u greh, produbljuje poimanje žene and shadow, nature and suffering. The her- do ogolelih potreba. Ona, poput proroka oine of Barakat’s masterpiece delves into Muhameda, pokušava da pomeri planinu sin, bearing the understanding of wom- dotičući pitanja kao što su samoubistvo, an down to her core needs. She, alike the osveta, porok… Slatka patnja koja se upa- Prophet Muhammad, endeavours to move li već prvim prisustvom glavne junakinje the mountain by tackling questions of su- (njene senke) u kadru koju tumači Faten icide, revenge, vice... The sweet suffering Hamama, sevdah kao fenjer tihog pla- which lights-up with the first appearance ma, kao senka njene zvezde. Fenjer koji of the heroine (her shadow) is interpreted će se pojaviti u scenarističkom toku pred by Faten Hamama, the “sevdah” as a low-lit samu kulminaciju pri već razbuktaloj va- lantern, a shadow of her star. The lantern tri međuljudskih nesporazuma, ali i gor- will appear in the film’s scenic flow just be-

100 „Poljubac smrti” - žena koja ljubi čoveka zbog kojeg je njena sestra mrtva i muškarac koji tu cenu tek treba da plati, paradoksalno braneći nju – Amnu.

„Slavujeva priča” (1959), r. Henri Barakat

“The Kiss of Death” – a woman who loves the man who his responsible for her siter’s death, and the man who has yet to pay the price, paradoxically by defending her – Amna.

“The Nightingale’s Prayer” (1959), dir. Henry Barakat dosti; kao žena koja se zaljubljuje u svoju fore the culmination of the already lit fire osvetu, u čoveka koji joj je uništio sestru. of interpersonal misunderstanding and Svi noseći likovi su bespoštedno iskoračili pride; as a woman in love with her revenge, u pretople boje podneblja svojeg tempera­ the man who destroyed her sister. All the menta. Ovde oni nisu duhovi u drugosti, leading characters mercilessly dive into tuđosti prepoznatljivoj za japansku ili the warm colours of their temperament’s indijsku tradiciju, te i film. Ovde su ljudi horizons. Here they are not spirits inhab- u prvom licu, i jedini duhovi. Barakat je iting otherness, that which is foreign, a bio prinuđen da promeni kraj filma, jer trait of the Japanese or Indian tradition as publika nije mogla da oprosti Amni da se well as film; the people are in the first per- srećno zaljubi u ubicu svoje sestre. On je son, they are the only spirits. Barakat was jednostavno morao da ga ubije da bi za- forced to change the film’s ending because dovoljio pravde željnu publiku… ali je na the audience could not forgive Amna by taj način u osećaju u bioskopskoj sali ostao allowing her to fall happily in love with his zatečen, u osećanju nedovršen, beskrajan, sister’s murderer. He just had to kill him definišući na taj način pojam sudbine, tako in order to appease a justice-hungry au- čest i fatalan u egipatskom filmu. Sudbina dience; however by doing so the theatre je ta Muhamedova ogledanost u to brdo, room was taken aback, left with a feeling prozor u dušu svojih junaka. of incompleteness, time without end, thus Osim Faten Hamame, koja je bila čuve- defining the concept of destiny, so com- ni borac za prava žena i supruga dva velika mon and fatal in Egyptian film. Fate is Mu- filmska stvaraoca: Mahmuda Zulfikara hammad’s reflection in the mountain, a – pionira filmske umetnosti u Egiptu, ali i window into the soul of its characters. jedina žena Omar Šarifa – dakako najveće Besides Faten Hamama who was a re- internacionalne zvezde egipatskog fil- nowned woman’s rights activist and wife ma, u Beograd je te 1960. godine u goste of two great filmmakers: Mahmoud Zu- došla i Šadia, koja je u filmu „Nepoznata lfikar – the pioneer of film inE gypt, and the žena”, već pomenutog M. Zulfikara, ta- only wife of Omar Sharif – unquestionably kođer dala nezaboravnu interpretaciju the greatest star of Egyptian cinema, an- arhetipa ženske požrtvovanosti u ulozi tr- other guest of Belgrade in 1960 was Shadia bušne plesačice, koja uporno greši birajući who in the film “The Unknown Woman” by muškarce zatrovane primitivizmom, osta- the above mentioned M. Zulfikar, also gave je bez sina i nastavlja život u jadu i bolu. a memorable interpretation of archetypal Zulfikar je režirao još jedan film prikazan female devotion, playing the role of a bel- kod nas, mjuzikl u kojem žene ponovo ly-dancer who repeats the same mistake imaju preovlađujuću ulogu – „Devojke u of choosing men poisoned by primitivism, leto”, međutim, to pravilo nije slučajno u and remains without a son, continuing to egipatskoj kinematografiji. Osim feudal- live in pain and suffering. Zulfikar directed nih vladara najviše novca u produkciju, another film shown in Serbia, a musical in odnosno proizvodnju filmova uložile su which women dominate the leading roles upravo one – žene kao već velike zvezde. I – “The Girls in Summer”. However, this rule to je situacija koja uveliko podseća na onu is not accidental in Egyptian cinematogra- iz Holivuda dvadesetih godina 20. veka. phy. Besides feudal rulers, the most money Naime, najveće zvezde u prvom periodu for production, that is, filmmaking, was egipatskog filma bile su pevačica (Um Kul- invested by them – women as great movie sum) i trbušne plesačice (Samija Gamal, stars. This is a situation that greatly resem- Tahija Karioka itd.) nastavljajući tradiciju bles that of Hollywood in the 1920s. Name- koju je Žerar de Nerval opisao u svom delu ly, the biggest stars in the first period of „Put na Orijent”. Ulogu trbušnog plesa lepo Egyptian cinema were the singer Umm opisuje još jedan vanvremenski umetnik Kulthum and belly dancers Samia Gamal,

102 čije smo filmove mogli videti na retrospek- Tahi Carioca, etc., who continued the tra- tivama koje slede u Beogradu narednih dition described by Gérard de Nerval in his godina – Salah Abu Seif: „Orijentalni ples book Journey to the Orient. The role of bel- je utkan u život tradicionalnog Egipta – od ly dancing is closely observed by another devojčice na ulici, ili neke za klavirom, od timeless artist whose films were shown as žene koja pleše, do njene majke,­ bake – part of retrospectives that were to follow in koja čini to isto. Orijentalni ples je sasvim Belgrade – Salah Abu Seif: “Oriental dance normalna stvar u egipatskom društvu. is woven into the life of traditional Egypt Trbušni ples ima posebno mesto u našoj – from girls on the street, or those at a pi- stvarnosti. Njegovo je prisustvo u filmu ano, from the woman that dances, to her neizbežan začin u svakoj čorbi” (Farrugia mother and grandmother – who do the 2002, 36). same. Oriental dance is a normal thing in Za vreme druge retrospektive UAR fil- Egyptian society. Belly dance has a special ma u Beogradu 1961. prikazana su dva fil- place in our reality. Its presence in film is ma kojima je našem auditorijumu pred- the inevitable spice in every broth” (Farru- stavljen jedan od najpoznatijih egipatskih gia 2002, 36). filmskih stvaralaca Jusuf Šahin. Jedan od Throughout the second UAR film ret- njih je „Džamila”, kako M. Čolić kaže u re- rospective in Belgrade, in 1961, two films cenziji u dnevnoj novini „Politika”: „Film were shown to local audiences, among koji odoleva iskušenjima sentimentalnog which one by the most well known Egyp- time dobijajući stamenost starih tragedi- tian filmmaker – Youssef Chahine. One of ja.” (Čolić 1961, 11) No, ovde se opet radi o the films in question was “Jamila, the Alge- još jednom od dominantnih žanrova tog rian” and according to M. Čolić in his “Politi- vremena „oslobodilačkom” filmu. Dakako, ka” newspaper review: “The film resists the o filmu koji se bavi oslobođenjem egipat­ temptations of the sentimental thus earn- skog naroda od imperijalizma, ali i borbom ing the pathos of old tragedies” (Čolić 1961, za socijalnu pravdu prema potlačenim slo- 11). However, this is yet again a question jevima društva koja se ponajviše ogledala of dominant genres of the time – the “lib- te burne 1952. godine – godine vatrenog eration” film. This is a film that deals with neba i stalnih prevrata, kada je u samo the liberation of the Egyptian people from jednom danu zapaljeno ravno 40 biosko- imperialism, however also, their fight for pa samo u Kairu. I u „Džamili” je prisutna social justice of oppressed groups within ta opsesija krvlju i pesmom, ali i estetska society, which was at its peak in the tumul- određenost koja lebdi negde između fil­ tuous year of 1952 – the year of fiery skies mova Marsel Karnea (period saradnje and a time of permanent revolution, when sa Žan Gabenom, ali i Žak Preverom), i around 40 Cairo theaters burned to the „montaže atrakcije” koja je posebno za- ground in just one day. In “Jamila, the Al- nimljiva kod Šahina, kako u završnoj sceni gerian” as well, there is the obsession with istog filma, u kojoj Džamila prinosi žrtvu blood and song, but at the same time an pretpostavivši sebi borbu za slobodu svog aesthetic certainty suspended somewhere naroda, tako i u „Stanici Kairo”, gde proži­ between the films of Marcel Carné (during vljavamo uzbuđenje glavnog junaka kada the period of his collaboration with Jean sluša kako devojka koju voli vodi ljubav sa Gabin, and Jacques Prévert as well) and drugim, dok njegove nerve i njene dahtaje “montage of attractions”, which is partic- poput šina „seče” voz koji upravo prolazi u ularly interesting in Chahine’s work, both neposrednoj blizini. in the final scene of the above mentioned Te 1961. godine prikazan je još jedan film in which Jamila sacrifices herself for film već pomenutog H. Barakata – „Čovek the sake of her people’s freedom fight, and u našoj kući”. Još jedan film sa oslobodilač- in “Cairo Station”, where we experience the kom temom i tragičnom žrtvom glavnog excitement of the leading actor as he lis-

103 junaka, kojeg tumači Omar Šarif, a čiji duh tens to the girl he loves making love with u poslednjem kadru lebdi nad Kairom u another man, while his nerves and gasps obećanoj budućnosti. Omar Šarif – legen­ are “slit” the same way the nearby railway darni Šerif Ali iz filma koji mu je definitiv- lines are slain by a passing train. no doneo svetsku slavu „Lorensa od Arabi- In 1961 another film of the afore men- je”, ušao je u legendu sasvim neambicioz- tioned H. Barakat was screened – “A Man no (jedva poslavši šturu biografiju i jednu in Our House”. This is a film with a libera- fotografiju, još iz školskih dana), nakon tion theme and the tragic martyrdom of volšebnog kastinga koji je obavio David the main character played by Omar Sharif, Lin, bukvalno preletevši pogledom pre- whose spirit hovers in the last scene above ko fotografije uzviknuvši – O„ n je taj!” Sve Cairo in the promised afterlife. Omar Shar- dalje je legenda – i njegovi filmovi („Nebo if – the legendary Sherif Ali in the film that u plamenu”, „Čovek u našoj kući”, „Doktor definitely brought him world popularity Živago” …), ali i njegova opsesija kartanjem “Lawrence of Arabia” – became a legend i boemski ispadi. unassumingly (by merely sending a short Interesantna je opaska Gaja Henebela biography and one photograph, from his u jednoj od rekapitulacija o egipatskom schooldays), following the great casting filmu tog doba: „Egipatski sineasti su conducted by David Lean, upon which poput volontera, svojevoljno se zarobivši the director literally glanced at the photo- u deplasiranim shemama. Konstantno ba­ graph and shouted – “He is the one!”. The lansirajući između retrogradnih obrazaca rest is legend – his films (“TheB lazing Sky”, i morbidne fascinacije sudbinom. Ali ne “A Man in our House”, “Doctor Zhivago”, treba sumnjati u njihov problem sa cenzu- etc.) as well as his obsessive gambling and rom, no treba reći da su oni i sami sebi bohemian outbursts. ograničili slobode. Sineasti realizma pre- An interesting observation is given by ma tome nisu uspeli da nadiđu ni jedno Guy Henebelle in one of the recapitula- ni drugo, i da prihvate sve istine, posebno tions of Egyptian film of that era: “Egyptian one koje se tiču morala kao što je drugačiji filmmakers are like volunteers, willing- pogled na religiju te radikalnu kritiku kul- ly entrapping themselves within out of turnog nasleđa arapsko-islamske civili- place frameworks. Constantly balancing zacije” (Henebelle, 81). between retrograde forms and a morbid Te 1961. godine jedan je čovek kročio fascination with fate. However, this is not sa srebrnastog tkanja koje plete platno the result of their problem with censor- kroz mrak bioskopske sale beogradskog ship, but rather it should be recognized Doma sindikata. Kao da je sišao sa platna that they themselves have restricted their kao prosjak iz pomenutog filma „Stani- freedoms. Realism filmmakers have thus ca Kairo” sa Hind Rostom, publici se s na- failed to overcome both, and to accept all klonom predstavio Farid Šavki, otkrivši truths, especially those concerning morali- još jednom svu raskoš Egipta, ovog puta ty offering a different take on religion, con- kroz savremenu umetnost filma. Čovek sequently also offering a radical critique of koga je beogradska publika prihvatila the cultural heritage of the Arab-Islamic kao starog prijatelja, a koji i te kako zna civilization” (Henebelle 1972, 81). šta je privrženost publike. Naime, njemu In 1961 one man stepped out of the silver se desilo isto što i na premijeri filma „Lejla” canvas that weaves the screen in the dark- 1927. godine­ – publika je zbog nepravednog ness of the Union Hall cinema theatre in kraja demolirala bioskop. Njegova popular- Belgrade. It was as if he stepped out of the nost je takva da su u gradu Asijut, kada je screen like a beggar in the film “Cairo Sta- njegovom liku iz filma načinjena nepravda tion” with Hind Rostom; Farid Shawki took – pobesneli gledaoci izazvali nerede u gra- a bow in front of the audience, revealing du ili su ga, pak – na primer, javno prizivali once again the splendor of Egypt, this time

105 Hind Rostom i Farid Šavki – egipatski Merilin Monro i Džon Vejn, u beogradskom Domu Sindikata tokom Druge nedelje UAR filma u Beogradu, 23. decembra 1961. godine.

Hind Rostom and Farid Shawki – the Egyptian Marilyn Monroe and John Wayne, at the Union Hall cinema theatre in Belgrade during the Second Week of UAR Film, December 23, 1961. da dođe i spasi seljaka tragične sudbine u through film as contemporary art form. Šahinovom filmu „Zemlja” kada glavnog This was the man who was welcomed like lika – starca, vuku po zemlji dok ostavlja an old friend by the Belgrade audience, trag krvi po belim „pahuljama” pamuka. and who knew very well what the support Gledaoci su ga zvali u pomoć mada Šavki of the audience means. Namely, he expe- uopšte nije ni učesnik filma „Zemlja”. Ako rienced the same thing at the premiere of je prvi gost festivala gospodin Šavki bio “Layla” in 1927 – due to the unjust ending, Džon Vejn ove egzotične kinematografije, the audience demolished the cinema. His onda je Hind Rostom bila njihova Merilin popularity was such that in Asyut, after his Monro. Igrala je u brojnim filmovima sa character in the film experienced an injus- njim – „Izdajnik žena”, sa čuvenom sce­nom tice the enraged audience caused a riot tuče u kafani, ali i sa Omarom Šarifom u in the city. On yet another occasion, they „Borbi oko Nila”, „Nesanici” i, u Beogra- called upon him to come and save the vil- du prikazanim, „Ljubavnim patnjama”. O lager from his tragic fate in Chahine’s film njenoj ličnosti možemo ponešto zaključi- “The Land” when the main character (an ti iz činjenice da je odbila da učestvuje u old man) was dragged on the ground leav- pisanju svoje monografije za koju joj je ing a trail of blood on the white “flakes” of ponuđeno milion dolara, dok je nasuprot cotton. The audiences called out to him tome pristala da primi nagradu za životno even though Shawki was not an actor in delo na Aleksandrijskom festivalu filma, u the film. If the first guest of the Belgrade svom rodnom gradu. festival, Mr. Shawki was the John Wayne Neobične su te specifičnosti odnosa of this exotic cinematography, then Hind egipatske publike i stvaralaca… možda Rostom was its Marilyn Monroe. She act- ih možemo samo naslutiti kao što može- ed in many films with him – “Betrayer of mo razumeti Šahinovu izjavu apropo ko- Woman”, with the famous bar brawl scene, rišćenja muzike u egipatskom filmu: „…da and with Omar Sharif in “Struggle on the će njenu upotrebu u priči moći da pravilno Nile”, “Sleepless” and “The Fault of my Love”,

106 which was screened in Belgrade. Certain aspects of her personality can be inferred by the fact that she refused to participate in the writing of her monograph, for which she was offered a million dollars while, contrarily, she agreed to receive a lifetime achievement award at the Alexandria Film Festival in her hometown. We may speculate on the unusual na- ture of the relationship between Egyptian audiences and the artist; it may be along the lines of understanding Chahine’s state- ment apropos the use of music in Egyptian film: “...its use in the story can be properly perceived only by those who understand the decades-old Egyptian context” (Thora- val 1986, 4). In 1974 an unusually stylized film was made – “The Mummy”. This film merges the eclecticism of Pasolini, the aesthetics of Antonioni and Parajanov, the film pro- cedure of Alain Resnais, the audacity of Ken Russell, and the philosophy of Timo- percipiraju samo oni koji razumeju višede- thy Leary; finally, it is a film combining the cenijski egipatski kontekst” (Thoraval 1986, 4). mise-en-scène and music reminiscing the Godine 1974. snimljen je film čudne works of the later occuring art group Psy- neobične stilizacije – „Mumija”. Film koji chic TV. Completely atypical for the pro- u sebi ukršta eklektičnost Pazolinija, este­ duction, then again, based on the choice of tiku Antonionija i Paradžanova, filmski location and theme, it is the most Egyptian postupak Alana Renea, drskost Kena Rase- film of all. Wandering among the graves la, filosofiju Timoti Lirija – a koji spojem in order to preserve them from oblivion, mizanscena i zvuka podseća na radove we fall into the hands of the poetic sub- Psajhik TV. Potpuno atipičan za tu pro- text accompanying the hero among the dukciju, a opet po odabiru lokacija i temi ruins where the vicious trade in antiques to je najviše egipatski film od svih. Luta- from desecrated temples takes place. Long jući među grobnicama u cilju očuvanja od gusts of sound in wind frequencies create zaborava, mi padamo u ruke poetskom the basis of the film about the shameless podtekstu prateći glavnog junaka među theft of items found in tombs, which are ruševine gde se dešava trgovina začara- then sold through the Suez Canal to the nim antikvitetima oskrnavljenih hramova. wealthy elite worldwide. Naturally, the Dugi naleti zvuka frekvencijom vetra daju main character, Wahid, who tries not to potku filmu o besramnoj krađi predmeta take part in this, is slowly turned into: a iz grobnica da bi se putem Sueckog kanala man without a destiny, with a petrified hand, prodali belosvetskim bogatašima. A na­ like a ship with no destination; with the gaze rav­no glavni lik Vahid, koji pokušava da ne of a statue that has been brought back to life. bude deo toga, polako se pretvara u: čoveka This film, however, was only bought and bez sudbine, okamenjenog dlana, kao brod bez screened in 1980, as is the case with Henry cilja; s pogledom statue koja se vratila u život. Barakat’s “The Sin”, another socially con- No, taj je film sačekao 1980. godinu kada scious film not only with regard to social je otkupljen i prikazan, kao i „Greh” Henrija stratification, but also gender struggle.

107 Barakata, još jedan film socijalno svestan, It is a cruel story of a village woman with Čuvari drevnih grobnica na svaki način pokušavaju da zaštite svoje nasleđe od bezočne preprodaje. ne samo u vidu klasnih podeljenosti već i more than a tragic ending. “Love in Karnak” u borbi za ravnopravnost polova. U pitanju also had its first screening in Belgrade, in „Mumija” (1969), r: Šadi Abdel Salam je surova priča o seoskoj ženi sa više nego 1980; a last attempt at the dominant musi- tragičnim ishodom. Prvo prikazivanje u cal genre strongly influenced with Marxist The guardians of ancient tombs trying in every possible way to protect their heritage from Beogradu 1980. je dočekala i „Ljubav u morality, but also paraphrasing the dance shameless trade. senci piramida” – poslednji trzaj mjuzikla moves of the beloved couple Astaire and “The Mummy” (1969), dir. Shadi Abdel Salam kao dominantnog žanra sa jakim uticaji- Rogers, even “West Side Story”; it is a film ma marksističkog morala, no i sa parafra- woven into the ambience of the famous zom plesova dragog para Aster i Rodžers, pyramids that are often exploited as de- pa čak i „Priče sa zapadne strane”, film ut- cor, that is, scenery. Belatedly, i.e. in 1980, kan u ambijent čuvenih piramida koje su screening rights were purchased for the al- neretko eksploatisane kao dekor, odnosno ready mentioned film, “TheE arth” by Yusuf scenografija. Sa zakašnjenjem, tj. 1980. ot- Chahine and his then contemporary film kupljeni su i već pominjani „Zemlja” Jusufa with autobiographical overtones of pure Šahina i njegov tada savremeni film s auto- cinematic style, reminiscent of the Alge- biografskom konotacijom, koji čisto kine- rian “Omar Gatlato”, the much awarded matografskim stilom podseća na alžirski “Alexandria... Why?”. This film chronicles a „Omar Gatlato”, nagradama ovenčani – somewhat frivolous adolescence, discreet-

108 „Orijentalni ples je sasvim normalna stvar u egi­ „Aleksandrija... Zašto?”. Film kroz pomalo ly serving a love story between a Muslim patskom društvu. (...) Njegovo je prisustvo u filmu neizbežan začin u svakoj čorbi.” (Faruggia 2002) neozbiljnu hroniku adolescentskog biv­ man and a Jewish woman, which is always

„Ljubav u senci piramida” (1966), r: Ali Reda stvovanja, diskretno servira ljubavnu priču a provocative topic. između Muslimana i Jevrejke, što je odu- In 1975 the Third Week of UAR Film “Oriental dance is a normal thing in Egyptian society. vek provokativna tema. was held. It showed the film “One Nose (…) Its presence in the film is the inevitable spice in every broth.” (Faruggia 2002) Godine 1975. održana je Treća nede­ and Three Eyes” by Hussein Kamal who lja UAR filma. Tad je prikazan i film „Nos earned world renown several years previ- “Love in Karnak” (1965), dir. Ali Reda i tri oka” reditelja Huseina Kamale, koji ously with his film A“ drift on the Nile” – a je nekoliko godina ranije stekao svetsku critique of sorts of the social order through popu­larnost filmom „Lebdenje nad Ni- the characters: state officials, journalists, lom” – svojevrsnom kritikom društvenog actors and other intellectuals who gather poretka kroz likove: državnog službenika, in a house by the Nile, in a daze incurred novinara, glumca i ostalih intelektualaca by smoking hashish. In the same year, au- koji se okupljaju u kući pored Nila, u mag- diences were also able to see the film “The novenju nastalom od pušenja hašiša. Te White Dress” by Hassan Ramzi, with a So- godine beogradska publika je imala priliku viet production and an amazing 61 million da vidi i film „Bela haljina” Hasana Ramzi- viewers. This placed it at number seven in ja, u sovjetskoj produkciji sa gledanošću the Soviet Union’s films of all times list. od neverovatnih 61 milion gledaoca. Što ga The film is a romantic drama bearing the

109 stavlja na 7. mesto filmova svih vremena u distinctive set-design of the time, with Sovjetskom Savezu. Radi se o romantičnoj songs such as Strangers in the Night, and drami prepoznatljivog dizajna onog vre- yet with a typical Egyptian twist: a rich fa- mena sa songovima poput „Stranci u noći”, ther forbids his son’s engagement because a opet sa tipično egipatskim zapletom, bo- his woman of choice does not live up to gat otac brani veridbu sinu jer se njegova his expectations. The film “The Girls Must odabranica ne uklapa u njegove aršine. Marry” by Ali Reda is another offshoot in Film „Devojke se moraju udati” Ali Rede the favourite Egyptian genre of the time je još jedan izdanak do tada omiljenog – the musical; the genre within which Ali egipatskog žanra – mjuzikla u kojem se Ali Reda along with his brother Mahmoud Reda sa svojim bratom Mahmudom i nji- and their dance troupe held a firm position hovom plesnom trupom održao nekoliko over the course of several decades, on both decenija kako na sceni tako i na filmu. Pri- the stage and in film. Several documenta- kazano je i nekoliko dokumentarnih filmo- ries were also shown: “In the Course of Six va: „U periodu od šest sati”, „Pokret umesto Hours”, “Movement Instead of Speech” and govora” i „Plač bez zida plača”. A prikazani “Wailing without the Wailing Wall”, as well su i filmovi dva prijatelja, pionira egipat­ as films by two friends, pioneers of Egyp- skog filma „U potrazi za skandalom” Nijazi tian film “Searching for a Scandal” by Niazi Mostafe i „Kairo 30” Salah Abu Seifa, film Mostafa and “Cairo 30” by Salah Abu Seif, koji je nominovan za Oskara 1966. godine. a film nominated for the Oscar in 1966. Ponovo su tu arhetipovi te kinematografi- Again, there are the archetypes of Egyp- je, borba i ljubav, u predrevolucionar- tian cinematography – struggle and love in nom Egiptu. Abu Seif je, dakle, tzv. otac pre-revolutionary Egypt. Abu Seif is the so egipatske kinematografije, ali su njegovi called father of Egyptian cinematography počeci direktno vezani za Nijazi Mostafu, however his beginnings are directly linked kojem je asistirao u prvim filmovima, jer to Niazi Mostafa, whom he assisted in his se Mostafa školovao u Nemačkoj. Dugo first films, due to the fact that Mostafa je Abu Seif tražio svoj stil snimivši oko 400 was schooled in Germany. For a long time filmova razapet između istorijskog, mis- Abu Seif was in search of his style, film- tičnog, romantičnog žanra; između ko- ing around 400 films, torn between the medije, melodrame i farse. Krajem 50-ih historical, mystical and romantic genre; godina 20. veka imao je izuzetno plo­dnu between comedy, melodrama and farce. saradnju sa scenaristom Al Kuduzom By the end of the 1950s he had created a („Nesanica” i „Devojke u leto”). U Beogradu fruitful collaboration with the screenwrit- na već pomenutom prvom festivalu UAR er Ihsan Abdel Quddous (“Sleepless” and filma 1960. videli smo i njegovog „Drugog “The Girls and the Summer”). In the afore čoveka”, u kojem je hrabro postavio pitanje mentioned First festival of UAR films in ženske ravnopravnosti, još jednu od tema 1960, audiences were able to see Seif’s koje će ga pratiti u socijalnom angažmanu. film “The Other Man” in which he bravely Film govori o muškarcu koji ima dilemu o put forward the question of the equality of žrtvi koju treba podneti, jer mu je prva women, another theme that was to follow žena nerotkinja a, naravno, nailazi na dru- his social engagement. The film is about a gu. Takvim se pitanjima konsekventnosti man who is posed with a dilemma about braka bavio Seif u svojoj najproduktivnijoj the sacrifice he is to make because his first fazi postavljajući temelj realizmu kao naj­ wife is barren and, of course, he meets an- dominantnijem žanru Naserove ere. Po- other woman. These are the questions of tom je došla saradnja sa Nagib Mahfuzom, the consequences of marriage that Seif koja je na neobičan način produbila njego­ dealt with in his most productive phase, vu opsednutost snalaženjem pojedin­ca laying the foundations of realism as the u konstantnim previranjima društvenog most dominant genre of Nasser’s era. This

110 okrilja u kojem se našao, odnosno o was followed with his collaboration with njegovoj odgovornosti s obzirom na okol- Naguib Mahfouz, which in an unusual way nosti koje nikada nisu bile blagonaklone. deepened his obsession with the theme Nagib Mahfuz je poznati društveni of the individual making his way in the kritičar, između ostalog i naserizma, no constant social turmoil in which he found bitna je i činjenica da pod njegovim utica- himself, that is, his responsibility with re- jem magični soc-realizam postaje domi- gard to the circumstances which were nev- nantni pravac u egipatskom filmu. On je er benevolent. egipatski film potpuno izmenio. Kao što Naguib Mahfouz was a famous social to Galal el Šarkui konkretno opisuje: „Egi- critic of, among other things, Nasserism patski film napušta salone, kamerni film, as well, however what is important is the i uzbuđenja noćnih klubova. Izašao je na fact that under his influence the magical ulice Kaira, aleksandrijske luke i vrevu social-realism became a dominant move- Port Saida, u pustinje Sueza i Sinaja, pose- ment in Egyptian film. He changed Egyp- tivši hramove savremenog Egipta, Asvana” tian film completely. As Galal El-Sharkawy (Thoraval 1986, 43). specifically describes: “The Egyptian film S kraja vladavine Mohameda Alija, sre- left the salon, the chamber film and the dina XIX veka, tinjala je želja za ujedinje­ excitement of nightclubs. It went out into njem arapskog sveta, ali su je imperijalis- the streets of Cairo, to the ports of Alexan- tičke sile gasile strategijom podele. Kako je dria and the bustle of Port Said, the deserts od prve filmske projekcije, u kafeu Turani u of Suez and Sinai, visiting the temples of Aleksandriji 1896. godine, do danas Egipat modern Egypt, Aswan” (Thoraval 1986, 43). doživeo nebrojene promene, što socijalne By the end of Muhammad Ali’s rule, in što političke prirode, tako su one uticale i the mid-19th century, there was the gradu- na filmsku umetnost – čas je obogaćiva- ally growing desire to unite the Arab world, le šarenolikošću pristupa i pravaca, čas je however imperialist powers thwarted usmeravale i sputavale cenzurom. Posle these attempts through divisive strategies. Kralja Faruka do 60-ih godina prošlog veka Since the first film projection in the Alex- egipatski film nije imao premca u regionu, andrian cafe Turani, in 1896, to date Egypt a onda je došao Naser – ujedinitelj Arapa, has undergone numerous changes, those kako u dobru tako i u zlu, kako u životu of a social and political nature, which af- tako i na filmu. Posle razvoja realista za fected the art of film – on the one hand film vreme naserizma došao je Mubarak, koji was enriched with a variety of approaches je uglavnom okarakterisan kao cenzor and style directions, and on the other, it svih prethodnih vlasti, učesnik u brisanju was controlled and inhibited through cen- kolektivne svesti. U tom periodu mnogi sorship. Following King Faroukh and until sineasti iz Egipta odlazili su ka Persijskom the 1960s Egyptian film was the leading in zalivu (npr. pominjani film „Ljubav u sen- the region, and then came Nasser – the one ci piramida”) i Iraku nalazeći finansijere who united the Arabs, for better or worse, za svoje projekte. Na kraju 20. veka, 1996. in both everyday life and in film. After the Sad Edin Vahba najavio je privatizaciju ki- development of the realists during Nas- nematografije, jer gledanost domaće pro- serism, there followed Mubarak generally dukcije opada. characterized as the censor of all previous U novom milenijumu su, 2009. i krajem governments and the forerunner of wiping 2010, kao i 2012. godine, u Jugoslovenskoj out collective consciousness. During this kinoteci u Beogradu prikazani gotovo svi period, many filmmakers from Egypt went navedeni filmovi u okviru retrospektiva in search of financiers for their projects to egipatskog filma, ali i po neki od filmo- the Persian Gulf (e.g., the previously men- va novije produkcije sa vrlo raznovrsnim tioned film “Love in Karnak”) and Iraq. By pristupom; zadržavajući karakteristike tog the end of the 20th century, in 1996, Saad

111 nasleđa, kao što je to i u filmu O „ dreza- Edin Wahba announced the privatization no-odbačeno” – na tradiciji ljubavne melo- of cinema, because the rating of domestic drame, ili na primer ljubav kao opsesija u production was in decline. filmu „Kao na današnji dan”, gde devojka In the new millennium, in 2009, at the u iracionalnom strahu prepoznaje slično- end of 2010 and in 2012, the Yugoslav Film sti između njenog sadašnjeg momka i Archive in Belgrade screened almost all the muškarca s kojim je bila pre njega, koji je films that have been mentioned as part of stradao pre nekog vremena u saobraćajnoj the Egyptian film retrospectives, as well as nesreći. Prikazan je i sada već poznat film certain recent productions with very dif- „Jakubijanska zgrada”, koji se bavi prome- ferent approaches; maintaining the char- nama u 70 godina staroj zgradi koja, dakle, acteristics of its heritage, as in the film “Cut poput piramide, spomenika, prati sve in- and Paste” – based on the tradition of the tenzivne društvene promene, kao „živi sve- love story melodrama, or for example love dok”, kroz sudbine svojih stanara. Film je as an obsession in the film “On a Day Like pun diskretnih glumačkih bravura i rečeni- Today”, where a girl in an irrational frenzy ca koje emituju izuzetno oštar kritički stav realizes the similarities between her cur- nove generacije, na primer: ako ne možete rent boyfriend and the man with whom naći dobro u svojoj zemlji, nećete ga naći nigde she had been before him, who was killed drugde. some time ago in a car accident. Also fea- Atef El Tajeb, jedan od dolazećih sino- tured was the now well-known film “The va savremene egipatske kinematografi- Yacoubian Building”, which deals with the je, je upravo u takvoj konotaciji pokušao changes mirrored in the 70-year-old build- okarakterisati situaciju u kojoj se egipatski ing, which, like a pyramid or monument, film sad nalazi prikazavši egipatske sineas- keeps track of all the intense social chang- te u usponu kao: „Sinove ulice, sinove Salah es and is a “living witness” of the fates of Abu Seifa i koka-kole” (Al Aris, 1997). Iako se its occupants. It is a film saturated with Abu Seif nikad ne bi složio sa delom u ko- discrete acting bravura and sentences that jem se pominje koka-kola. emit extremely sharp critical attitudes of the new generation, such as: if you cannot find the good in your own country, you will not find it anywhere else. Atef El-Tayeb, one of the up and com- ing sons of contemporary Egyptian cin- ematography, tried to pinpoint the situ- ation in which Egyptian film finds itself today, depicting Egyptian filmmakers on the rise as: “The sons of the street, the sons of Salah Abu Seif and Coca-Cola” (Al Aris, 1997). Even though Abu Seif never agreed with the work in which reference of Co- ca-Cola is made.

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hronologija timeline

Hadži Pavle Riđički, poznati srpski advokat i Hadži Pavle Riđički, renowned Serbian lawyer 1885 član „Matice srpske”, između 1885. i 1888. go- and member of the “Serbian Heritage Society”, dine, u nekoliko navrata putuje kroz Egipat. travels through Egypt on several occasions be- tween 1885 and 1888.

1887 Poznati srpski slikar Paja Jovanović boravi u Acclaimed Serbian painter Paja Jovanović so- Egiptu. journs in Egypt.

1888 U Luksoru Hadži Pavle Riđički kupuje mumiju Hadži Pavle Riđički purchases a mummy in koja će s vremenom postati poznata kao „Beo- Luxor, which will in time become known as gradska mumija”. “the Belgrade Mummy”.

1908 Započeti diplomatski odnosi Beograda i Kaira. Diplomatic relations between Belgrade and Kraljevina Srbija otvorila je 1. februara 1908. go­­ Cairo are established. On February 1, 1908, the dine Diplomatsku agenciju u Kairu koja je ubrzo Kingdom of Serbia opened the Diplomatic podignuta na nivo Generalnog konzulata. Agency in Cairo, soon to be elevated to the rank of the General Consulate.

1918 Prvi kontakt srpske kinematografije i Egipta. The first contact of Serbian cinematography Srbin, poznat kao gospodin Lakić u leto with Egypt. A Serb, known as Mister Lakić, shot 1918. godine, u Egiptu pravi filmski zapis G„ o­ his film “Miss Loreta” in the summer of 1918 in spođa Loreta”. Egypt.

1922 Egipat je od 1882. godine bio pod britanskom Since 1882 Egypt was under British occupation, okupacijom, a nezavisnost je proglašena 28. fe­ and independence was proclaimed on Febru- bruara 1922. Iste godine otvorena je Ambasa- ary 28, 1922. The Royal Embassy of Serbia was da Srbije u Kairu, a prvi ambasador bio je opened in the same year, with Jovan Dučić as Jovan Dučić. the first ambassador.

114 1925 1. oktobra 1925. godine je otvorena Trgovinska The Trade Agency of the Kingdom of SHS was agencija Kraljevine SHS u Aleksandriji s ciljem opened on October 1, 1925 in Alexandria, with lakšeg ekonomskog povezivanje dve zemlje. the aim of facilitating economic relations be- tween the two countries.

1926 Jelena Dimitrijević kreće na put u Egipat 17. no- Jelena Dimitrijević embarks upon her journey vembra 1926. Tom prilikom ona se upoznaje sa to Egypt on November 17, 1926. There she will Hudom Šaraui. meet Huda Shaarawi.

Jovan Dučić boravio je u Egiptu, kao otpravnik Jovan Dučić was in Egypt as charge d’affaires poslova u dva navrata: od 1926. do 1927. i on two occasions: from 1926 to 1927 and from od 1929. do 1932. godine. U knjizi „Gradovi i 1929 to 1932. His book “Cities and Chimeras”, himere”, zbirci njegovih iskustava i zapažanja a collection of experiences and observations tokom službovanja po različitim zemljama, while stationed in different countries, also nalazi se i „Pismo iz Egipta”. contains “A Letter from Egypt”.

Poznati srpski pisac i diplomata, Jovan Dučić (1871 – 1943) u Egiptu, oko 1927. go- dine. Fotografija iz arhiva Legata Jovana Dučića, Narodna biblioteka Trebinje.

The famous Serbian writer and diplomat Jovan Dučić (1871 – 1943) in Egypt, circa 1927. The photograph is from the archives of the Jovan Dučić Legacy, the National Li- brary in Trebinje.

Srpska glumica Desa Dugalić posećuje Egipat Serbian actress Desa Dugalić visits Egypt in the 1931 u leto 1931. godine. summer of 1931.

12. oktobra 1936. godine osnovan je Jugoslo- The Yugoslav Home in Alexandria was estab- 1936 venski dom u Aleksandriji kao udruženje koje lished on October 12, 1936, as an association je imalo za cilj da okuplja sve članove jugoslo- with the aim of assembling all members of venske zajednice u Egiptu, zarad njihovog the Yugoslav community in Egypt in order to povezivanja, upoznavanja i međusobnog po- set up connections between them, get them maganja. acquainted, and for their mutual assistance.

Egipat je za jugoslovensku vladu postao Egypt became extremely important for the 1941 izuzetno važan posle kapitulacije Kraljevine Yugoslav government after the Kingdom of Jugoslavije 17. aprila 1941. godine pošto su se Yugoslavia capitulated on April 17, 1941, as kralj Petar II i vlada preko Atine prebacili u Kai- HM King Peter II and the government were ro (a zatim i u London). transported to Cairo via Athens (and then to London).

Prvi susret Josipa Broza Tita i Gamal Abdel Na- The first meeting between Josip Broz Tito and 1955 ser u Suecu na brodu „Galeb”. Prilikom povratka Gamal Abdel Nasser was at Suez aboard the sa puta po Indiji i Burmi, jugoslovenski predse- ship “Galeb”. On his journey back from the so- dnik Josip Broz se kratko zadržao i u Egiptu. journ in India and Burma, the Yugoslav pres- Posle sastanka sa egipatskim premijerom ident Josip Broz made a brief stop in Egypt. Naserom, on se 6. februara 1955. godine sastao After meeting the Egyptian Prime Minister na brodu „Galeb” sa osobljem jugoslovenskih Nasser on February 6, 1955 on board the ship diplomatskih i trgovačkih predstavništava u “Galeb”, he also had a meeting with the staff of Egiptu i prvacima jugoslovenske emigracije u the Yugoslav diplomatic and trade missions in toj zemlji. Ovaj istorijski događaj zabeležio je Egypt, along with the leaders of the Yugoslav svojim foto aparatom i dr Zdravko Pečar. emigration to that country. This historic event was recorded by dr Zdravko Pečar’s camera.

115 Gamal Abdel Naser uzvraća posetu Jugoslaviji The return visit of Gamal Abdel Nasser to Yu- 1956 u julu mesecu 1956. godine. goslavia in July 1956.

Održana je Prva nedelja egipatskog (UAR) filma The first Egyptian (UAR) Film Week held in 1960 u Beogradu. Belgrade.

Održana Prva konferencija Pokreta nesvrsta­ The first Non-Aligned Movement Conference 1961 nih u Beogradu koja je trajala od 1. do 6. se­pte­ held in Belgrade, which lasted from 1 to 6 Sep- mbra. Uz premijera Indije Nehrua, Naser i Tito tember. Besides the Indian Prime Minister su idejni tvorci Pokreta nesvrstanih. Nehru, Nasser and Tito are the founding fa- thers of the Non-Aligned Movement.

Predsednik skupštine Ujedinjene Arapske Re- The President of the Assembly of the United publike (UAR), Anvar el Sadat poklanja Josipu Arab Republic (UAR) Anwar El Sadat presented Brozu Titu „zlatnu sablju”. the ‘Golden Sword’ to Josip Broz Tito.

U Paviljonu „Cvijeta Zuzorić” javnosti je pred- The exhibition of contemporary Egyptian art 1962 stavljena izložba savremene egipatske umet- was presented to the public at the “Cvijeta Zu- nosti. zorić” Pavilion.

Od 22. decembra 1967. do 12. januara 1968. go­ The first in a series of presentations of applied 1967 dine održana je prva u nizu prezentacija prime­ art in the former United Arab Republic was held njenih umetnosti tadašnje Ujedinjene Arapske from December 22, 1968 to January 12, 1969. Republike. Izložba je nosila naziv „Egipatska The exhibition entitled “The Egyptian Ceram- keramika” i otvorena je u Muzeju primenjene ics” was opened at the Museum of Applied Arts umetnosti u Beogradu. in Belgrade.

U Kairu je formulisana i potpisana prosvetna i The Educational and Cultural Cooperation be- 1970 kulturna kooperacija između Egipta i SFRJ za tween Egypt and the SFRY was formulated and 1970. i 1971. godinu. signed in Cairo, in 1970 and 1971.

1974 Izložba „Savremeno egipatsko slikarstvo” otvo­ The “Contemporary Egyptian Painting” exhibition rena je u Galeriji Doma JNA i trajala od 8. do was opened in the Gallery of the House of the Yu- 20. oktobra 1974. godine. Izložba je realizova- goslav People’s Army, from October 8 to 20, 1974. na u saradnji sa Saveznim zavodom za među­ The exhibition was organized in collaboration narodnu naučnu, prosvetno-kulturnu i teh- with the Federal Institute for International ničku saradnju i tom prilikom je prikazano 49 Scientific, Educational, Cultural and Technical radova, 8 tada najpoznatijih egipatskih slikara. Cooperation, presenting 49 works by 8 famous Egyptian artists of the time.

U Kulturnom centru Beograd postavljena je The Cultural Centre of Belgrade set up the ex- 1979 izložba slikara Seifa Vanlija. Iste godine istak- hibition of painter Seif Wanly. In the same year nuti umetnik i profesor univerziteta – Taha the distinguished artist and university professor Hussein koncipirao je izložbu „Savremena Taha Hussein conceived the exhibition “Con- primenjena umetnost Egipta” u Muzeju prime­ temporary Applied Art in Egypt” at the Museum njene umetnosti u Beogradu. Izložba je trajala of Applied Arts in Belgrade. The presentation od 3. do 9. oktobra. was open from 3 to 9 ­October.

116 Izložbu „Savremeno egipatsko slikarstvo” (1974) The “Contemporary Egyptian Painting” exhibition ispratio je jedan od najistaknutijih beogradskih was reviewed by one of the most prominent kritičara moderne i savremene likovne umetnosti Belgrade critics of modern and contemporary visual Slobodan Boda Ristić (1942–2012). arts, Slobodan Boda Ristić (1942–2012).

Galeriji Doma JNA otvorena je izlo­ he Gallery of the House of the YPA host- žba savremenog egipatskog slikarstva, ed an exhibition of contemporary Egyp- U koju je organizovao Savezni zavod za Ttian paintings, organized by the Federal međunarodnu saradnju i Ministarstvo kulture Institute for International Cooperation and Arapske Republike Egipat. Predstavljeno je the Ministry of Culture of the Arab Republic osam slikara različitih generacija sa pedeset of Egypt. Eight painters from different gen- dela... erations were represented with almost fifty Kako se manifestuje savremena umetnost, works... u ovom slučaju slikarstvo, u jednoj sredini koja It is always a meaningful and interest- ima izuzetnu istorijsku i kulturno-umetničku ing point, for societies in which the modern prošlost, uvek je značajno i zanimljivo pita­ concept of art is accepted as a logical conse- nje za sredine u kojima se savremeni koncept quence of the overall social development, to umetnosti prihvata kao logična posledica see how contemporary art, in our case paining, sveukupnog društvenog razvoja. Za egipatske is manifested in a society with an exceptional slikare koji su predstavljeni na ovoj izlož- historic and cultural-artistic past. The matter bi, ovo pitanje je razrešeno kao u bilo kojoj is resolved for the Egyptian artists presented drugoj evropskoj sredini, a da ova izložba ne at the exhibition just like in any other Euro- predstavlja samo reprezentativni izbor dela, pean milieu, and the fact that this exhibition koja su posebno odabrana, da bi se što lakše is not just a representative selection of works, usp­o­­stavila komunikacija s drugim sredina- chosen particularly with the purpose of facili- Naslovna strana kataloga savremenih egipatskih slikara. Izdavač ma, svedoči i jedna danas verovatno zabora- tating communication with other societies, is je Ministarstvo za kulturnu i nacionalnu orijentaciju UAR, Kairo, vljena izložba egipatske umetnosti, koja je evidenced of the, by today, probably forgotten u saradnji sa izdavačkim zavodima Jugoslavije. U katalogu su reprodukcije umetnika: Mahmuda Saida, Muhameda Fadžija, održana u Beogradu pre desetak godina, a na exhibition of Egyptian art, held in Belgrade Ahmada Sabrija, Jusefa Kamela, Ragiba Ajada, Salaha Tahera, Saida kojoj su, takođe, manifestovani različiti i savre- about ten years ago, and which also mani- Abdule Rasula, Seifa Vanlija, Ramzesa Jufana, Hasana Solimana, meni izrazi, kao i kod osam slikara s kojima se fested various modern expressions, as is the Salaha Abdule Kerima i Hamida Gada. Iz arhiva Muzeja istorije Jugoslavije. sada susrećemo. Naravno, jedna društveno case with the eight painters before us here mlada sredina, koja je tek pre dve decenije today. A budding society, which became in- postala nezavisna, ima i svoje karakteristične dependent only two decades ago, has its own Front cover of the catalogue presenting contemporary Egyptian probleme, tako da su i u umetnosti, bez obzi- characteristic problems, so that art, regardless artists. Published by the Ministry for Culture and National ra na njenu savremenu koncepciju, prisutni i of its modern conception, also presents some Orientation UAR, Cairo, in cooperation with Yugoslav publishing elementi inspirisani tradicionalnim oblicima, elements inspired by traditional forms, spe- houses. The catalogue has reproductions of the following artist: Mahmoud Said, Mohamed Faji, Ahmad Sabri, Youssef Kamel, Raghib specifičnostima podneblja i narodnom, fol­ cifics of the climate and the people, or by folk Ayad, Salah Taher, Said Abdul Rasul, Seif Wanly, Ramses Yufan, klornom umetnošću. Zanimljivo je da je i stav art. Curiously, the Egyptian society’s approach Hassan Soliman, Salah Abdul Kerim and Hamid Gad. From the Museum of Yugoslav History archive. egipatskog društva prema umetnosti upravo towards art is to encourage exactly this kind of da podstiče ovakvo jedinstvo. Društvo, u svo- unity. The society, with its minimum demands jim minimalnim zahtevima, citiramo: zahte- – we quote: requires of each artist to be dis- va da se svaki umetnik ističe u svojoj grani tinguished in his field of art regardless of the umetnosti, bez obzira na način izražavanja; mode of expression; to follow trends of new da sledi pravce novih umetničkih tendencija, art tendencies, but at the same time to guard ali i da istovremeno čuva nacionalnu pripa­ his nationality, which is an individual problem dnost, što je već individualni problem svakog of each artist. This democratic demand that umetnika. Ovaj demokratski zahtev podstiče fosters the development of contemporary art razvoj savremene umetnosti u Egiptu i teži da in Egypt seeks to establish better communica- se uspostavi što bolja komunikacija s drugim tion with other communities. sredinama. The works presented at the exhibition Inače dela na ovoj izložbi predstavljaju typify several different expressions of modern nekoliko različitih izraza savremene egipatske Egyptian art, with the domineering part com- umetnosti, a dominira slikarstvo orijentisa- prising paintings oriented towards figurative no ka figurativnoj tematici, u kome se javlja themes, where one finds a specific coupling of specifičan spoj vizuelnih prosedea masovnih visual methods of mass media, used nowadays medijuma, koje danas koristi figurativno in figurative painting, and of folk traditions, slikarstvo, i folklorne tradicije, izražene u orna- expressed in ornamentation and decorations. mentaciji i dekorativnosti. Nešto je manji broj A somewhat smaller number of artists belong pripadnika apstraktnog usmerenja, a prevagu to the abstract movement, the so-called lyrical odnosi takozvana lirska apstrakcija, slobod- abstraction being dominant with its free ges- nog gesta i spontanog izražavanja. tures and spontaneous expression. U svakom slučaju, izložba egipatskog In any case, the Egyptian art exhibition is slikarstva samo je još jedna potvrda mišljenja: just another confirmation of the opinion that da je umetnost u ovoj sredini orijentisana ka Egyptian art is oriented towards modern ex- savremenim izrazima. pressions.

U Beogradu, 1974. godine, In Belgrade, 1974, Slobodan Ristić Slobodan Ristić

117 U Muzeju afričke umetnosti, 16. aprila­ Professor dr Robert Anderson, egyptologist, 2003 ­prof. dr Robert Anderson, egiptolog, održao je held a lecture entitled “The Musician in An- predavanje „Muzičar u drevnom Egiptu”. Pro- cient Egypt” at the Museum of African Art on fesor Anderson je više od dvanaest godina bio April 16. Professor Anderson was for twelve počasni sekretar „Duštva za izučavanje Egipta”, years the honorary secretary of the “Egypt nadležnog za britanska iskopavanja u Egiptu. Exploration Society”, which was in charge of Profesor Robert Anderson osnivač je „Dobrot- British excavations in Egypt. Professor Robert vorne istraživačke fondacije Robert Anderson” Anderson is the founder of the “Robert Ander- koja je od uspostavljanja saradnje 2003. go- son Research Charitable Trust” which, upon dine omogućila stručno usavršavanje u obla­ establishing co-operation in 2003, enabled sti muzeologije nekoliko generacija kustosa expert training in the field of museology to Muzeja afričke umetnosti u Beogradu. several generations of curators of the Museum of African Art in Belgrade.

Muzeju afričke umetnosti ustupljena su tri The Museum of African Art acquisitioned 2004 izrazito vredna artefakta: drevno-egipatska three exceptionally valuable artefacts: ancient „lica”, odnosno „maske” sa kovčega. Egyptian wooden ‘faces’, i.e. coffin-masks.

Tri posmrtne maske/lica s kovčega. Drvo. Inv. br. P0250, P0251, P0252. Zbirka Muzeja afričke umetnosti u Beogradu.

Three funerary coffin-masks. Wood. Inv. no. P0250, P0251, PO252. Collection of the Museum of African Art in Belgrade.

Održana je retrospektiva egipatskih filmo­ A retrospective of Egyptian films was held at 2009 va u Jugoslovenskoj Kinoteci u Beogradu. the Yugoslav Film Archive in Belgrade. Similar Slične filmske retrospektive, u istom prostoru, film retrospectives were held at the same ven- održane su i 2010. i 2012. godine. ue in 2010 and 2012.

Marta 2009. godine, u okviru manifestaci- In March 2009, as part of the Days of Egyptian je Dani kulture Egipta u Srbiji, u Istorijskom Culture in Serbia event, an exhibition present- muzeju Srbije otvorena je izložba na kojoj su ing the works of 11 contemporary Egyptian predstavljeni radovi 11 savremenih egipatskih artists was opened at the Historical Museum umetnika. of Serbia.

Muzej afričke umetnosti je primio na poklon rep- On May 27 2010 the Museum of African Art 2010 liku statue­ faraona Tutmozisa III 27. maja 2010. received a gift to the City of Belgrade, a replica Njemu je, povodom saradnje između grada of the statue of Pharaoh Tuthmosis III. The gift Beograda i Arapske Republike Egipat, poklon was presented to him by Faiza Albunaga, Egyp- uručila Faiza Albunaga, ministarka za međun- tian Minister for International Cooperation, arodnu saradnju Egipta. Replika statue se da- honouring the cooperation between Belgrade nas nalazi na Fakultetu likovnih umetnosti u and the Arab Republic of Egypt. The replica of Beogradu. the statue is now at the Faculty of Fine Arts in Belgrade.

Od 8. do 15. novembra održana je Nedelja The Week of Serbian Culture and an exhibition kulture Srbije u Egiptu i izložba arhivskih based on TANJUG archival photographs were fotografija A T NJUG-a. U istorijskom jezgru held in Egypt from 8 to 15 November. The Min- starog Kaira, u dvorcu princa od Taza iz XIV isters of Culture of Serbia and Egypt - Nebojša veka, u prisustvu tadašnjeg premijera Srbi- Bradić and Faruk Hosni - opened the exhibi- je Mirka Cvetkovića, ministri kulture Srbije i tion of photographs “TANJUG: A Look Into the Egipta - Nebojša Bradić i Faruk Hosni - otvorili Eye of History” in the historical hub of old Cai- su izložbu fotografija „TANJUG: pogled u zeni- ro, at the fourteenth century palace of Prince of cu istorije”. Taz, attended also by the former Serbian Prime Minister Mirko Cvetković.

118 U Beogradu je 21. januar 2011. održana osniva­ On January 21, a founding assembly of the Ser- 2011 čka skupština Društva srpsko-egipatskog pri- bian-Egyptian Friendship Society was held in jateljstva. Belgrade.

2012

Katalog izložbe „Vizija Egipta”. Fotografi- je Maje Medić i instalacija Nemanje Đorđevića rezultat su boravka umetnika u Egiptu u okviru projekta „Egipat viđen očima Srbije”, 2012. godine.

Exhibition catalogue “Visions of Egypt”. The art photographs by Maja Medić and installation by Nemanja Đorđević were the result of the artists’ residence in Egypt, as part of the “Egypt in the Eyes of Serbia” project, 2012.

U Galeriji Fakulteta likovnih umetnosti u The exhibition “Visions of Egypt” by Maja Beogradu, 11. maja je otvorena izložba „Vizije Medić and Nemanja Đorđević was opened in Egipta” Maje Medić i Nemanje Đorđevića. Dva Belgrade on May 11 at the Faculty of Fine Arts beogradska umetnika provela su mesec dana Gallery. The two artists from Belgrade had u Egiptu, u okviru projekta „Egipat viđen oči- spent a month in Egypt as part of the “Egypt ma Srbije”. Projekat je ostvaren zahvaljujući in the Eyes of Serbia” Project. The project was Ambasadi Republike Egipat u Beogradu, tada­ realized owing to the Egyptian Embassy in š­njem ambasadoru Ali Galal Basijuniju i Mini­ Belgrade and thanks to Ambassador Ali Galal starstvu kulture i informisanja republike Srbi- Abdelaziz Mohamed Basiuni and the Ministry je. Umetnici su se sa putovanja vratili na dan of Culture and Information of Serbia. The art- kada je u Egiptu počela januarska revolucija, a ists returned from their journey on the very radovi koji su izloženi nastajali su u nedeljama day the January Revolution of 2011 started in koje su prethodile ovom važnom istorijskom Egypt, and their exhibited works were created trenutku. in the weeks preceding this important historic moment.

U okviru manifestacije „Noć muzeja”, 19. maja As part of the “Night of Museums” on May 19 u Muzeju afričke umetnosti održan je poseban the Museum of African Art held a special pro- program „Trans-arapska avantura”. Program gramme: “The Trans-Arab Adventure”. The pro- koji je uključivao „live” oslikavanje „Oka horu- gramme including ‘live’ painting of the Eye of sa” na velikom platnu (Milica Josimov) i mu­ Horus on a large canvas (Milica Josimov) and a zičko-scenski performans (Aleksandar Maričić musical and theatrical performance (Aleksan- i Dubravka Subotić) preneo je posetiocima vi- dar Maričić and Dubravka Subotić) conveyed talnost večnih egipatskih freskoprizora. to visitors the vitality of Egyptian fresco depic- tions.

Savremeno iščitavanje likovnog i mu­ zičkog nasleđa Egipta. „Trans-arapska avantura”, program u okviru Noći muzeja 2012, u Muzeju afričke umetnosti u Be- ogradu.

A contemporary reading of the visual and musical heritage of Egypt. The “Trans-Ara- bian Adventure” programme as part of the Night of Museums 2012, at the Museum of African Art in Belgrade.

119

beleške notes

SLIKE FARAONSKE PROŠLOSTI IMAGES OF A PHARAONIC PAST O razvoju i stanju egiptologije u Srbiji On the Development and Current State of Egyptology in Serbia (Uroš Matić) (by Uroš Matić)

1 Neki radovi Paje Jovanovića tematski su vezani za Egipat i pokazuju opšta mesta 1 Certain works by Paja Jovanović are thematically linked to Egypt and reveal karakteristična za radove orijentalista poput malog interesovanja ili čak potpunog particular general points characteristic to the works of orientalists such as little or odsustva interesovanja za stvarnost Bliskog istoka nasuprot interesovanjima ciljne even a complete lack of interest in the reality of the Near East opposite the interest grupe koja je činila deo društvene elite tog doba. Ovom prilikom zahvaljujem se Veri of the target group, which constituted a part of the social elite of the time. I use the Vasiljević na podatku o prisustvu egipatskih motiva u radovima Paje Jovanovića. opportunity to thank Vera Vasiljević for sharing information on the presence of Vera Vasiljević je na ovu temu prezentovala rad pod naslovom „Orientalism oblige. Egyptian motifs in the works of Paja Jovanović. Vera Vasiljević has based a paper A case study” na skupu „Egypt and Austria IX: The Perception of the Orient in Central in this theme titled “Orientalism oblige. A case study” at the conference “Egypt Europe (1800–1918)” 22. oktobra 2013. godine u Betliaru u Slovačkoj. Ovde dati and Austria IX: The Perception of the Orient in Central Europe (1800–1918)” held podaci preuzeti su iz apstrakta Vere Vasiljević sa pomenute konferencije. October 22, 2013 in Betliar, Slovakia. The data presented here was obtained from Vera Vasiljević’s abstract from the above mentioned conference.

2 Egipatski muzej u Kairu se između 1858. i 1889. godine nalazio na kairskom 2 The venue of the Egyptian Museum in Cairo between 1858 and 1889 was in the distriktu Bulak (Reid 2002, 103). Cairo district Bulaq (Reid 2002, 103).

3 In 1888 the market of antiquities in Luxor had excavations from the Akhmim 3 Godine 1888. tržište starina u Luksoru bilo je snabdeveno nalazima sa nekropole necropolis, 200 km downstream. The site was plundered between 1884 and 1888, u Akmimu, 200 km nizvodno. Lokalitet je pljačkan između 1884. i 1888. godine, a and the mummy purchased by Hadži Pavle Riđički almost certainly originates from mumija koju je u Luksoru kupio Hadži Pavle Riđički sasvim izvesno potiče sa ovog this site (Anđelković and Harker 2011, 718). lokaliteta (Anđelković and Harker 2011, 718). 4 The National Library of Serbia holds the autograph “Misirska istorija. Pripreme za

4 predavanja letnji semestar 1898/1899” (NBS, R 382/1) (“Misr History. Preparations for U fondu Narodne biblioteke Srbije čuva se autograf „Misirska istorija. Pripreme the summer semestre lectures 1898/1899”) that have been presented by Danijela za predavanja letnji semestar 1898/1899” (NBS, R 382/1) koji je Danijela Stefanović Stefanović at the international conference “Enquiries into the History and Culture predstavila na međunarodnoj konferenciji „Istraživanje povijesti i kulture starog of the Ancient East and Egypt in the region of South-East Europe”, in Zagreb, June Istoka i Egipta na prostoru jugoistočne Evrope” u Zagrebu 18–20. juna 2012. Apstrakt 18–20th, 2012. The Abstract from the lectures has been published in the book of predavanja objavljen je u knjizi sa ove konferencije. abstract from this conference.

5 I use the opportunity to express my gratitude to Vera Vasiljević for drawing my 5 Ovom prilikom izražavam zahvalnost Veri Vasiljević na skrenutoj pažnji i podacima attention to this and the data from the lectures given by Teodorides, Altenmüller vezanim za predavanja koja su održali Teodorides, Altenmiler i Zacinger. and Satzinger.

6 6 Prvi studenti diplomskih studija arheologije na Filozofskom fakultetu u The first graduate archaeology students at the Faculty of Philosophy in Belgrade Beogradu koji su učestvovali na terenskim istraživanjima u Egiptu u više navrata that participated in several fieldwork projects in Egypt are Ivana Milosavljević su Ivana Milosavljević (Asuan, Siva, Hijerakonpolis) i Boris Trivan (Um Hieran, (Aswan, Siwa, Hierakonpolis) and Boris Trivan (Umm, Hieran, Sikait-Zubara, Sikait Zubara, Amarna). Autor ovog priloga je u periodu od marta do maja 2012. i Amarna). The author of this contribution participated in the excavations conducted 2013. godine učestvovao na iskopavanjima „Austrijskog arheološkog instituta u by the “Austrian archaeological Institute in Cairo” during the period from March Kairu” na lokalitetu Tel el-Daba, kao i na arheološkim iskopavanjima „Švajcarskog to May 2012 and 2013, at the Tel el-Daba site, as well as the archaeological arheološkog instituta” u Asuanu od januara do marta 2013. godine. Pored rada excavations of the “Swiss archaeological institute” in Aswan, from January to March na terenu, autoru je ljubaznošću Austrijskog arheološkog instituta omogućen 2013. In addition to the fieldwork, due to the kind considerations of the Austrian pristup dokumentaciji i arheološkom materijalu sa lokaliteta Tel el-Daba pri izradi archaeological institute, the author was able to gain access to the documentation doktorske disertacije. and archaeological materials from the Tel el-Daba site which aided his work on his doctoral dissertation.

7 Prve radove na ovom polju u Srbiji objavile su Vera Vasiljević i Danijela Stefanović. 7 The first to publish studies in this field, in Serbia, are Vera Vasiljević and Danijela Vera Vasiljević trenutno radi na monografiji na temu recepcije starogE gipta u Srbiji. Stefanović. Vera Vasiljević is currently working on a monograph on the topic of the reception of Ancient Egypt in Serbia.

8 Dobar uzor i primer zbirke manjeg obima (oko 2 200 predmeta) u poređenju sa 8 A good reference and example of a small-scale collection (approx. 2 200 objects) pojedinim muzejima u svetu je svakako egipatska zbirka Arheološkog muzeja u in comparrison to certain museums worldwide, is definitely the Egyptian collection Zagrebu (Uranić 2007). Postavka sa staroegipatskim nalazima redovno je posećena in Zagreb (Uranić 2007). The display of Ancient Egyptian findings is regularly visited i predstavlja jednu od najatraktivnijih postavki za posetioce. Pored dostupnih and is one of the most attractive exhibits for visitors. Besides available specialized stručnih publikacija, podaci o zbirci i pratećim izložbama dostupni su i na web- publications, information about the collection and accompanying exhibitions is -­ strani muzeja. available on the museum’s web page.

Bibliografija / Bibliography

Anđelković, Branislav. 1995. Pavle Riđički – donator Beogradske mumije: Rekonstrukcija puta na Bliski istok 1888. Godišnjak za društvenu istoriju II. 3: 329–343. Anđelković, Branislav. 1999–2000. Razgovor sa profesorom Savom Tutundžićem. Glasnik srspkog arheološkog društva 15–16: 407–413. Anđelković, Branislav. 2002a. Staroegipatska zbirka Narodnog muzeja u Beogradu. Glasnik srpskog arheološkog društva 18: 211–224.

122 Anđelković, Branislav. 2002b. „Egyptian Antiquities in the Museums of Serbia” In Egyptian Museum Collections around the World. Studies for the Centennial of the Egyptian Museum, Cairo, Volume One, ed. Mamdouh Eldamaty and Mai Trad, 39-50. Cairo: Supreme Council of Antiquities. Anđelković, Branislav. 2007. Staroegipatska zbirka Gradskog muzeja u Somboru. Glasnik Srpskog arheološkog društva 23: 227–244. Anđelković, Branislav i Miroslava Panić-Štorh. 2002. Staroegipatska zbirka Gradskog muzeja u Vršcu. Vršac: Gradski muzej Vršac. Anđelković, Branislav and Joshua Harker. 2011. Identity Restored: Nesmin’s Forensic Facial Reconstruction in Context. Etnoantropološki problemi 3 (6), 715–728. Anđelković, Branislav and Jonathan P. Elias. 2013. Ernest Brummer and the Coffin of Nefer-renepet from Akhmim. Etnoantropološki problemi 8 (2): 565–584. Babić, Staša. 2002. „Still innocent after all these years? Sketches for a social history of archaeology in Serbia” In Archäologien Europas: Geschichte, Methoden und Theorien, ed. Peter F. Biehl, Alexander Gramsch and Arkadiusz Marciniak, 309–322. Münster: Waxmann. Babić, Staša. 2006. „Archaeology in Serbia-A Way Forward?” In Homage to Milutin Garašanin., eds. N. Tasić and C. Grozdanov, 655–659. Belgrade: Serbian Academy of Sciences and Arts. Babić, Staša. 2011. Čemu još istorija arheologije? Etnoantropološki problemi 6.3: 565–577. Babić, Staša i Miodrag Tomović. 1996. Milutin Garašanin: razgovori o arheologiji. Beograd: 3T. Emery, Walter B. 1965. Egypt and Nubia. London: Hutchinson. Hassan, Fekri A. 2010. „Egypt in the Memory of the World”. In: Wendrich, Willeke (ed.). Egyptian Archaeology. Oxford: Blackwell. 259–273. Jeffreys, David. 2003. “Introduction-Two Hundred Years of Ancient Egypt: Modern History and Ancient Archaeology”. In: Jeffreys, David (ed.) Views of Ancient Egypt since Napoleon Bonaparte: Imperialism, Colonialism and Modern Appropriations, 1–18. London: University College of London Press. Larson, John A. 2006. Lost Nubia. A Cenntenial Exhibit of Photographs from the 1905-1907 Egyptian Expedition of the University of Chicago. Oriental Institute Museum Publications 24. Chicaco: The Oriental Instutute of Chicago Press. Medić, Milorad. 1980. Highlights of the Archaeological Expeditions. The Unesco Courier 33 (February-March): 32-46. Milinković, Mihailo. 1998. „Odeljenje za arheologiju” U: Filozofski fakultet, 1838–1998, period 1963–1998, ur. Rade Mihaljčić, 425–440. Beograd: Filozofski fakultet. Rajčević, Milorad. 1925. Iz žarke Afrike. Beograd: Grafički zavod „Makarije”. Reid, Donald Malcolm. 2002. Whose Pharaohs? Archaeology, Museums, and Egyptian National Identity from Napoleon to World War I. Berkeley and Los Angeles: University of California Press. Said, Edvard. 2008. Orijentalizam. Beograd: Biblioteka XX vek. Uranić, Igor. 2007. Aegyptiaca Zagrabiensia. Musei Archaeologici Zagrabiensis Catalogi et Monographie Vol. 4. Zagreb: Arheološki muzej u Zagrebu. Usick, Patricia Hillary. 1998. William John Bankes’ Collection of Drawings and Manuscripts Relating to Ancient Nubia. Volume I. PhD thesis, The University of London. Васиљевић, Вера. 1992. Искривљена слика старог Египта. Гласник српског археолошког друштва 8: 159–163. Васиљевић, Вера. 1999–2000. Египтологија код нас – луксуз или потреба? Гласник српског археолошког друштва 15–16: 297–301.

beleške notes

POTRAGA ZA ISTOKOM IN SEARCH OF THE EAST Egipat u putopisima srpskih žena u prvoj polovini XX veka Egypt in the Travel Writing of Serbian Women in the First Half of the 20th Century (Milica Naumov) (by Milica Naumov)

1 O nastanku slobodnog vremena, vidi: Maze, Kaspar. 2008. Bezgranična zabava: 1 About the occurance of leisure, see: Maze, Kaspar. 2008. Bezgranična zabava: uspon uspon masovne kulture 1850–1970. Beograd: Službeni glasnik masovne kulture 1850–1970. Beograd: Službeni glasnik

2 Milošević, Aleksandra. 2003. Desa Dugalić (1897–1972), prvakinja Drame Narodnog 2 Milošević, Aleksandra. 2003. Desa Dugalić (1897–1972), prvakinja Drame Narodnog pozorišta između dva rata. Beograd: Muzej pozorišne umetnosti Srbije pozorišta između dva rata. Beograd: Muzej pozorišne umetnosti Srbije

3 Za više o pozicioniranju Balkana, vidi: Todorova, Marija. 1999. Imaginarni Balkan. 3 More on the positioning of the Balkans, in: Todorova, Marija. 1999. Imaginarni Beograd: XX vek Balkan. Beograd: XX vek

Bibliografija / Bibliography Anđelković, Branislav. 1995. „Pavle Riđički – donator Beogradske mumije: rekonstrukcija puta na Bliski Istok 1888”, Godišnjak za društvenu istoriju 3: 329–341. Dimitrijević, Jelena. 1940. Sedam mora i tri okeana. Putem oko sveta. Beograd: Državna štamparija Dugalić, Desa. 1931. Zabeleške s puta kroz Palestinu, Siriju i Egipat u leto 1931. Beograd: Štamparija Privreda Đorđević, Jelena. 2008. „Postkolonijalna teorija diskursa”. Godišnjak Fakulteta političkih nauka 2: 29–45. Kostić, Veselin. 1989. „Stari engleski i škotski putopisci o uslovima putovanja kroz naše zemlje”, Britanski putnici u našim krajevima od sredine XV do početka XIX veka, priredio Zdravko Levental. Gornji Milanovac: Dečije novine: 15–31.

123 Levental, Zdravko. 1989. Britanski putnici u našim krajevima: od sredine XV do početka XIX veka. Gornji Milanovac: Dečije novine Makuljević, Nenad. 2006. „Poklonička putovanja i privatni identitet”. U: Privatni život kod Srba u devetnaestom veku, priredili Ana Stolić i Nenad Makuljević. Beograd: Clio. 807–837. Maze, Kaspar. 2008. Bezgranična zabava: uspon masovne kulture 1850–1970. Beograd: Službeni glasnik Milošević, Aleksandra. 2003. Desa Dugalić (1897–1972), prvakinja Drame Narodnog pozorišta između dva rata. Beograd: Muzej pozorišne umetnosti Srbije Peković, Slobodanka. 2008. „Putopisi Jelene Dimitrijević kao mogućnost viđenja Drugog”. Književna istorija. 134–135, 117–135. Rakić, Tamara. 2006. „Stereotipi o arapskom svijetu u srpskim putopisima (od 1850. do 1940. godine)”. Književna istorija. 130, 571–578. Reba Kulauzov, Jovana. 2010. Ženski Istok i Zapad. Beograd: Zadužbina Andrejević Said, Edvard. 2000. Orijentalizam. Beograd: XX vek Stojanović, Dubravka. 2008. Kaldrma i asfalt : urbanizacija i evropeizacija Beograda 1890–1914. Beograd: Udruženje za društvenu istoriju Todorov, Cvetan. 1994. Mi i drugi. Beograd: XX vek Todorova, Marija. 1999. Imaginarni Balkan. Beograd: XX vek Vučetić, Radina. 2005. „Amerika u jugoslovenskim putopisima. Pogled kroz Gvozdenu zavesu.” Godišnjak za društvenu istoriju. 1–3, 65–83. Živković, Marko. 2001. „Nešto između: simbolička geografija Srbije”. Filozofija i društvo XVIII, 73–112. Životić, Aleksandar. 2006. „Jugoslovensko-egipatski odnosi 1922–1941”. Zbornik za istoriju Matice srpske 74: 49–70.

beleške notes darovi titu Gifts for Tito Egipat u fondu muzeja istorije Jugoslavije Egypt in the Collections of the Museum of Yugoslav History (Aleksandra Momčilović Jovanović) (by Aleksandra Momčilović Jovanović)

1 Muzej istorije Jugoslavije nastao je 1997. spajanjem Memorijalnog centra Josip 1 The Museum of Yugoslav History was founded in 1997 by merging the Josip Broz Broz Tito i Muzeja revolucije naroda i narodnosti Jugoslavije. Najveći deo fonda Tito Memorial Centre and The Museum of the Revolution of peoples and national- čine pokloni koje je Tito dobio dok je bio na vlasti između 1945. i 1980. godine. Dan- ities of Yugoslavia. Most of the corpus consists of gifts that Tito received during his as Muzej ima viziju da bude prepoznat kao ustanova koja čuva artefakte i obrađuje rule from 1945 to 1980. Today the Museum has the vision to be acknowledged as an teme iz perioda postojanja Jugoslavije, od prvih ideja o nastanku zajedničke države institution that safeguards artefacts and researches topics from the period of the es- Južnih Slovena do kraja njenog postojanja. tablishment of Yugoslavia, from the first founding ideas about the united countries of South Slavs to its demise. 2 Tehnički termin francuske istorijske škole Analista, čiji je pristup nazivan i total- nom istorijom, a koja je unela preokret u posmatranju istorijskih procesa i kauzal- 2 The Technical term of the French Annales School of history, whose approach is also nost tradicionalne događajne istorije, i zamenila ih perspektivom bliskijom drugim termed total history, which was groundbreaking for the observation of historical pro- društvenim naukama poput sociologije i antropologije. cesses and causalities of traditional history of events, shifting them to the approach more familiar to other social sciences such as sociology and anthropology. 3 Ukupan Muzejski fond broji oko dvesta hiljada predmeta. 3 The overal Museum corpus includes approximately two hundred thousand objects. 4 Zahvaljujem se kolegama Momi Cvijoviću, Vesni Mikelić, Radovanu Cukiću sa 4 I would like to thank my colleagues Momo Cvijović, Vesna Mikelić, Radovan Cukić timom, Slavici Drobac, Savi Kovačeviću, Veselinki Kastratović-Ristić, Nadi Pantelić, with his team, Slavica Drobac, Sava Kovačević, Veselinka Kastratović-Ristić, Nada kao i Mariji Đorgović i Tatomiru Toromanu na podršci i pomoći. Pantelić, as well as Marija Đorgović and Tatomir Toroman for their support and help.

5 http://www.egy.com/landmarks/ 5 http://www.egy.com/landmarks/

6 Arhiv Jugoslavije, KPR I-2/5-2. 6 Archives of Yugoslavia, KPR I-2/5-2.

7 7 Ibid. Ibid. 8 Ibid. 8 Ibid. 9 Another indication of potential may be found in the dynamics of the correspon- 9 Još jedna indikacija koja nosi istraživački potencijal može se iščitati iz dinamike dence which reveals how the fast communication was actually slow. Regardless of prepiske koja pokazuje koliko je brza komunikacija bila spora. Bez obzira na to što the fact that each telegram was stamped “URGENT”, from mid-January to the end svaki telegram ima oznaku „HITNO”, od sredine januara do kraja aprila razmenjeno of April, five letters were exchanged, and the shortest time span between two was je pet pisama, a najkraći razmak između njih je sedam dana. seven days.

10 Naser je, ovom prilikom, na poklon dobio srebrni pehar, iznutra pozlaćen, sa rel- 10 On this occasion, Nasser was given a silver goblet, goldplated on the inside with jefnim predstavama Seljačke bune, Prvog srpskog ustanka, Narodnooslobodilačke the relief representations of the Peasant Revolt, the First Serbian Uprising, the borbe, izgradnje i blagostanja, sa crtežima u emajlu, rad vajara Vladete Petrića National Liberation Struggle, scenes of construction and well-being, with enamel iz Beograda, Augustinčićevu skulpturu Rušenje kolonijalizma, u belom mramoru, i drawings by the sculptor Vlada Petrić from Belgrade, sculpture by Augustinčić The garnituru za pušenje u srebru i zlatu, izrada Zlatarne Celje. Arhiv Jugoslavije, KPR Destruction of Colonialism in white marble and smoking set in silver and gold, made I-2/14. by Zlatarna Celje. Arhives of Yugoslavia, KPR I-2/14.

124 11Ujedinjena Arapska Republika stvorena je 1958. ujedinjenjem Egipta i Sirije. Iako 11 The United Arab Republic was formed in 1958 with the union of Egypt and Syria. je 1961. Sirija istupila iz zajednice, Egipat je nastupao pod ovim imenom sve do Although in 1961 Syria stepped down from the union, Egypt was represented under 1971. godine. this name until 1971.

12 Arhiv Jugoslavije, KPR I-3-a/121-19. 12 Archives of Yugoslavia, KPR I-3-a/121-19.

13 Ibid., KPR I-3-a/121-58. 13 Ibid., KPR I-3-a/121-58.

14 Ibid., Protokol predsednika Republike, Pregled poklona iz inostranstva i od stranih 14 Ibid., Protocol of the President of the Republic, An overview of gifts from abroad and predstavnika. gifts from foreign representatives.

15 Arhiv Jugoslavije, Protokol predsednika Republike, Pregled poklona iz inostranstva i 15 Archives of Yugoslavia, Protokol predsednika Republike, An overview of gifts from od stranih predstavnika. abroad and gifts from foreign representatives.

16 Ibid., KPR I-3-a/121-65. 16 Ibid., KPR I-3-a/121-65.

17 Ibid., KPR I-3-a/121-58. 17 Ibid., KPR I-3-a/121-58.

Bibliografija / Bibliography

Brodel, Fernan. 1992. Spisi o istoriji. Beograd: Srpska književna zadruga Mandić, Blažo. 2012. S Titom – Četvrt veka u Kabinetu. Beograd: Dangraf Mos, Marsel. 1982. „Ogled o daru”. U: Sociologija i antropologija II. Beograd: Biblioteka XX vek Pečar, Zdravko i Zagorac, Veda. 1958. Egipat zemlja – narod, revolucija. Beograd: Kultura Petrović, Đurđica. 1981. „Zbirka ,starog’ oružja”. U: Zbirka oružja Josipa Broza Tita. Beograd: Muzej „25. maj” Ostali izvori / Other sources Arhiv Jugoslavije: KPR I-2/5-2; KPR I-2/14; KPR I-3-a/121-19; KPR I-3-a/121-58; KPR I-3-a/121-65. http://www.egy.com/landmarks/

EGIPATSKA UMETNOST EGYPTIAN ART Značajne beogradske izložbe egipatske likovne i primenjene umetnosti u drugoj Important Belgrade Exhibitions of Fine and Applied Arts in the Second Half of the polovini XX veka 20th Century (Narcisa Knežević-Šijan) (by Narcisa Knežević-Šijan)

Bibliografija / Bibliography Espozito, Džon L. 2002. Oksfordska istorija Islama. Beograd: Clio Karnouk, Liliane. 1988. “Modern Egyptian Art: The Emergence of a National Style”. Cairo: AUC Press Karnouk, Liliane. 1995. Contemporary Egyptian Art. Cairo: AUC Press Said, Hāmeed. 1964. Contemporary Art in Egypt. Beograd Van Roques, Adrian Karin. 2009. “An investigation of the Situation of Contemporary Arab Art Today”, Contemporary Practices Art Journal, Volume V, Dubai, pp. 128–135.

Internet izvori / Internet sources Engelstad, Svein. “Historical Themes in Modern Egyptian Art”. http://folk.uio.no/sveinen/egypt/egypt-art-lund01.pdf Al Aris, Ibrahim. 1997. “The Legacy of Salah Abu Seif, Master of Realism in Egyptian Cinema”. http://www.aljadid.com/content/legacy-salah-abu-seif-master-realism- egyptian-cinema

Katalozi izložbi / Exhibition catalogues Katalog izložbe Umetnička keramika u Ujedninjenoj Arapskoj Republici od najstarijih vremena do danas, Beograd, MPU, 20. decembar 1967 – 10. januar 1968. Katalog izložbe Egipatska primenjena umetnost, Beograd, MPU, mart 1979.

Novinski članci / Newspaper articles Markuš, Zoran. 1979. „U okvirima modernog”. Borba, 19. oktobar 1979.

125 DO OSLOBOĐENJA... I NAZAD To Freedom... and back Egipatska kinematografija u okviru Nedelje ARU filma Egyptian Cinematography at the Week of UAR Film (Aleksandar Maričić) (by Aleksandar Maričić)

Bibliografija / Bibliography Boraie, Sherif. 2008. The Golden Years of Egiptian Film – Cinema Cairo. American University in Cairo Press Farrugia, Marisa. 2002. The Plight of Women in Egyptian Cinema (1940s - 1960s). University of Leeds Ginsberg, Terri. and Lippard, Chris. 2010. Historical Dictionary of Middle Eastern Cinema. Scarecrow Press Goldschmidt, Arthur., Amy J. Johnson., Barak A. Salmoni, 2005. Re-envisioning Egypt: 1919 – 1952. American University in Cairo Press Thoraval, Yves. 1986. Regards sur Le Cinema Egyptien. Liban, Beiruth: Librarie Orientale Henebelle, Guy. 1972. Les Cinemas Africains. Dakar: Societe Africaine d’Edition

Članci iz novina i časopisa / Newspaper and magazine Božičković, Olga. 1961. „Filmska Delegacija UAR doputovala u Beograd”. Politika, 22. decembar Čolić, M. 1961. „Prizori Borbe i čovečnosti” (Nedelja filma ARU ). Politika, 28. decembar Hoad, Phillip. 2011. “The Lost Continent: Cinema of Egypt”. The Guardian, 20. August Farid, Samir. 2006. “An Egiptian Story”. Al Ahram Weekly, 23- 29. November n.n. 1960. „Nedelja UAR Filma”. Delo – Ljubljana, 04. novembar

Ostali izvori / Other sources Audiovizuelni arhiv RTS. „Nedelja filma ARU -a”. U okviru TV Dnevnika 1961/12/25. Referenca br. 112045

Internet izvori / Internet sources http://www.mubi.com Al Aris, Ibrahim. 1997. “The Legacy of Salah Abu Seif, Master of Realism in Egyptian Cinema”. http://www.aljadid.com/content/legacy-salah-abu-seif-master-realism- egyptian-cinema Deeley, Mona. “Retrospective on Film: The Golden Age of Egyptian Cinema – the 1940s to 1960s” http://www.zenithfoundation.com/issue-1/retrospective-on-film-the-golden-age-of-egyptian-cinema-the-1940s-to-1960s/

Referentni filmovi / Film reference R. Jusuf Šahin: „Džamila” (1958), „Stanica Kairo” (1958), „Zemlja” (1969), „Aleksandrija... Zašto?” (1989); r. Henri Barakat: „Čovek u našoj kući” (1961), „Greh” (1965), „Slavujeva priča” (1959); r. Salah Abu Seif: „Kairo 30” (1966), „Devojke u leto” (1960); r. Šadi Abdel Salam: „Mumija” (1969); r. Ali Reda: „Ljubav u senci piramida” (1965); r. Husein Kamal: „Nos i tri oka” (1972); r. Nijazi Mustafa: „U potrazi za skandalom” (1973); dir. Hasan Ramzi: „Bela haljina” (1973).

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